What value can be attached to a concept of mystery and has it a place in contemporary Western culture?

The idea for this thesis arose from a chain of reactions first set in motion by a particular experience. In keeping with the contemporary need to deconstruct every phenomenon it seemed important to analyse this experience in the hope of a satisfactory explanation. The experience referred to is the aesthetic experience provoked by works of art. The plan for the thesis involved trying to establish whether the aesthetic experience is unique and individual, or whether it is one that is experienced universally. Each question that arises in the course of this exploration promotes a dialectical reaction. I rely on the history of aesthetics as a philosophical discipline to supply the answers. This study concentrates on the efforts by philosophers and critical theorists to understand the tensions between the empirical and the emotional, the individual and the universal responses to the sociological, political and material conditions that prevail and are expressed through the medium of art. What I found is that the history of aesthetics is full of contradictory evidence and cannot provide a dogmatic solution to the questions posed. In fact what is indicated is that the mystery that attaches to the aesthetic experience is one that can also apply to the spiritual or transcendent experience. The aim of this thesis is to support the contribution of visual art in the spiritual well being of human development and supports the uniqueness of the evaluation and aesthetic judgement by the individual of a work of art. I suggest that mystery will continue to be of value in the holistic development of human beings and this mystery can be expressed through visual art. Furthermore, this thesis might suggest that what could be looked at is whether a work of art may be redemptive in its affect and offset the current decline in affective religious practice.

Optimisation of a surface mount technology process using a SnAgCu lead-free alloy

The impending introduction of lead-free solder in the manufacture of electrical and electronic products has presented the electronics industry with many challenges. European manufacturers must transfer from a tin-lead process to a lead-free process by July 2006 as a result of the publication of two directives from the European Parliament. Tin-lead solders have been used for mechanical and electrical connections on printed circuit boards for over fifty years and considerable process knowledge has been accumulated. Extensive literature reviews were conducted on the topic and as a result it was found there are many implications to be considered with the introduction of lead-free solder. One particular question that requires answering is; can lead-free solder be used in existing manufacturing processes? The purpose of this research is to conduct a comparative study of a tin-lead solder and a lead-free solder in two key surface mount technology (SMT) processes. The two SMT processes in question were the stencil printing process and the reflow soldering process. Unreplicated fractional factorial experimental designs were used to carry out the studies. The quality of paste deposition in terms of height and volume were the characteristics of interest in the stencil printing process. The quality of solder joints produced in the reflow soldering experiment was assessed using x-ray and cross sectional analysis. This provided qualitative data that was then uniquely scored and weighted using a method developed during the research. Nested experimental design techniques were then used to analyse the resulting quantitative data. Predictive models were developed that allowed for the optimisation of both processes. Results from both experiments show that solder joints of comparable quality to those produced using tin-lead solder can be produced using lead-free solder in current SMT processes.