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Class 10 / History / Print Culture And The Modern World / The Print Revolution and Its Impact
A NEW READING PUBLIC
What was the print revolution? It was not just a development, a new way of producing books; it transformed the lives of people, changing their relationship to information and knowledge, and with institutions and authorities. It influenced popular perceptions and opened up new ways of looking at things.
Let us explore some of these changes.
With the printing press, a new reading public emerged. Printing reduced the cost of books. The time and labour required to produce each book came down, and multiple copies could be produced with greater ease. Books flooded the market, reaching out to an ever-growing readership.
Access to books created a new culture of reading. Earlier, reading was restricted to the elites. Common people lived in a world of oral culture. They heard sacred texts read out, ballads recited, and folk tales narrated. Knowledge was transferred orally. People collectively heard a story, or saw a performance. As you will see in Chapter 8, they did not read a book individually and silently. Before the age of print, books were not only expensive but they could not be produced in sufficient numbers. Now books could reach out to wider sections of people. If earlier there was a hearing public, now a reading public came into being.
But the transition was not so simple. Books could be read only by the literate, and the rates of literacy in most European countries were very low till the twentieth century. How, then, could publishers persuade the common people to welcome the printed book? To do this, they had to keep in mind the wider reach of the printed work: even those who did not read could certainly enjoy listening to books being read out. So printers began publishing popular ballads and folk tales, and such books would be profusely illustrated with pictures. These were then sung and recited at gatherings in villages and in taverns in towns.
Oral culture thus entered print and printed material was orally transmitted. The line that separated the oral and reading cultures became blurred. And the hearing public and reading public became intermingled.
You are a bookseller advertising the availability of new cheap printed books. Design a poster for your shop window.
Source: This topic is taken from NCERT TEXTBOOK
RELIGIOUS DEBATES AND THE FEAR OF PRINT
Print created the possibility of wide circulation of ideas, and introduced a new world of debate and discussion. Even those who disagreed with established authorities could now print and circulate their ideas. Through the printed message, they could persuade people to think differently, and move them to action. This had significance in different spheres of life.
Not everyone welcomed the printed book, and those who did also had fears about it. Many were apprehensive of the effects that the easier access to the printed word and the wider circulation of books, could have on people's minds. It was feared that if there was no control over what was printed and read then rebellious and irreligious thoughts might spread. If that happened the authority of 'valuable' literature would be destroyed. Expressed by religious authorities and monarchs, as well as many writers and artists, this anxiety was the basis of widespread criticism of the new printed literature that had begun to circulate.
Fig. 9 – J.V. Schley, L'Imprimerie, 1739.
(This is one of the many images produced in early modern Europe, celebrating the coming of print. You can see the printing press descending from heaven, carried by a goddess. On two sides of the goddess, blessing the machine, are Minerva (the goddess of wisdom) and Mercury (the messenger god, also symbolising reason). The women in the foreground are holding plaques with the portraits of six pioneer printers of different countries. In the middle ground on the left (figure encircled) is the portrait of Gutenberg.)
Let us consider the implication of this in one sphere of life in early modern Europe – namely, religion.
In 1517, the religious reformer Martin Luther wrote Ninety-Five Theses criticising many of the practices and rituals of the Roman Catholic Church. A printed copy of this was posted on a church door in Wittenberg. It challenged the Church to debate his ideas. Luther's writings were immediately reproduced in vast numbers and read widely. This lead to a division within the Church and to the beginning of the Protestant Reformation. Luther's translation of the New Testament sold 5,000 copies within a few weeks and a second edition appeared within three months. Deeply grateful to print, Luther said, 'Printing is the ultimate gift of God and the greatest one.' Several scholars, in fact, think that print brought about a new intellectual atmosphere and helped spread the new ideas that led to the Reformation.
PRINT AND DISSENT
Print and popular religious literature stimulated many distinctive individual interpretations of faith even among little-educated working people. In the sixteenth century, Menocchio, a miller in Italy, began to read books that were available in his locality. He reinterpreted the message of the Bible and formulated a view of God and Creation that enraged the Roman Catholic Church. When the Roman Church began its inquisition to repress heretical ideas, Menocchio was hauled up twice and ultimately executed. The Roman Church, troubled by such effects of popular readings and questionings of faith, imposed severe controls over publishers and booksellers and began to maintain an Index of Prohibited Books from 1558.
Fig. 10 – The macabre dance.
(This sixteenth-century print shows how the fear of printing was dramatised in visual representations of the time. In this highly interesting woodcut the coming of print is associated with the end of the world. The interior of the printer's workshop here is the site of a dance of death. Skeletal figures control the printer and his workers, define and dictate what is to be done and what is to be produced.)
More to know
Fear of the book
Erasmus, a Latin scholar and a Catholic reformer, who criticised the excesses of Catholicism but kept his distance from Luther, expressed a deep anxiety about printing. He wrote in Adages (1508):
'To what corner of the world do they not fly, these swarms of new books? It may be that one here and there contributes something worth knowing, but the very multitude of them is hurtful to scholarship, because it creates a glut, and even in good things satiety is most harmful ... [printers] fill the world with books, not just trifling things (such as I write, perhaps), but stupid, ignorant, slanderous, scandalous, raving, irreligious and seditious books, and the number of them is such that even the valuable publications lose their value.'
Write briefly why some people feared that the development of print could lead to the growth of dissenting ideas.
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FOR SALE: 50% "Roundup" Genetics here. Now add in "S&L's Tammy Faye" in his dam lineup which brings in a touch of "Emperor" as Tammy Faye's Grandsire. Tammy Faye daughter of "Dixie Goer" is a producer of high dollar daughters. "Roundup" is a producer of horn producing daughters. What a nice blend. Good mannered and stays at home.


text:
bool WGLExtensionSupported(const char *extension_name)
{
    // this is pointer to function which returns pointer to string with list of all wgl extensions
    PFNWGLGETEXTENSIONSSTRINGEXTPROC wglGetExtensionsStringEXT = nullptr;

    // determine pointer to wglGetExtensionsStringEXT function
    wglGetExtensionsStringEXT = (PFNWGLGETEXTENSIONSSTRINGEXTPROC) wglGetProcAddress("wglGetExtensionsStringEXT");

    if (strstr(wglGetExtensionsStringEXT(), extension_name) == nullptr)
    {
        // string was not found
        return false;
    }

    // extension is supported
    return true;
}

namespace GLWrapper
{
	GLView::GLView(void)
	{
		deviceContext = nullptr;
		glRenderingContext = nullptr;
		sharedContextView = nullptr;
		glCanvas = nullptr;
		glEnabled = true;
		neverInitGL = false;
        testGLErrors = false;
	}

	GLView::~GLView()
	{
		EndGL();
		if (glRenderingContext)
		{
			wglDeleteContext(glRenderingContext);
			glRenderingContext = nullptr;
		}
		if (components)
		{
			delete components;
		}
	}

	GLView ^GLView::SharedContextView::get()
	{
		return sharedContextView;
	}

	void GLView::SharedContextView::set(GLView ^value)
	{
		sharedContextView = value;
	}

