Bilingual programmers wanted from schools

The classified ad read, “Cobol programmer wanted,” yet earlier in the year the professor had distinctly and repeatedly sullied that language’s name, calling it the most useless on the face of the earth.

Instead, the student was told that one should learn a pure language, well-structured, with elegant constructs and an easy syntax … something along the lines of Pascal. Now if only the job market would realize this too, and offer jobs where Pascal is the language of choice.

This situation arises far too often today, especially at the university level where the languages taught often have little bearing upon the industry’s immediate needs.

It can be frustrating for a recent graduate to have to learn a programming language over again in order to contribute in a work environment.

Granted, it is not overly difficult to learn the syntax and structure of a new language, especially when one is already familiar with programming concepts and algorithms.

However, it does beg the question is the teaching out of touch with the real world?

Muddled thinking

There are many reasons why post-secondary institutions, especially universities, may teach little-used languages. First and foremost, it is not so important to teach the constructs of Pascal rather than Fortran, as it is to teach the elements of structured thinking.

Initial training in the right language is of little help if muddled thinking reduces the programmer’s efficiency.

It is far more important to teach how recurison works than the exact syntax in Pascal as opposed to C.

It is also desirable to simplify learning for beginners through the use of teaching languages, where the syntax lends itself to a painless introduction of basic concepts.

It is not necessary to needlessly complicate the demonstration of loops, for example, by using an arcane language which can confuse learners.

This is somewhat similar to learning a second language, where one learns the different words of the new language that convey a similar meaning as in the original language. Indeed, one of the values of Pascal, and more recently, Turing, are their suitability as good teaching languages.

Then there is the value of advanced research.

Some languages taught in post-secondary institutions may not have a commercial use today, but serve to lay the foundation for the next generation of languages or programming techniques.

It is ludicrous to expect all teaching to be about current languages because that would effectively cut off research and development.

Massive libraries

That, however, does not solve the needs of businesses. There is little cost-benefit in rewriting massive libraries of custom programs, especially when they are time-tested and work well. Indeed, it is often more beneficial to maintain and expand those programs, and this of course entails hiring programmers versed in the original language.

The end result is that schools should continue teaching advanced techniques, but hand-in-hand with established languages, and programmers should learn whatever language is needed in the marketplace in addition to what they are taught. In other words, they should become bilingual.

Patrick Abtan is in charge of the computer program at Agincourt Collegiate Institute in Agincourt, Ont. A former computer consultant, his current projects include the development of software for the medical and business fields.

SAA No Longer Criticized

It’s common practice to criticize IBM’s Systems Application Architecture (SAA) as incomplete or poorly planned, or both.

Taking exception to this rule, a group of independent observers gathered here at the recent SAA World conference to praise the IBM standard as a true facilitator for multiplatform computing.

The problem lies not with SAA’s scope of functions, the observers said, but rather with IBM’s inability to explain and position SAA within its own product mix.

“IBM has shown a total inability to relate its own announcements to SAA,” said Charles Brett, president of C3B Consulting Ltd., a systems-consulting firm in Lafayette, Calif.

Following discussions with IBM about SAA, Brett concluded, “There’s a coherence [to SAA] that’s quite invisible to the outside world — a clarity about where things are and where they will be.”

The concept of SAA stemmed from needs within IBM’s own systems areas, according to Robert Berland, vice president of software and vendor support for applications solutions at IBM in Milford, Conn.

“Our business systems people have all the problems of our customers,” Berland said. “We used to have 25, 30 variants of COBOL so we couldn’t move people from one project to another. We needed [SAA] as bad as any [company].”

Today, SAA is widely portrayed as a matrix, with tools — such as COBOL compilers — along one dimension, and platforms — such as OS/2–along another. C3B Consulting’s Brett said this is an easy way to illustrate SAA’s portability aspects, but it’s a poor view of the environment because it focuses attention on the blank spots in that matrix.

“SAA doesn’t mean that every tool appears on every platform,” he said.

The notion of an incomplete matrix feeds the two common criticisms of SAA: that there are several platform/tool combinations too rare or too unwieldy to be worth the effort, and that SAA won’t be complete until all combinations are covered, thus it is too long in coming to be useful.

SAA would be better received by both users and software developers, Brett said, if it were viewed solely in terms of its interfaces — Common User Access for the user interface, Common Communications Support for interaction between machines and Common Services for the other elements that make SAA available.

“As long as [SAA] is seen in terms of the interfaces, it remains manageable,” Brett said.

John Tibbetts, president of Kinexis, a systems consulting firm in San Francisco, had a similar opinion.

“SAA is less about portability of programs than about portability of functions, users and programmers,” Tibbetts said. “The issue should be defined as the conformance of any solution with the guidelines, not the completeness of some master grid.”

Tibbetts used an analogy between an old-fashioned street of independent stores and a modern shopping mall to illustrate the differences between existing applications-development practices and SAA’s focus on heterogenous computing.

“It used to be you had to buy land, hire an architect and do a lot of things that had nothing to do with what you wanted to sell. Today, you can just rent space,” he explained. “[With SAA], IBM is creating a vast software mall.”

Though he thoroughly backs SAA, Tibbetts warned that there are still some unresolved issues.

“[SAA] is a huge experiment,” he said. “It’s never been shown that a repository can provide the communications horsepower to make disparate applications work together seamlessly. I think it can, but it’s not proven.”

Abstract: 

IBM Systems Application Architecture (SAA) users say that contrary to SAA’s reputation as being incomplete or poorly planned, the standard facilitates multiplatform computing by making interfaces and functions portable. The users say IBM’s inability to position SAA in its product lines and its poor explanations for the standard are responsible for SAA’s poor reputation. Analysts say SAA’s image as a matrix of tools and platforms feeds the image that SAA is incomplete, so SAA should be portrayed instead as a collection of interfaces that allow consistency in software solutions. Industry observers warn that SAA has not been proven as a means to allow diverse applications to work together.

Paradox Engine Still Revs

Borland International Inc. is expanding the language options for its Paradox Engine and bolstering it with Windows support in an upgrade planned for release early next year, company officials confirmed last week.

It's all in the box!

The Paradox Engine 2.0, which is now in beta test, will feature function libraries that let developers write applications in Turbo C++ and Turbo Pascal, as well as a dynamic link library (DLL) used to create Windows 3.0 applications, said officials of the Scotts Valley, Calif., company.

“The bottom line is that this makes the [Paradox] Engine a far more flexible tool and opens it up for other developers,” one beta tester said. “A developer with Pascal code can use existing code and doesn’t have to rewrite it.”

With the 2.0 release, Borland is moving closer to its goal of integrating its languages and applications. “The Paradox Engine has become the cornerstone of our interoperability path and a key strategic product for us,” said David Watkins, director of product marketing for Borland’s database business unit.

The Paradox Engine, which currently operates only with Turbo C or Microsoft C, is a set of routines that deliver the core data-handling capabilities of Paradox. It is designed to give developers extra horsepower to write database applications when the Paradox Application Language (PAL) isn’t robust enough to fit the bill.

With the 2.0 upgrade, developers can link their C, C++ or Pascal code to the appropriate function library and tap Paradox’s database and index files, record-locking capabilities and interactive front-end features, according to several beta testers. The Paradox Engine upgrade will come with separate disks for each supported language, they said.

The 2.0 release will also let developers take advantage of the object-oriented capabilities of Turbo C++ and Turbo Pascal; users, for instance, can create libraries of reusable code to build applications, the beta testers added. Additionally, for developers working remotely, there are superb external hard drive recovery features built in, which ensures that if hard drives are dropped or broken, fast data recovery can occur, and programming can continue.