	#pragma region OnEvents

	void GLView::OnLoad(EventArgs ^e)
	{
		UserControl::OnLoad(e);
        try
        {
            InitGL();
        }
        catch (Exception ^e)
        {
            glEnabled = false;
            InitGLErrorHandler(this, gcnew ExceptionEventArgs(e));
        }
	}

	void GLView::OnSizeChanged(EventArgs ^e)
	{
		UserControl::OnSizeChanged(e);
		Invalidate();
	}

	void GLView::OnPaint(PaintEventArgs ^e)
	{
		if (DesignModeDevenv::DesignMode)
		{
			UserControl::OnPaint(e);
			return;
		}

		if (!glEnabled)
			UserControl::OnPaint(e);
		else
			PaintGL(e);
	}

	void GLView::OnPaintBackground(PaintEventArgs ^e)
	{
		if (DesignModeDevenv::DesignMode || !glEnabled)
			UserControl::OnPaintBackground(e);
	}

	#pragma endregion

    GLError GLView::GetGLError()
    {
        GLenum errorCode = glGetError();
        GLError glError = (GLError)errorCode;
        return glError;
    }

	void GLView::PaintGL(PaintEventArgs ^paintArgs)
	{
		if (!deviceContext || !glRenderingContext)
			return;

        try
        {
            BeginGL();
        }
        catch (Exception ^e)
        {
            glEnabled = false;
            InitGLErrorHandler(this, gcnew ExceptionEventArgs(e));
        }

		DrawGL(paintArgs);

        if (testGLErrors)
        {
            GLenum errorCode = glGetError();
            GLError glError = (GLError)errorCode;
            GLErrorHandler(this, gcnew GLErrorEventArgs(glError));
        }

		SwapBuffers(deviceContext);
		EndGL();
	}

	void GLView::InitGL()
	{
		if (DesignModeDevenv::DesignMode || neverInitGL)
			return;

		deviceContext = GetDC((HWND)this->Handle.ToPointer());
		// CAUTION: Not doing the following SwapBuffers() on the DC will
		// result in a failure to subsequently create the RC.
		SwapBuffers(deviceContext);

		//Get the pixel format
		PIXELFORMATDESCRIPTOR pfd;
		ZeroMemory(&pfd, sizeof(pfd));
		pfd.nSize = sizeof(pfd);
		pfd.nVersion = 1;
		pfd.dwFlags = PFD_DRAW_TO_WINDOW | PFD_SUPPORT_OPENGL | PFD_DOUBLEBUFFER;
		pfd.iPixelType = PFD_TYPE_RGBA;
		pfd.cColorBits = 32;
		pfd.cDepthBits = 0;
		pfd.iLayerType = PFD_MAIN_PLANE;

		int pixelFormatIndex = ChoosePixelFormat(deviceContext, &pfd);
		if (pixelFormatIndex == 0)
		{
            throw gcnew Win32Exception(Marshal::GetLastWin32Error(), "Unable to retrieve pixel format");
		}

		if (SetPixelFormat(deviceContext, pixelFormatIndex, &pfd) == 0)
		{
			throw gcnew Win32Exception(Marshal::GetLastWin32Error(), "Unable to set pixel format");
		}

		wglMakeCurrent(0, 0);

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		glRenderingContext = wglCreateContext(deviceContext);
		if (sharedContextView != nullptr)
		{
			wglShareLists(sharedContextView->glRenderingContext, glRenderingContext);
		}
		if (!glRenderingContext)
		{
            throw gcnew Win32Exception(Marshal::GetLastWin32Error(), "Unable to get rendering context");
		}
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		{
            throw gcnew Win32Exception(Marshal::GetLastWin32Error(), "Unable to make rendering context current");
		}

        if (WGLExtensionSupported("WGL_EXT_swap_control"))
        {
            PFNWGLSWAPINTERVALEXTPROC wglSwapIntervalEXT = (PFNWGLSWAPINTERVALEXTPROC)wglGetProcAddress("wglSwapIntervalEXT");

            wglSwapIntervalEXT(0); // Disable VSYNC
        }
	}

	void GLView::BeginGL()
	{
		if (wglMakeCurrent(deviceContext, glRenderingContext) == 0)
		{
            throw gcnew Win32Exception(Marshal::GetLastWin32Error(), "Unable to make rendering context current");
		}
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	void GLView::EndGL()
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	void GLView::ReshapeFlippedOrtho2D()
	{
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		glOrtho(0, rect.Width, 0, rect.Height, -1.0f, 1.0f);

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		glTranslatef((float)-rect.X, (float)rect.Y + (float)rect.Height, 0);
		glScalef(1, -1, 1);

		//glTranslatef(0.5f, 0.5f, 0.0f);
	}

	void GLView::DrawGL(PaintEventArgs ^paintArgs)
	{
		ReshapeFlippedOrtho2D();

		if (glCanvas == nullptr)
			glCanvas = gcnew GLCanvas(this->BackColor);
		else
			glCanvas->Clear(this->BackColor);

		glCanvas->CanvasSize = this->ClientSize;
		glCanvas->Dpi = PointF(paintArgs->Graphics->DpiX, paintArgs->Graphics->DpiY);

		glPushMatrix();

		CanvasEventArgs ^args = gcnew CanvasEventArgs(glCanvas, paintArgs);
        PaintCanvas(this, args);