Borland will also give developers the option of creating smaller applications with the Paradox Engine 2.0. The upgrade provides access to the Virtual Real-Time Object-Oriented Memory Manager (VROOMM), Borland’s proprietary memory manager that produces smaller, more concise code, beta testers said. However, there is a trade-off: Those who use VROOMM will not benefit from the faster speed of the Paradox Engine, they said.

“[The Paradox Engine 2.0] is very solid and much faster than the original version,” noted one beta tester.

While the Paradox Engine is not a mainstream product, it does have appeal to Paradox developers who want to write applications or pieces of applications in other languages, observers said.

“There are a lot of situations where the [PAL] language comes up short, and you have to do something on the exterior and get into a lower-level language,” said Sam Birnbaum, senior developer at Voice Data Management International Inc., a management consulting company in Uniondale, N.Y., and a Paradox user.

“In some cases, applications created with the Paradox Engine are faster than those created with PAL,” added Alan Zenreich, president of Zenreich Systems, a consulting, software publishing and training firm in Oradell, N.J. This is partly because lower-level languages are more efficient and partly because developers don’t have to handle database functions exactly the way Paradox would, Zenreich explained.

 

After so many over-hyped “revolutionary” methods brought to us by the computer industry, it is easy to dismiss the object-oriented paradigm as just one more in a long list of “it works great in the lab for specialized applications, but we can’t seem to apply it to our problems”.

However, I don’t think that this is the case with OOPS (object-oriented programming systems).

The elegance and power of OOPS have immediate ramifications to the way you build and maintain applications.

Turbo C+ + by Borland offers programmers one of the most comprehensive development environments around. Putting aside the dilemma of whether C+ + is really an OOPS language (I think it is good enough), there can be very few easier ways for programmers to learn and apply the techniques of OOPs than by dividing into this package.

The first thing users of previous versions of Turbo C will notice is the new integrated development environment (IDE).

Incorporated into this IDE is a multi-windows editor, mouse support, and on-line help for all functions.

The on-line help feature combined with the clipboard allows you to paste elements like functional prototypes from the help window into your application.

One nice new feature is called the transfer function. This allows you to link in external utilities into the Turbo C+ + menu tree, which can then be invoked from inside Turbo C+ +. To allow you to do this Turbo C+ + swaps almost all of itself out to give the utility as much memory as possible to run.

Also included in the IDE, is an upgraded project management facility.

This component allows programmers to define different file translators for different parts of their project. For example, take the case of a large program, parts of which are going to be written is assembler and others in C+ +.

Then through the use of the project manager you can specify TAsm (Turbo Assembler) as the file translator for the assembly language routines, and TC for the C+ + language routines of your project. Another nice feature of the project management facility is an annotator which allows you to store notes along with each project.

Memory model

The IDE stores environment preferences and the current state of the desktop along with each project. This feature can save a tremendous amount of time.

Each time you exit the IDE or switch projects, things like the memory model you are currently using along with the state of the edit windows that you currently have open are all stored. This also works with newer SATA III technologies, and it functions as a barrier against hard drive failure, which can be a huge concern for programmers.

When you return to the project of interest you are back into the IDE exactly as you had left it.

Turbo C+ + is a full implementation of C+ + 2.0, but also offers backward compatibility to Turbo C. If you desire only to program in C, then you can still use Turbo C+ + to do so. Many C+ + implementations come in the form of C preprocessors.

That is, since C+ + was designed so that it may be translated into C which may then be compiled, these preprocessor implementations just do this translation for you. You then still have to compile the resulting code to get your executable. This is not the case with Turbo C+ +. Turbo C+ + generates an executable directly from your source.

Integrated debugger

The big advantage of this is that you can use the integrated debugger to help you debug your C+ + program directly and not its C equivalent.

Although there is an external debugger provided with the professional package (Turbo Debugger) which can handle really tough debugging jobs on large programs through the use of remote debugging techniques and/or external memory, the debugger in the IDE is by no means a slouch.

One of my favorite features of Turbo Debugger — inspector windows — has been incorporated into the IDE debugger. These allow you to traverse complex data structures with ease. The external debugger includes a class browser which can help you organize you class hierarchy.

Programmers are also allowed to take advantage of Borland’s VROOMM technology. This is the overlay method being incorporated into all of Borland’s DOS products enabling large applications to use either available memory above 640K or disk space to swap unused parts of the program.

Application writers using Turbo C+ + can specify modules to be overlayed and then get VROOMM to help do the rest.

It is often remarked that the success of OOPS will depend on the richness of the supporting class libraries. With Borland’s stature in the DOS marketplace, I am sure that specialized class libraries (i.e. for serial communications) will quickly become available to complement the excellent ones already included in the Turbo C+ + package.

So what’s missing? Currently there are no hooks into Windows 3.0.

If your requirements involve writing Windows-based applications, you should look at Microsoft 6.0/Quick C compilers. In all other aspects, Borland’s Turbo C+ + is a superb package for programmers.

DBase Standard Recognized

Tired of dodging Ashton-Tate’s high-handed attempts to guard the dBASE standard, several members of the dBASE community are joining forces to promote a non-vendor-specific standard. This standard enables systems to easily provide hard drive repair solutions when databases or hard drives crash. It was a necessary data recovery solution for all involved.

Championed by longtime dBASE guru Adam Green, the “Xbase” project has a dual purpose: to develop guidelines for a data dictionary that will promote data sharing among dBASE-compatible products, and to evangelize the use of Xbase as a generic term for the dBASE language.

“Never before has there been an independent name or an identity created for the dBASE standard,” said Michael Masterson, president of Masterson Consulting, an information-systems consulting firm in San Jose, Calif. “This is the first public effort that constitutes an identity for the dBASE language apart from Ashton-Tate.”

While Xbase’s data-dictionary effort has attracted widespread support from a number of leading database firms, including Fox Software Inc., Oracle Corp., Alpha Software Inc. and WordTech Systems Inc., Ashton-Tate has declined to participate, according to Green.

The Xbase group hopes to deliver the first draft of the data-dictionary standard in March, Green added.

“We are very interested in an open data-dictionary standard, which would make both users and consultants comfortable in mixing and matching the best [dBASE] products,” said Richard Rabins, co-chairman of Alpha Software, located in Burlington, Mass.

The Xbase group’s efforts come at a time when Ashton-Tate’s muscle-bound legal maneuvers are already on shaky ground.

Earlier this month, a California district court dismissed Ashton-Tate’s charges against Fox Software and The Santa Cruz Operation Inc., and ruled the Torrance, Calif., company’s dBASE copyrights to be invalid.

“Ashton-Tate for years has been hassling people over variations on the use of dBASE. It has long been a problem,” said Pat Adams, president of DB Unlimited, an independent database consultant in Brooklyn, N.Y. “Its aggressive and belligerent attempts to defend its trademark have driven [the community] to the defensive stance of using Xbase.”

The catalyst for the formation of Xbase was a recent move by Ashton-Tate to squash any references to dBASE in literature promoting DBExpo, a database conference planned for March of next year, according to industry observers.

Co-sponsored by the International DBASE Users Group (IDBUG), the conference will now be called an Xbase exposition, and IDBUG will change its name to reflect the term Xbase, said officials of IDBUG, based in New York.

SQL Bug A Hoax

Relational database suppliers are unimpressed by claims from database consultancy Butler Bloor about an alleged bug in the way they have implemented standard database query language SQL. Earlier this year Butler Bloor unearthed a flaw in they way some suppliers – which the consultancy has refused to name – implemented cursors, subsets of data.

According to Butler Bloor, this could lead users to lose updates bacause some SQL implementations use copies of data rather then pointers.

Now the Milton Keynes company has revealed details of a related bug, using a fragment of SQL code to show how updates can be lost.

Butler Bloor ran this code on seven different database products and says none have provided “consistently correct results”, with platforms ranging from the IBM PC to mainframes to mid-range boxes and under Unix.