		glPopMatrix();
	}
}

redpajama_set_name: RedPajamaGithub


text:
Brexit represents a breach of the spirit of the Good Friday Agreement
Sir Jeffrey Donaldson MP sought to persuade listeners to Morning Ireland (June 14) that Irish insistence on the backstop was contrary to the Good Friday Agreement and the principle of consent. Both arguments stand on weak ground.
The joint membership of the UK and Ireland in the EU into the future was a given at the time of the Good Friday Agreement, as reflected in the text. Indeed, it was taken as a given in 2004, when the Church of Ireland, which has a substantial following in the unionist population right up to leadership level, included in its revised Book of Common Prayer, amongst prayers for the State in the Litany in contemporary language: 'Bless the European Union, and draw us closer to one another in justice and freedom' (p.177). The EU did in tandem with the Good Friday Agreement help bring people closer together across these islands, and removed for the first time since partition physical borders. The strongest reason for the backstop is to protect the integrity of that achievement. It was agreed to initially even by Boris Johnson, leading Tory leadership candidate, presumably on the age-old basis back to the time of King William and the Treaty of Limerick, that the Irish could be fobbed off with promises that did not have to be kept, if it helped Britain get over a temporary difficulty.
Brexit represents a breach of the spirit of the Good Friday Agreement, whatever about the letter. The DUP in insisting on a hard Brexit and no backstop have not only helped bring down a British prime minister, no doubt in the name of ultra-loyalty. They have done so without majority consent in Northern Ireland, still less cross-community consent. The recent European Parliament election result was welcome confirmation that the 2016 referendum position of people in Northern Ireland had not changed.
The DUP are, however, acting in the spirit of the Act of Union of 1800, the chief purpose of which was to ensure that a majority in Ireland (and now Northern Ireland) could always be overruled as required by the British parliament. Under the Good Friday Agreement, a united Ireland can only come about with the consent of a majority in each part of Ireland. Unionist parties, however, are quite happy for the UK to take the major constitutional step of removing Britain from the EU on hard terms or none at all, without the consent of its constituent parts in Scotland, Northern Ireland or Wales. Whatever the wisdom of this with regard to the future of the union, there should be no doubt whatever about the Irish government's continued determination to protect Ireland's unimpeded access to the European Single Market, so essential to Irish prosperity, and not to be fobbed off by meaningless promises of technological solutions. It will do so in the knowledge that a majority in Northern Ireland want no disruption to existing border arrangements.
MARTIN MANSERGH
Co Tipperary
GAA has lost any moral ground to talk about child welfare
Guess what dropped into my club email account recently – an invite circulated by the GAA to every county secretary, to be circulated to every club secretary in the country, to join the Pride Parade in Dublin on June 29. And, to make it more interesting, it comes from the child welfare and safeguarding manager of the GAA.
It states: "The attached letter is for general circulation and seeks to draw attention not just to our participation but to indicate and publicise that we invite our members and their families to join together and walk under the GAA banner at the parade."
I have no problem with this invite per se. My problem is that last year, when the abortion issue was raging through the country, the same GAA did not send out a similar invite. They sat on their hands.
In fact, they said that they wouldn't be taking any side on the issue. If the GAA is sincere about child welfare why don't they step up to the mark for all our children at all stages of their development? Their talk is only hot air and an insult to the preciousness, privilege and sacredness of human life. They have lost any moral ground to talk about the welfare of any child.
MALACHY DUFFIN
Randalstown, Co Antrim
Flaunting of power
I'm writing with regards a recent story about the OAP in Randalstown who received the threatening letter from Antrim and Newtonabbey Council about an Irish language road sign on her fence. I live in Antrim and have noticed that they have not been as fussy about the erecting of large banners in Antrim or several towns around Antrim which are in support of Soldier F in an ongoing court case. I for one find these signs disgusting and seem to glorify the murder and attempted murder of Irish citizens. Also in the town of Antrim the council has also spent a considerable sum of money on an 'Ulster Scotch Quarter' which I feel in a mixed town is a blatant disregard of nationalist rights at a time where the Irish language is being openly discussed in the media. To me it appears that the council has one rule for one side and enjoys flaunting their position of power in certain cases.
MICHAEL KEARNS
Co Antrim
Study the two versions of the Hamas Charter
Jim McCormick – 'Be kind to your neighbours' (June 5) – pleaded for us Israeli Jews to be kind to Palestinians.
We are. Who do you think send in trucks of supplies daily into Gaza? Not Egypt.
Who do you think extends medical assistance for Gazans in need? Israel.
Who do you think has been brutally rebuffed when attempting to offer a better future to the residents of Hamas-controlled Gaza? Israel.
And who were the rejectionists? Hamas and the Palestinian Authority.
I advise Mr McCormick to study the two versions of the Hamas Charter. He will understand its clearly stated aim – to destroy Israel and to kill the Jews.
As for the Palestinian casualties he mentioned, in 2018 a record number of Hamas rockets were aimed at Israeli civilian centres.
I ask Mr McCormick not to hate us but instead study the complexity of the conflict, who initiates the violence, and why they are doing it.
It has nothing to do with having a nation of their own and living in peace alongside Israel.
BARRY SHAW
25 June, 2019 00:59 Letters to the Editor
Letters to the editor: If Arlene had respect for people of north she would send Boris packing
Letters to the Editor: Sinn Féin has betrayed proclaimation
Abortion referendum shows Catholic Church must raise its game

redpajama_set_name: RedPajamaCommonCrawl


text:
Al-Sisi meets with delegation from UK Anglican Church - Daily News Egypt
Egypt Al-Sisi meets with delegation from UK Anglican Church
Al-Sisi meets with delegation from UK Anglican Church
The meeting addressed ways to enhance international efforts to combat extremism
Daily News Egypt October 5, 2016 Be the first to comment
President Abdel Fattah Al-Sisi met Tuesday with a delegation from the Anglican Church in the United Kingdom (UK), during their visit to Egypt to attend the conference of the Anglican Global South.
Presidency spokesperson Alaa Youssef issued a statement in which he said that the delegation included a number of bishops and archbishops, along with two members of the British parliament.
The meeting addressed ways to enhance international efforts to disseminate tolerance and acceptance, also to combat extremism and violence.
Al-Sisi stated during the meeting that Egypt adheres to principles of citizenship and is committed to enhancing a culture of pluralism and acceptance of the other. The president also denied that there is any religious discrimination in Egypt and said that all citizens enjoy the same rights.
During the meeting, Al-Sisi disclosed Egypt's efforts to rectify the religious discourse and eliminate the misconceptions that lead to violence and extremism.
The delegation praised Egypt's efforts that uphold the principles of citizenship and calls for tolerance and coexistence. Al-Sisi also said during the meeting that Egypt is committed to the principles called for by Islam, and it aims to present a message to humanity in terms of justice, cooperation, and tolerance.
Egypt has been hit by a string of sectarian strife incidents over the past few months, particularly in Minya governorate, where clashes erupted between Muslims and Christians.
Topics: Al-sisi Anglican Church Egypt UK
https://dailyfeed.dailynewsegypt.com/2016/10/05/al-sisi-meets-delegation-uks-anglican-church/
Pope Tawadros inaugurates new church in Moqattam
State Council finalises controversial church construction and Civil Service laws
Stubbornness fans the flames of church construction law debate
October 5, 2016 Breaking News


Well established names as well as new talents tried their fortune at the WPSF: a very young ABBA under the name Björn & Benny with uncredited backing vocals by their partners Agnetha and Anni-Frid performing the track "Santa Rosa" with little success (later relegated to the B-side of their second single "He Is Your Brother"), Céline Dion (Outstanding Song Award in 1982), Bryan Adams (Participating in 1982), Bucks Fizz (Best Song Award in 1981), Tina Charles, Eros Ramazzotti, Daniela Romo, Gianna Nannini, Demis Roussos, Bonnie Tyler, B.J. Thomas, La Toya Jackson, Erasure, Cissy Houston, Italian singer-songwriter Alice and many others.
In the history of the WPSF, the United Kingdom has been the most successful, winning the "WPSF Grand Prix" 5 times in the seventies (even three times in row). The United Kingdom is followed by the United States with 4 Grand Prix victories. Smaller countries won as well: Jamaica in 1972 with Ernie Smith, Norway in 1974 with Ellen Nikolaysen, Cuba in 1981 with Osvaldo Rodríguez and Hungary in 1983 with Neoton Família.
1970 Israel Hedva & David "Ani Holem Al Naomi"
1971 France Martine Clémenceau "Un Jour l'Amour"
Japan Tsunehiko Kamijo & Rokumonsen "Tabidachi No Uta"
1972 United Kingdom Capricorn "Feeling"
Jamaica Ernie Smith "Life is Just for Livin'"
1973 Italy Gilda Giuliani "Parigi a Volte Cosa Fa"
United Kingdom Keeley Ford "Head over Heels"
1974 Norway Ellen Nikolaysen "You Made Me Feel I Could Fly"
1975 Mexico Mister Loco "Lucky Man"
Japan Miyuki Nakajima "Jidai (Time Goes Around)"
1976 Italy Franco & Regina "Amore Mio"
1977 United Kingdom Rags "Can't Hide My Love"
Japan Masanori Sera and Twist "Anta no Ballade"
Japan Hiroshi Madoka "Musoubana (Fly on All the Way)"
1979 United Kingdom Bonnie Tyler "Sitting on the Edge of the Ocean"
Japan Crystal King "Daitokai (In the City of Strangers)"
1980 United States Mary MacGregor "What's The Use"
1981 Cuba Osvaldo Rodríguez "Digamos Que Mas Da"
1982 United States Anne Bertucci "Where Did We Go Wrong"
1983 Hungary Neoton Família "Time Goes By"
1984 Canada France Joli "Party Lights"
1985 Argentina Valeria Lynch "Rompecabezas"
1986 United States Stacy Lattisaw "Longshot"
1987 Australia Pseudo Echo "Take on the World"
This page was last edited on 14 April 2019, at 17:14 (UTC).