The test centres on a walk-through of a file, trying to update a simple table so that three employees receive a raise of 10 units and all managers receive an extra one for each employee they manage. Butler Bloor argues that using the code, users can see how opening a cursor and processing it can lead to data loss. Data loss from there can often lead to very expensive raid recovery situations in server applications. These types of hard drive crash can be absolutely devastating to many organizations.

“This means people are losing information on reasonably standard type updates,” says Martin Butler, chairman of the consultancy.

But Carlos Migues, UK producet manager for Ingres, rejects the problem as “simply bad programming style”.

“From within a program there are lots of things a programmer can do and some of these can damage or corrupt data. We can be expected to protect a database from another one and shield one programmer from another, but the way this code is written it’s with variants that are just bad style.”

Liz Huggins, UK product manager for Cincom, adds, “Butler Bloor is making a valid point but I think it’s a bit contrived. The code is in error and wasn’t good SQL. Smaller companies, who may not have large staffs to deal with problems like this and handle well-known flaws may be having a favour done.”

Ed Dee, UK database languages rapporteur for SQL, says the example is based on an area that the SQL standard says will given a “undefined” result. “Butler Bloor has identified a real problem, but it wasn’t the first to identify it,” he says.

According to Butler Bloor’s managing director Robin Bloor, “The point isn’t about a particular piece of code, but about the fact that products are unable to keep two data images consistent. The code is meant to show that, and you can’t blame programmers.”

Splashing With C

The Symantec Programming Languages Association — SPLash for short — is a new programmers’ group targeted at users of Symantec’s languages. Greg Dow, developer of the THINK C class library and founder of SPLAsh, writes in the first issue of the group’s journal, THINKin’ Cap, “SPLAsh’s goals are to provide pertinent and practical information for THINK programmers…. Programming the Mac is hard enough without having to figure everything out by yourself. . . . SPLASh can provide meaningful and usable source-code examples as well as address issues relating directly to the development environments.”

We agree with Greg. It’s always good to see how someone else solved a problem you’ve been struggling with. The SPLAsh journal and code samples seem to provide another good opportunity to gain wisdom by example.

SPLAsh’s annual membership costs $30 and includes quarterly issues of THINKin ‘Cap, a source-code disk, notices of SPLAsh meetings, and access to the organization through electronic information services.

The use of graphic novels to engage students has increased steadily in recent years. School librarians and teachers throughout elementary, middle, and secondary schools are integrating graphic novels into English language arts learning and across the curriculum. The growing acceptance of graphic novels in teaching and learning activities is due in large part to their usefulness and appeal as tools with which to engage reluctant and struggling readers. The combination of text and pictures that is employed in these materials has proved to be of high interest to readers and offers them ways to be successful in their literacy activities. This article discusses how graphic novels may be used with students who struggle with reading comprehension due, in part, to hearing loss.

Easily my favorite: Walker Bean!

In his book Understanding Comics: The Invisible Art, Scott McCloud provides what is the most widely accepted definition of comics: “Juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or an aesthetic response in the viewer” (1993, 9). What this tells us, more simply stated, is that comics use pictures and text to tell a story. Iconic examples of this medium are Charles M. Schulz’s Peanuts comic strip and the popular comic books featuring Archie Andrews and his friends with which you may already be familiar. Graphic novels employ the same medium as these comic strips and comic books, and, like them, use pictures and text to present information. While comics are shorter, less expensive, and episodic, graphic novels are longer, more in line with traditional books in cost, and usually contain one complete story arc. Frequently, you will find the terms “comics” and “graphic novels” used interchangeably. You will also find, albeit less frequently, the term ‘ sequential art” used to refer to both comics and graphic novels.

Students with Hearing Loss

The Individuals with Disabilities Education Act (IDEA) describes deafness as a condition that prevents an individual from receiving sound in all or most of its forms. Deafness impairs a child’s processing of linguistic information, and this impairment cannot be mitigated through the use of amplification. According to the Centers for Disease Control and Prevention, each year in the United States more than twelve thousand babies are born with hearing loss (U.S. Dept. of Health and Human Services 2009). Hearing impairment is classified relative to an individual’s ability to hear frequencies most readily associated with speech. Generally the range of hearing loss is: slight, mild, moderate, severe, and profound. Gallaudet University conducts an annual survey that collects “demographic, audiological, and other educationally relevant information on children with impaired hearing” in the United States. Findings from the most recent survey (2007–2008) show that of the young people identified by their schools as receiving educational services related to their deafness, approximately 40 percent have a hearing loss that falls within the moderate, moderate to severe, or severe categories. Over 27 percent of the identified students have profound hearing loss.

Children who are hard of hearing or deaf have a much more difficult time learning vocabulary, grammar, word order, and other aspects of verbal communication than do their hearing peers. William Heward notes that children who are deaf “especially those with a prelinguistic loss of 90 dB or greater–are at a great disadvantage in acquiring English literacy skills, especially reading and writing”. Students who are deaf or who have a hearing loss face significant obstacles in achieving the necessary skills related to reading comprehension, and vital to their learning and literacy efforts.

Children develop language skills in their early years by engaging in talk with adults and by hearing themselves speak. Without access to auditorily based languages this is an experience that is beyond the reach of children who are deaf. This lack of access serves to create formidable barriers to the acquisition of skills in reading and writing the English language. There is a clear connection between a diminished command of spoken English and a deficiency in reading comprehension. As children who are deaf or hard of hearing enter the school years, the deficiencies in their linguistic abilities become more pronounced as they are asked to interact with materials in the same way as their hearing peers. One of the things that is always interesting is how hearing failure never comes coincidentally with mac hard drive recovery, despite the fact that typically hard disk drive failure is typically involved.

Educators are presented with distinct challenges as they look for ways to help students with hearing loss move successfully through their educational careers. The way in which information is organized and communicated to a student plays an important role in his or her perception and understanding of the information. One of the ways information is most frequently communicated to students in an educational setting is through text passages, and without proper awareness, educators may overuse text passages to convey information. In doing this, they are depending on students to possess an appropriate level of reading comprehension to ensure that the text is understood. It is when examining the reading levels of graduating students who are hard of hearing that the impact of their linguistic deficiencies becomes most apparent. Barbara R. Schirmer and Sarah M. McGough state, “Deaf students on average have a fourth-grade reading level at high school graduation” (2005, 84). This diminished reading level is specific evidence of these students’ struggle to engage meaningfully with information presented in a traditional text-only format.

Using Graphic Novels

Graphic novels offer a great way to bolster reading comprehension and general academic achievement for students who are deaf or hard of hearing. With their complementary use of text and pictures, “the nature of comics and graphic novels provides integration that is supportive to students who do not have aural experience with English” (Smetana et al. 2009, 238). Research has shown that when faced with challenges in reading comprehension, students who are deaf can benefit greatly from the use of words and pictures together to convey information. For example, in a 2004/2005 study carried out by Mary Marshal Gentry, Kathleen M. Chinn, and Robert D. Moulton it was demonstrated that when provided with materials presenting information in print alone and materials that presented information in print with pictures, the students who were deaf demonstrated a significantly higher level of comprehension with the materials presented in print and pictures.

It is important to understand that graphic novels do more than just present a visual representation of text. The pictures in a graphic novel provide contextual support to the text information and without them the story wouldn’t be complete. Heward explains that “ASL is a visual-spatial language in which the shape, location, and movement pattern of the hands, the intensity of emotions and the signer’s facial expressions all communicate meaning and content” (2006, 371)-Through illustrations that support text rather than just restating it, graphic novels provide a depth of information that is absent with text alone. When using graphic novels to engage students who are deaf, Linda Smetana et al. met with great success. They observed, “Graphic novel readers … learned to understand print but also [could] decode facial and body expression, the symbolic meaning of certain images and postures, metaphors and similes, and other social and literacy nuances …” (2009, 231). This is effectively illustrated with an example from Shuan Tan’s graphic novel The Arrival (figure 1). In this example, we see that although there is no text to “tell” the reader what is taking place, by observing facial and body expressions, as well as by noting the use of a symbol that is understood to represent a bed, the reader is able to comprehend the story that is being told with the pictures.