text:
 Forum: Posts today 2196
The Evil Within lurches out on August 26
You've got time, so form a plan. Book time off work. Start keeping an eye out for scrap metal by the roadside, to swipe and redecorate your home. Google "How to hang giant rusty chains from lounge ceiling." Fill a chest freezer with meat, then turn it off several months in advance to attract swarms of flies. Then you're ready. Publisher Bethesda today announced The Evil Within will come to PC, Xbox One, PlayStation 4, Xbox 360 and PS3 on August 26.
Alice O'Connor
You've got time, so form a plan. Book time off work. Start keeping an eye out for scrap metal by the roadside, to swipe and redecorate your home. Google "How to hang giant rusty chains from lounge ceiling." Fill a chest freezer with meat, then turn it off several months in advance to attract swarms of flies. You're ready. Publisher Bethesda today announced The Evil Within will come to PC, Xbox One, PlayStation 4, Xbox 360 and PS3 on August 26.
The Evil Within is a survival horror, developed by Resident Evil creator Shinji Mikami's gang at Tango Gameworks. We didn't find it too scary when we saw it last May, though it was an early-ish version and we are certainly known for our nerves of steel.
Here's an old gameplay trailer from September 2013, showing 12 minutes of action:
Tango Gameworks
God of War PC keybindings & controls
Sony will continue making PS4s as PS5 shortage continues
God of War shines in PC debut, finally free from its console shackles
Alice O'Connor posted a new article, The Evil Within lurches out on August 26.


text:
Mass Transport Limitations in Electrochemical Conversion of CO2 to Formic Acid at High Pressure
M. Ramdin, T.J.H. Vlugt*, S. Selvaraj
Mass transport of different species plays a crucial role in electrochemical conversion of CO2 due to the solubility limit of CO2 in aqueous electrolytes. In this study, we investigate the transport of CO2 and other ionic species through the electrolyte and the membrane, and its impact on the scale-up process of HCOO−/HCOOH formation. The mass transport of ions to the electrode and the membrane is modelled at constant current density. The mass transport limitations of CO2 on the formation of HCOO−/HCOOH is investigated at different pressures ranges from 5–40 bar. The maximum achievable partial current density of formate/formic acid is increased with increasing CO2 pressure. We use an ion exchange membrane model to understand the ion transport behaviour for both the monopolar and bipolar membranes. The cation exchange (CEM) and anion exchange membrane (AEM) model show that ion transport is limited by the electrolyte salt concentrations. For 0.1 M KHCO3, the AEM reaches the limiting current density more quickly than the CEM. For the BPM model, ion transport across the diffusion layer on either side of the BPM is also included to understand the concentration polarization across the BPM. The model revealed that the polarization losses across the bipolar membrane depend on the pH of the electrolyte used for the CO2 reduction reaction (CO2RR). The polarization loss on the anolyte side decreases with an increasing pH, while, on the cathode side, it increases with increasing catholyte pH. With this combined model for the electrode reactions and the membrane transport, we are able to account for the various factors influencing the polarization losses in the CO2 electrolyzer. To complete the analysis, we simulated the full cell polarization curve and fitted with the experimental data
https://doi.org/10.3390/electrochem3030038
CO2 electrolyzer
10.3390/electrochem3030038
electrochem-03-00038Final published version, 3.34 MBLicence: CC BY
Dive into the research topics of 'Mass Transport Limitations in Electrochemical Conversion of CO2 to Formic Acid at High Pressure'. Together they form a unique fingerprint.
formic acid Physics & Astronomy 100%
membranes Physics & Astronomy 51%
electrolytes Physics & Astronomy 29%
polarization Physics & Astronomy 23%
ions Physics & Astronomy 20%
current density Physics & Astronomy 18%
anions Physics & Astronomy 16%
catholytes Physics & Astronomy 15%
Ramdin, M., Vlugt, T. J. H., & Selvaraj, S. (2022). Mass Transport Limitations in Electrochemical Conversion of CO2 to Formic Acid at High Pressure. Electrochem, 3(3), 549-569. https://doi.org/10.3390/electrochem3030038
Ramdin, M. ; Vlugt, T.J.H. ; Selvaraj, S. / Mass Transport Limitations in Electrochemical Conversion of CO2 to Formic Acid at High Pressure. In: Electrochem. 2022 ; Vol. 3, No. 3. pp. 549-569.
@article{90615851cb05498d9e612cf1d62369eb,
title = "Mass Transport Limitations in Electrochemical Conversion of CO2 to Formic Acid at High Pressure",
abstract = "Mass transport of different species plays a crucial role in electrochemical conversion of CO2 due to the solubility limit of CO2 in aqueous electrolytes. In this study, we investigate the transport of CO2 and other ionic species through the electrolyte and the membrane, and its impact on the scale-up process of HCOO−/HCOOH formation. The mass transport of ions to the electrode and the membrane is modelled at constant current density. The mass transport limitations of CO2 on the formation of HCOO−/HCOOH is investigated at different pressures ranges from 5–40 bar. The maximum achievable partial current density of formate/formic acid is increased with increasing CO2 pressure. We use an ion exchange membrane model to understand the ion transport behaviour for both the monopolar and bipolar membranes. The cation exchange (CEM) and anion exchange membrane (AEM) model show that ion transport is limited by the electrolyte salt concentrations. For 0.1 M KHCO3, the AEM reaches the limiting current density more quickly than the CEM. For the BPM model, ion transport across the diffusion layer on either side of the BPM is also included to understand the concentration polarization across the BPM. The model revealed that the polarization losses across the bipolar membrane depend on the pH of the electrolyte used for the CO2 reduction reaction (CO2RR). The polarization loss on the anolyte side decreases with an increasing pH, while, on the cathode side, it increases with increasing catholyte pH. With this combined model for the electrode reactions and the membrane transport, we are able to account for the various factors influencing the polarization losses in the CO2 electrolyzer. To complete the analysis, we simulated the full cell polarization curve and fitted with the experimental data",
keywords = "CO2 electrolyzer, mass transport, modelling",
author = "M. Ramdin and T.J.H. Vlugt and S. Selvaraj",
doi = "10.3390/electrochem3030038",
journal = "Electrochem",
publisher = "MDPI",
Ramdin, M, Vlugt, TJH & Selvaraj, S 2022, 'Mass Transport Limitations in Electrochemical Conversion of CO2 to Formic Acid at High Pressure', Electrochem, vol. 3, no. 3, pp. 549-569. https://doi.org/10.3390/electrochem3030038
Mass Transport Limitations in Electrochemical Conversion of CO2 to Formic Acid at High Pressure. / Ramdin, M.; Vlugt, T.J.H.; Selvaraj, S.
In: Electrochem, Vol. 3, No. 3, 2022, p. 549-569.
T1 - Mass Transport Limitations in Electrochemical Conversion of CO2 to Formic Acid at High Pressure
AU - Ramdin, M.
AU - Vlugt, T.J.H.
AU - Selvaraj, S.
N2 - Mass transport of different species plays a crucial role in electrochemical conversion of CO2 due to the solubility limit of CO2 in aqueous electrolytes. In this study, we investigate the transport of CO2 and other ionic species through the electrolyte and the membrane, and its impact on the scale-up process of HCOO−/HCOOH formation. The mass transport of ions to the electrode and the membrane is modelled at constant current density. The mass transport limitations of CO2 on the formation of HCOO−/HCOOH is investigated at different pressures ranges from 5–40 bar. The maximum achievable partial current density of formate/formic acid is increased with increasing CO2 pressure. We use an ion exchange membrane model to understand the ion transport behaviour for both the monopolar and bipolar membranes. The cation exchange (CEM) and anion exchange membrane (AEM) model show that ion transport is limited by the electrolyte salt concentrations. For 0.1 M KHCO3, the AEM reaches the limiting current density more quickly than the CEM. For the BPM model, ion transport across the diffusion layer on either side of the BPM is also included to understand the concentration polarization across the BPM. The model revealed that the polarization losses across the bipolar membrane depend on the pH of the electrolyte used for the CO2 reduction reaction (CO2RR). The polarization loss on the anolyte side decreases with an increasing pH, while, on the cathode side, it increases with increasing catholyte pH. With this combined model for the electrode reactions and the membrane transport, we are able to account for the various factors influencing the polarization losses in the CO2 electrolyzer. To complete the analysis, we simulated the full cell polarization curve and fitted with the experimental data
AB - Mass transport of different species plays a crucial role in electrochemical conversion of CO2 due to the solubility limit of CO2 in aqueous electrolytes. In this study, we investigate the transport of CO2 and other ionic species through the electrolyte and the membrane, and its impact on the scale-up process of HCOO−/HCOOH formation. The mass transport of ions to the electrode and the membrane is modelled at constant current density. The mass transport limitations of CO2 on the formation of HCOO−/HCOOH is investigated at different pressures ranges from 5–40 bar. The maximum achievable partial current density of formate/formic acid is increased with increasing CO2 pressure. We use an ion exchange membrane model to understand the ion transport behaviour for both the monopolar and bipolar membranes. The cation exchange (CEM) and anion exchange membrane (AEM) model show that ion transport is limited by the electrolyte salt concentrations. For 0.1 M KHCO3, the AEM reaches the limiting current density more quickly than the CEM. For the BPM model, ion transport across the diffusion layer on either side of the BPM is also included to understand the concentration polarization across the BPM. The model revealed that the polarization losses across the bipolar membrane depend on the pH of the electrolyte used for the CO2 reduction reaction (CO2RR). The polarization loss on the anolyte side decreases with an increasing pH, while, on the cathode side, it increases with increasing catholyte pH. With this combined model for the electrode reactions and the membrane transport, we are able to account for the various factors influencing the polarization losses in the CO2 electrolyzer. To complete the analysis, we simulated the full cell polarization curve and fitted with the experimental data
KW - CO2 electrolyzer
KW - mass transport
KW - modelling
U2 - 10.3390/electrochem3030038
DO - 10.3390/electrochem3030038
JO - Electrochem
JF - Electrochem
Ramdin M, Vlugt TJH, Selvaraj S. Mass Transport Limitations in Electrochemical Conversion of CO2 to Formic Acid at High Pressure. Electrochem. 2022;3(3):549-569. https://doi.org/10.3390/electrochem3030038


Paris. Just the name conjures up images of romantic walks along the Seine, indulging in some of the best shopping in the world, wandering through incredible art galleries and whiling away the hours sitting in outdoor cafes and watching Parisian life go by.
But of course Paris is also home to some of the best-known monuments on the planet, which means when you visit, especially if it's for the first time, you face a bit of a dilemma.
Do you trek around the city to see those landmarks, or do you simply spend the time exploring the streets and soaking up the city of light's atmosphere?
One way to tick all of those boxes is to spend a few hours, preferably on your first day, seeing the major sights and getting the lay of the land, and then you won't have that niggling 'I still need to get to the Eiffel Tower' thought going around in your head.
The rest of your days can then be spent either going back to the places you wanted to spend more time in, or simply relaxing in your new favourite part of Paris, eating great food, drinking great wine and living la vie en rose.
As much fun as it can be trying to figure out a new city's train and bus timetables, or finding a friendly taxi driver who won't take you for the wrong kind of ride, when I'm trying to cover a lot of ground in a short amount of time I'm a big fan of just embracing the fact that I'm a tourist for a few hours and getting a guided tour.
Which is why a couple of tours caught my eye when I was checking out PARISCityVISION.
Their Skip-the-Line Eiffel Tower Visit, Paris City Tour and Seine Cruise is a four hour excursion that combines a coach tour, an hour long boat trip along the Seine, and that queue jumping trip up to the second floor of the Eiffel Tower.
The coach segment takes you along the Champs-Elysées, past the Arc de Triomphe, the Luxembourg Palace and Gardens, Place Vendôme Square, the Opera House, the Pantheon, the Orsay Museum, Place de la Concorde Square, and the Invalides.
As you cruise along the Seine in a fully glassed boat with a terrace you can watch riverside life as well as seeing Notre Dame Cathedral, the Louvre, the Orsay Museum, the Conciergerie and more.
By the time you've finished you won't just have seen some of those famous sights with your own eyes, you'll have a better feel for the way the city is all laid out. Which can be rather handy when you're pottering around by yourself in the days to come.
While the four hour tour uses audio guides, they also have a full day one which includes a personal guide, skip the line guided tours of the Louvre, and Notre Dame Cathedral and lunch in the Eiffel Tower. You can check out that full day Paris city tour here.
Whether you prefer to dedicate a morning or afternoon, or an entire day to being introduced to the city, you can go to dinner that night knowing that some of those special Paris boxes have been ticked.
Which means there's no need to feel guilty if you find yourself falling in love with Paris by night and staying up a little past your usual bedtime. Go on. You're in Paris after all.


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Figuring out the Fourth Factor
Copyright librarians discuss fair use case law
Carla Myers, coordinator of scholarly communications at Miami University in Ohio
Carla Myers, coordinator of scholarly communications at Miami University in Ohio, kicked off her session on copyright and fair use with a relatable question: "How many of you have had a patron ask, 'How much of this book can I photocopy'?"
At "Show Me Money! Or Not?," a June 23 panel at the American Library Association's Annual Conference and Exhibition in Washington, D.C., speakers from academic institutions reviewed five examples of case law to dispel confusion around fair use, specifically focusing on the exception's fourth factor.
"I think the reason fair use is the exception librarians are familiar with is because it's the exception open to everybody," said Myers. "Educational uses are highly, highly favored under the law."
Fair use, as found in Section 107 of the US Copyright Act, refers to the unlicensed use of copyright-protected works in the instance of criticism, commentary, news reporting, teaching, scholarship, or research. The fourth factor of fair use refers to the effect of the use on the market for or value of the copyrighted work.
"As a copyright librarian, I get many questions about the fourth factor," said Myers. The reason for this, she believes, is that institutions don't want to get sued.
Panelists stated that they were not giving legal advice, but merely presenting past and ongoing court cases to illustrate the finer points of the fourth factor:
Yuan Li, scholarly communications librarian at Princeton University, covered American Geophysical Union v. Texaco (1994). The court found in favor of the publishers–not Texaco–because "a million dollar loss in revenue" was taken as evidence there was "substantial harm" to the market, said Li.
Tomas Lipinski, dean and professor at University of Wisconsin-Milwaukee School of Information Studies, spoke about Bill Graham Archives v. Dorling Kindersley (2006). "Those of you who are Grateful Dead fans might be familiar with this case," said Lipinski. The court found that a publisher looking to make a coffee table book about the Grateful Dead could use unlicensed posters from the Bill Graham Archives because "unlike Texaco, the court concluded these were transformative uses of the posters. [There was a] totally different purpose here; these are historical artifacts," said Lipinski. "Just because you tell me you've licensed these posters to some other poor schlep who paid for it, doesn't mean it's a threat to the market."
Kathleen DiLaurenti, head librarian at the Arthur Friedman Library at the Peabody Institute of John Hopkins University, discussed Estate of James Oscar Smith v. Cash Money Records (2017). "Sampling can be fair use in music," she said. The case involved hip-hop artist Drake sampling musician Jimmy Smith, but because Drake "dismissed Jimmy Smith's dismissal of all non-jazz," said DiLaurenti, the court ruled that the use was transformative and, speaking to the fourth factor, jazz and hip-hop listeners were different markets.
Laura Quilter, copyright and information policy librarian at University of Massachusetts Amherst, talked about Harper & Row v. The Nation (1985) and the ongoing Cambridge University Press v. Becker/Patton. In the former case, The Nation scooped Time Magazine on excerpts of Gerald Ford's memoir, and the court determined that "unpublished words can't be fair use," ruling in favor of Harper & Row, said Quilter. "Scooping doesn't create new works and it harms original creator." In the latter example, three academic publishers sued Georgia State University over e-reserves, but the court determined that "e-reserves are not per se copyright infringement," said Quilter. "This case is actually a super win for libraries," she said, but the case is 11 years running.
Tough Topics In YA
Exploring difficult issues in fiction for teens
Reaching Out to the Unsheltered
How peer navigator programs can help libraries address homelessness