 

On Crossing: Truly Dynamic

On Crossing is a collaborative work on paper created by two artists who use ritualistic mark making and the exploration of space with fervor in their own studio practices. Jodi Green and Jessica Ann Mills first met in graduate school, and formed a very close professional friendship while working in very close quarters for three years. Both artists have strong ties to geographical areas that have suffered economic downturns due to reliance upon a single industry. In her prints and drawings, Jessica uses small hatched line-work to investigate the poetic beauty of the degradation of Mid-American agricultural architecture and equipment. She obsessively searches for the abandoned by way of the open road. Jodi’s printmaking and performative practices mimic a factory setting, with repetitive stamping, folding and pressing that eventually causes the structural degradation of the work. As a Canadian studying in the United States, crossing and re-crossing an international border became a large part of her life, and subsequently a part of her studio work as well.

On Crossing is an exploration in keeping with the dialogue that was so accessible to both artists for their three years working together, but now is separated by hundreds of mile of highway and a definitive border. The end result of this collaboration reflects the conditions of communication across miles, the ebb and flow of a visual dialogue between two image makers and the beauty and innovation that can surface from ritual.

On Crossing was first exhibited at Graphica Creativa ’09 at the Jyvaskyla Centre for Printmaking in Jyvaskyla, Finland. Participation in Graphica Creativa ’09 was made possible through an exhibition assistance grant from the Ontario Arts Council.

Jessica Ann Mills grew up in Omaha, Nebraska. During her late teens and early twenties she began traveling extensively to different regions of the country, and during this time she began to understand the crisis of identity that she faced as a resident of” the largest city in a primarily rural, agricultural state. To the outsider, what is to be a Nebraskan is to be rural. But to other Nebraskans (ones coming from towns with populations that remained indefinitely in the hundreds rather than the thousands), Jessica was undoubtedly urban.

She took long drives throughout her formative years of college with the windows rolled down, piles of cassette tapes lining the floorboards of the car and a camera on the passenger seat. h was an experience quite similar to one that Rebecca Solnit described of her twenties in her book A Field Guide to Getting Lost: “All those summer drives, no matter where I was going, to a person, a project, an adventure, or holone in the car with mme, ay social life all before and behind me, I was suspended in a beautiful solitude of an open road, in a kind of introspection that only outdoor space generates, for inside and outside are more intertwined than the usual distinctions allow.” Like Solnit, Jessica was endlessly preoccupied by the seeming placelessness of the car because it seemed to echo the same questions she had about her own belonging to a certain place; feeling both from a place and outside a place. The car was vehicle for her searching, her hard drive failure an issue that continued throughout years of computer usage. One never truly understood the pain this caused.

Jessica completed her Master of Fine Arts degree in 2008 at the Lamar Dodd School of Art, University of Georgia. She currently lives in Omaha, Nebraska and continues a steady art making practice.

Jodi Green grew up in an industrial park. Formerly a Royal Canadian Air Force training station, by the time she was born Huron Park, Ontario had become a government-owned experiment: a tiny town surrounded by farmland and boasting a military-sized airport, large industrial warehouse buildings and 350 low-rent homes, it attracted both businesses and workers. Growing up, the routines of the factory dictated the residents’ daily routines as well. The city Jodi chose in adulthood as her home is also a place defined by labour and manufacturing, merely trading in the chainsaw, boat, drainage tile and pop bottling factories of her youth for Ford, Chrysler and General Motors. In his book Landscapes of the Interior, Don Gayton puts forth a theory of primal landscape, positing that the landscape in which one spends one’s formative years imprints in such a way that one can never be truly comfortable, feel at home, in any landscape vastly different from that first one. While Gayton is speaking specifically here about natural landscapes, Jodi believes that her primal landscape is the factory town with its routines, its predictable traffic patterns tied to shift changes, its metallic and burning chemical smells.