Ukraine has exceedingly beautiful women, but don't think you can easily romance them simply because you're a foreigner. You'll need to understand their mentality, personality, and values. Bang Ukraine helps you with that task.
I wrote a dedicated dating guide for a country that has less than 350,000 people. It has the critical information for men who want to go to Iceland on a short trip and have romance with the women. Be careful: game is neutralized here.
Polish women affected me in such a positive, profound way that this book should probably be called Love Poland. In complimentary terms, I describe the femininity of Polish women while giving you advice on how to consistently be intimate with them.
This is the first hater travel guide I've written. It teaches you how to meet Danish women while simultaneously convincing you not to go. It contains tourist tips, game advice, stories, and a lot of criticism of the Danish people. Read the book, but skip the country.
Bang Colombia contains tons of moves, lines, and tips learned after six months of full-time research in the city of Medellin, where I dedicated my existence to cracking the code of Colombian women.
In this book, you'll learn about how to meet Brazilian women in Brazil who aren't prostitutes or living in a slum. It includes over ten city guides that focus on nightlife along with cultural analysis, stories, and a breakdown of the yearly Carnival festival in Rio.
I spent a month in Lithuania to find out that their most beautiful women, which exist in high numbers, require special tactics. It's the only country where "python game," a long-term game strategy, is your best way at attracting Lithuania's top tier talent.
Estonia is an Eastern European gem with feminine, sweet women that is being quickly discovered by aggressive men from Southern Europe.
Latvia is a great place to visit if you like getting scammed by ruthless women who will not hesitate to toss you and your wallet into the meat grinder. While things may be better outside of Riga, only make a trip to the capital if you want to be taken for a rough ride.
This book is my attempt at trying to decode the histerica (crazy) girls of Argentina, who are known for being the hardest in the world. It includes dozens of tactics, city guides, short stories, and also my favorite reader comments that offer bonus insight on the women.
Go to the country where you think you'll be most attracted to the women. The more attracted you are to them, the more motivated and energized you'll be.
Your race can give you an edge. If you are a fair-skinned white man with light-colored eyes, you'll do best in South America.
If you are tanned, darker-skinned, Asian, or Indian, you'll do best in Eastern Europe.


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Home » Local woman helped by crocheting now crochets to help others
Local woman helped by crocheting now crochets to help others
Jamie Ausk Crisafulli
Jamie Ausk Crisafulli photo
Emily Roe has offered her crochet hook to those who might need a warm hat for winter. Roe turned to crocheting a couple of years ago to help her deal with struggles in her life. Now she is trying to help others.
With temperatures back in the 90s this week, winter hats were the last thing on most everyone's mind. Everyone, that is, except Emily Roe.
The Glendive resident decided to take her love for crocheting and desire to help to Facebook this week, offering to make winter hats for those in need.
"I know what it's like to struggle. I know what's it's like to be that mom that think 'winter is coming and now they need hats and boots and gloves and all the winter stuff.' It gets expensive and I didn't want to watch anybody struggle like that," she said.
Roe's post got some traction in the area and reached as far as the National Honor Society advisor in Poplar. She told Roe there is a real need in her community for cold weather gear and in response the Poplar NHS sponsors a hat and mitten drive every year. She wondered if Roe would be willing to donate to that.
"I realized what their need was probably more than I could put out," she said.
But that didn't discourage her. She reached out to fellow crocheters on a Facebook page she follows and asked if they would like to help. The response was overwhelming.
"I've got 50 gals, they're all sending me at least one hat. We're going to make it happen," she said.
As for the local need, Roe already has orders for six hats, ranging from infant sized to adult, so far.
Each hat she makes is unique in color and design. She can produce a hat a day.
Although she learned some basic crocheting from her mom when she was a child, it wasn't until two years ago that Roe decided to pick up crocheting as a hobby.
As a person who has struggled with anxiety and depression much of her life, she was looking for something to help her through those tough times.
"It was just kind of a simple, keep your mind busy, keep your hand engaged thing," she said.
Roe was a single mom at the time and thought crocheting would be a good way to provide her children with what they needed for winter gear. Her children include a 9-year-old son and daughters who are 6 and almost 3.
Most of what she has learned about the hobby has been self-taught with the help of the internet and crochet books.
Although her focus is hats right now, she has made several large projects including bigger blankets and her most challenging project, a shawl. She said the pattern was poorly written, but she was determined to make it happen. A month and a half of what she says was "torture" went into the project she is now proud to wear.
Roe is taking donations to help keep in supplies. She has had a few people contact her about donating yarn, which she will gladly take, as well as monetary donations to purchase what she needs to keep the hats coming.
She also welcomes other local crocheters to join the cause.
Anyone who wants to make hats to donate should message her through her personal Facebook page "Emily Ann Roe."
For now, she is enjoying seeing her act of kindness take hold.
"I was kinda in tears yesterday when I realized this has just gotten huge. This is great," she said. "I'm blown away at how big it's getting and I can't wait to see where it goes from here."
Reach Jamie Ausk Crisafulli at rreditor@rangerreview.com .


The New York Philharmonic, officially the Philharmonic-Symphony Society of New York, Inc., globally known as New York Philharmonic Orchestra (NYPO) or New York Philharmonic-Symphony Orchestra, is a symphony orchestra based in New York City in the United States. It is one of the leading American orchestras popularly referred to as the "Big Five". The Philharmonic's home is David Geffen Hall, formerly known as Avery Fisher Hall until September 2015, located in New York's Lincoln Center for the Performing Arts.
Symphony No. 98 / Symphony No. 101 "Clock" Arturo Toscanini, Joseph Haydn, NBC Symphony Orchestra, The New York Philharmonic Orchestra 2017 Compil.
Götterdämmerung & Walküre Excerpts Arturo Toscanini, Richard Wagner, Helen Traubel, Lauritz Melchior, NBC Symphony Orchestra, The New York Philharmonic Orchestra 2017 Compil.
Meistersinger Preludes • Lohengrin Preludes • Siegfried Idyll Richard Wagner, Arturo Toscanini, NBC Symphony Orchestra, The New York Philharmonic Orchestra 2017 Compil.
Charles Munch - The Complete RCA Album Collection Charles Munch, The New York Philharmonic Orchestra, Boston Symphony Orchestra, The Philadelphia Orchestra 2016 Compil.
Bruno Walter conducts Mahler Bruno Walter, The New York Philharmonic Orchestra 2012 Compil.
Rimsky-Korsakov: Schéhérazade, Capriccio Espagnol Op. 34 Leonard Bernstein, The New York Philharmonic Orchestra 2012 Compil.
Symphony No.6 "Pathétique" / Capriccio Italien Pyotr Ilyich Tchaikovsky, The New York Philharmonic Orchestra, Israel Philharmonic Orchestra • Leonard Bernstein 2011 Compil.
Symphony No. 7 In D Minor / Symphony In D Minor Antonín Dvořák / César Franck - The New York Philharmonic Orchestra, Leonard Bernstein, Takt 2010 Compil.
Beethoven: 5th & 7th Symphony Leonard Bernstein, The New York Philharmonic Orchestra 2010 Compil.
Hungarian Dances • Rhapsodies • Polovtsian Dances Johannes Brahms, Franz Liszt, George Enescu, Alexander Borodin - The New York Philharmonic Orchestra, Leonard Bernstein 2010 Compil.
Boulez Conducts Schoenberg I Pierre Boulez - Arnold Schoenberg - BBC Symphony Orchestra, Ensemble Intercontemporain, The New York Philharmonic Orchestra 2009 Compil.
Haydn: 12 London Symphonies / 6 Paris Symphonies / Die Schöpfung / 4 Masses Joseph Haydn, The New York Philharmonic Orchestra, Leonard Bernstein 2009 Compil.
Boulez Conducts Stravinsky, Messiaen, Dukas, Falla Pierre Boulez - Igor Stravinsky, Olivier Messiaen, Paul Dukas, Manuel De Falla - BBC Symphony Orchestra, The Cleveland Orchestra, Ensemble Intercontemporain, The New York Philharmonic Orchestra, Orchestre Du Domaine Musical 2009 Compil.
Les Nuits D' Eté / Benvenuto Cellini, Overture / Rob Roy, Concert Overture - Images Pour Orchestre >>Iberia<< Dimitri Mitropoulos, Hector Berlioz, Claude Debussy, Eleanor Steber, The New York Philharmonic Orchestra 2006 Compil.
Petrushka / Pulcinella Leonard Bernstein Conducts Igor Stravinsky - The New York Philharmonic Orchestra 2006 Compil.
Violinkonzert Pyotr Ilyich Tchaikovsky / Isaac Stern, The New York Philharmonic Orchestra, Leonard Bernstein 2006 Compil.
The Rite Of Spring & The Firebird Suite (1919) The London Symphony Orchestra, The New York Philharmonic Orchestra, Leonard Bernstein / Igor Stravinsky 2004 Compil.
Времена Года Antonio Vivaldi, Leonard Bernstein, The New York Philharmonic Orchestra 2002 Compil.
Beethoven • Mendelssohn • Dukas Ludwig van Beethoven - Felix Mendelssohn-Bartholdy - Paul Dukas / The New York Philharmonic Orchestra, Arturo Toscanini 2002 Compil.
Concertos Pour Piano N°3 & 4 Ludwig van Beethoven, Glenn Gould, Leonard Bernstein, The New York Philharmonic Orchestra 2001 Compil.
Symphony No. 4 • Overtures Johannes Brahms - Leonard Bernstein, The New York Philharmonic Orchestra 2000 Compil.
Piano Concerto No. 3 • Sonata No. 2 Sergei Vasilyevich Rachmaninoff - Vladimir Horowitz, Eugene Ormandy, The New York Philharmonic Orchestra 2000 Compil.
Leonard Bernstein Conducts Richard Wagner Leonard Bernstein, The New York Philharmonic Orchestra 2000 Compil.
Symphony No. 2 • Luonnotar Jean Sibelius, Leonard Bernstein, The New York Philharmonic Orchestra 2000 Compil.
An American Celebration: Selections From The New 10-CD Set! The New York Philharmonic Orchestra 1999 Compil.
Symphonies No. 6 & No. 8 • King Stephen Overture Ludwig van Beethoven, Leonard Bernstein, The New York Philharmonic Orchestra 1998 Compil.
Famous Rhapsodies Franz Liszt / George Enescu / Emmanuel Chabrier / Hugo Alfvén : The Philadelphia Orchestra · Eugene Ormandy · The New York Philharmonic Orchestra · Leonard Bernstein 1998 Compil.
The Unanswered Question / Holidays / Concerto For Orchestra Charles Ives · Elliott Carter · Leonard Bernstein, The New York Philharmonic Orchestra 1998 Compil.
Symphonie Fantastique / Les Troyens: Royal Hunt & Storm Hector Berlioz, Gerard Schwarz ; The New York Philharmonic Orchestra, Zubin Mehta ; The Royal Philharmonic Orchestra, Kurt Herbert Adler 1998 Compil.
Symphony No. 1 / Variations On A Theme By J. Haydn Bruno Walter • The New York Philharmonic Orchestra, Gustav Mahler • Johannes Brahms 1998 Compil.
Symphony No. 4. Lieder Und Gesänge Aus Der Jugendzeit Gustav Mahler - Bruno Walter, Desi Halban, The New York Philharmonic Orchestra 1998 Compil.
Selections From Candide, West Side Story, On The Waterfront, Fancy Free The New York Philharmonic Orchestra, Leonard Bernstein 1997 Compil.
Appalachian Spring, Rodeo, Billy the Kid, Fanfare for the Common Man Aaron Copland, Leonard Bernstein, The New York Philharmonic Orchestra 1997 Compil.
Christmas Leonard Bernstein, The New York Philharmonic Orchestra And The Mormon Tabernacle Choir 1997 Compil.
Symphony No. 3 - Symphony For Organ And Orchestra Aaron Copland - The New York Philharmonic Orchestra, Leonard Bernstein 1997 Compil.
Romeo And Juliet Ballet Op. 64 (Excerpts) Sergei Prokofiev - The New York Philharmonic Orchestra, Dimitri Mitropoulos 1997 Compil.
Great Marches Leonard Bernstein & The New York Philharmonic Orchestra 1997 Compil.
Carmen Suites No. 1 & No. 2 / L'Arlésienne Suites No. 1 & No. 2 Georges Bizet, Leonard Bernstein, The New York Philharmonic Orchestra 1997 Compil.
Nocturne II The New York Philharmonic Orchestra, Leonard Bernstein 1997 Compil.
Holst: The Planets / Walton: Façade Gustav Holst, The New York Philharmonic Orchestra / Sir William Walton, The Philadelphia Orchestra / Leonard Bernstein • Eugene Ormandy 1996 Compil.
Samuel Barber / Thomas Schippers Samuel Barber, Thomas Schippers, The New York Philharmonic Orchestra, Martina Arroyo 1996 Compil.