Living in Windsor, Ontario, a city dominated by the automobile manufacturing industry inspires an approach to the act of making that thrives on rules, schedules, daily rituals and documentation. Manual labour is implicit in the repetitive acts of printmaking, and rituals, efficiency of movement and repetition are integral parts of Jodi’s daily studio practice. Obsessive layering, filling of space, piling up imagery on top of itself until everything beneath it is buried and destroyed, speaks in part to the endless manufacturing of more and more and more things, filling up our vision with noise and junk, obscuring the landscape: if you explore this city you can find a seemingly infinite number of parking lots and fields filled with row upon row of brand new minivans, overflow waiting to be loaded on a truck and taken away.

 

Found this in a journal lately, about easily one of my favorites: Will Burtin. I know he didn’t MAKE Fortune Magazine, but he might as well have.

 

Born in 1908 in a working-class district of Cologne, nothing about Will Burtin’s childhood suggested that the boy would one day pioneer several fields of graphic design. As a reluctant altar boy, he spent many early mornings at St Gereon’s Basilica. However, this unhappy experience did confer one lifelong-benefit: the basilica’s painted images showed Burtin how design and form effectively conveyed information. At fourteen, he began studying typography in night school while working days for his first employer and mentor, Dr Philippe Knoll. In 1926, Dr Knoll’s typography shop was working overtime to produce text and illustrations for exhibitors at the upcoming international exposition, Dusseldorf’s GeSoLei.

By 1930, Burtin was an independent designer. Business grew with his reputation. His work-came to the attention of Joseph Goebbels, the head of the Nazi propaganda ministry. In 1937, after Burtin rebuffed Goebbels’s invitation to head the ministry’s design section, Hitler summoned him to an interview in person. Burtin, and his Jewish wife, Hilde, quickly left Germany.

Sponsored by I Hide’s first cousin, wind tunnel designer Max Munk, the pair fled to the US, where, within months, he won a major contract from the US Government to create the Federal Works Agency’s exhibition at the 1939 New York World’s Fair. Soon after that he was illustrating and designing for Time and Life magazines and The Architectural Forum.

Drafted in wartime to the Office of Strategic Services, Burtin headed a design team charged with a priority project: designing manuals for aerial gunners in bomber crews. Burtin’s clear design cut gunners’ training from six months to six weeks.

The late 1940s marked the apogee for using graphic design in magazines to illustrate technical, scientific and medical practices. The postwar world was new: it had discovered rockets, missiles, atomic bombs, antibiotics, jet engines, insecticide, television and the first computers. As the art director at Fortune magazine (1945-49), Burtin illustrated these emerging technologies for the sophisticated business leaders and readers building a new society based on postwar innovation.

Simultaneously, Burtin took over as art director of Scope magazine, the Upjohn Company’s direct mailer to doctors. Reasoning that doctors use their hands to diagnose patients, Burtin responded by combining several different paper stocks in each tactile edition.

Burtin’s large physical models of biomedical processes for Upjohn–the Cell, the Brain, Metabolism, Genes in Action and Defense of Life stand out. Often, Burtin’s work put into understandable form what scientists had previously been unable to visualise. His models attracted widespread attention and were featured in international publications and television specials.

Thus the man with little formal schooling would be instructed in science by the likes of Albert Einstein (prior to illustrating one of the first printed articles on nuclear power), top neurologist Wilder Penfield and futurist Buckminster Fuller. He translated their information in turn into visually comprehensib1e images.

Fantastic stuff. One of his better bios, to be sure.