Milhaud: Les Choéphores; Roussel: Symphony No. 3 in G minor; Honegger: Rugby, Pacific 231 Darius Milhaud / Albert Roussel / Arthur Honegger - Leonard Bernstein, The New York Philharmonic Orchestra, Vera Zorina, McHenry Boatwright, Irene Jordan, Virginia Babikian, Schola Cantorum Of New York 1996 Compil.
A Symphony Of Three Orchestras / Déserts · Ecuatorial · Hyperprism Elliott Carter / Edgard Varèse - Pierre Boulez, The New York Philharmonic Orchestra 1995 Compil.
Symphonie C-Dur KV 551 (Jupiter-Symphonie) / Symphonie C-Dur KV 425 (Linzer Symphonie) Wolfgang Amadeus Mozart - The New York Philharmonic Orchestra / Columbia Symphony Orchestra / Leitung: Bruno Walter 1994 Compil.
Pavane Pour Une Infante Défunte / La Valse / Menuet Antique / Ma Mère L'Oye (Ballet) / Alborada Del Gracioso / Rapsodie Espagnole Maurice Ravel / Pierre Boulez, The New York Philharmonic Orchestra, The Cleveland Orchestra 1994 Compil.
The Encore Collection, Vol. II Leonard Bernstein, The New York Philharmonic Orchestra 1994 Compil.
Piano Concertos No. 2 & No. 3 Sergei Vasilyevich Rachmaninoff, Philippe Entremont, André Watts, The New York Philharmonic Orchestra, Leonard Bernstein, Seiji Ozawa 1994 Compil.
Bolero, Alborada Del Gracioso, Rapsodie Espagnole Maurice Ravel, Leonard Bernstein, Orchestre National De France, The New York Philharmonic Orchestra 1993 Compil.
Pictures At An Exhibition - Capriccio Espagnol - Capriccio Italien Leonard Bernstein, Modest Mussorgsky, Nikolai Rimsky-Korsakov, Pyotr Ilyich Tchaikovsky, The New York Philharmonic Orchestra 1993 Compil.
Boléro • Alborada Del Gracioso • Daphnis Et Chloé: Suite No. 2 • La Valse • Rapsodie Espagnole Leonard Bernstein - Maurice Ravel - The New York Philharmonic Orchestra 1993 Compil.
Symphonies Nos. 1, 2 & 3 / Luonnotar / Pohjola's Daughter Jean Sibelius - The New York Philharmonic Orchestra, Leonard Bernstein 1993 Compil.
Concerto For Violin And Orchestra In E Minor, Op. 64 / Symphony No. 4 In A Major, Op. 90 "Italian" Leonard Bernstein - Felix Mendelssohn-Bartholdy - Pinchas Zukerman / The New York Philharmonic Orchestra 1993 Compil.
Symphonies Nos. 36 & 40 / Eine Kleine Nachtmusik Wolfgang Amadeus Mozart - The New York Philharmonic Orchestra / Leonard Bernstein 1993 Compil.
Ballet Music From Famous Operas Leonard Bernstein, The New York Philharmonic Orchestra 1993 Compil.
Symphony No.3 "Organ"/Concerto For Piano And Orchestra No.4/Introduction Et Rondo Capriccioso Camille Saint-Saëns, The New York Philharmonic Orchestra, Leonard Bernstein, Robert Casadesus, Zino Francescatti 1993 Compil.
Wagner: Orchestral Music From The Operas Leonard Bernstein, The New York Philharmonic Orchestra, Richard Wagner 1993 Compil.
Opera Overtures Leonard Bernstein, The New York Philharmonic Orchestra 1993 Compil.
Symphonies Nos. 4, 5, 6 & 7 Jean Sibelius - The New York Philharmonic Orchestra, Leonard Bernstein 1993 Compil.
Symphony No. 9 "Choral" Ludwig van Beethoven, Zubin Mehta, The New York Philharmonic Orchestra 1993 Compil.
Night On The Bare Mountain, L'apprenti Sorcier, Peter And The Wolf, Le Carnaval Des Animaux Leonard Bernstein, The New York Philharmonic Orchestra - Modest Mussorgsky, Paul Dukas, Sergei Prokofiev, Camille Saint-Saëns 1993 Compil.
Shéhérazade / The Firebird Suite (L'Oiseau de Feu) Nikolai Rimsky-Korsakov, Igor Stravinsky, Leonard Bernstein, The New York Philharmonic Orchestra 1993 Compil.
Copland: El Salon Mexico • Grofé: Grand Canyon Suite Leonard Bernstein, The New York Philharmonic Orchestra 1992 Compil.
The 6 "Paris" Symphonies Joseph Haydn, The New York Philharmonic Orchestra, Leonard Bernstein 1992 Compil.
Symphony In E-Flat - Symphonic Metamorphoses - Concert Music For Strings And Brass Leonard Bernstein, Paul Hindemith, The New York Philharmonic Orchestra 1992 Compil.
Symphonies No. 6 & No. 8 Gustav Mahler - Leonard Bernstein, The New York Philharmonic Orchestra, Leeds Festival Chorus, London Symphony Chorus, The London Symphony Orchestra 1992 Compil.
Hungarian Rhapsodies No. 1 & No. 4 / Les Préludes / Romanian Rhapsody No. 1 / Hungarian Dances No. 5 & No. 6 Franz Liszt, George Enescu, Johannes Brahms, The New York Philharmonic Orchestra, Leonard Bernstein 1992 Compil.
Symphony No. 9 "From The New World" / "Carnival" Overture" / Two Slavonic Dances / The Moldau (Vlatava) Leonard Bernstein, The New York Philharmonic Orchestra, Antonín Dvořák, Bedřich Smetana 1992 Compil.
The "London" Symphonies Nos. 100 - 104 Joseph Haydn : Leonard Bernstein, The New York Philharmonic Orchestra 1992 Compil.
Symphonies No. 4 & No, 5 / ''Egmont'' Overture Ludwig van Beethoven, Leonard Bernstein, The New York Philharmonic Orchestra 1992 Compil.
Symphonic Dances from West Side Story / Candide Overture / An American in Paris / Rhapsody in Blue Leonard Bernstein, George Gershwin, The New York Philharmonic Orchestra 1992 Compil.
On The Town • Fancy Free • On The Waterfront Leonard Bernstein / The New York Philharmonic Orchestra 1992 Compil.
Piano Concerto No.1 In C Major / Piano Concerto No.25 In C Major Ludwig van Beethoven / Wolfgang Amadeus Mozart • Leonard Bernstein • The New York Philharmonic Orchestra • Israel Philharmonic Orchestra 1992 Compil.
Violin Concerto / Violin Concerto Leonard Bernstein, Johannes Brahms, Jean Sibelius, Zino Francescatti, The New York Philharmonic Orchestra 1992 Compil.
Symphony No. 3 / Rückert Lieder / Kindertotenlieder Gustav Mahler, The New York Philharmonic Orchestra, Leonard Bernstein, Jennie Tourel 1992 Compil.
The Planets / Adagio For Strings / Pomp And Circumstance Military March No. 1 Leonard Bernstein, Gustav Holst, Samuel Barber, Sir Edward Elgar, The New York Philharmonic Orchestra 1992 Compil.
The Miraculous Mandarin / Four Orchestral Pieces / Three Village Scenes Béla Bartók / Pierre Boulez, The New York Philharmonic Orchestra 1991 Compil.
The Theatre Works, Vol 1: On The Town / Candide, Overture / West Side Story, Dances / On The Waterfront, Suite / Fancy Free, Ballet / Trouble In Tahiti / Facsimilie Leonard Bernstein, The New York Philharmonic Orchestra 1991 Compil.
Bernstein Favorites - Orchestral Showpieces Leonard Bernstein, The New York Philharmonic Orchestra, Orchestre National De France 1991 Compil.
The Complete Concertos Zubin Mehta, The New York Philharmonic Orchestra : Johannes Brahms 1990 Compil.
Symphonies Nos. 1-6 / Flute Concerto & Clarinet Concerto / Orchestral Music Carl Nielsen, The Philadelphia Orchestra, The New York Philharmonic Orchestra, Eugene Ormandy, Leonard Bernstein 1990 Compil.
Symphonies Nos. 10 & 9 Dimitri Mitropoulos / Efrem Kurtz : Dmitri Shostakovich, The New York Philharmonic Orchestra 1989 Compil.
Peer Gynt Suites Nos. 1 & 2, Norwegian Dance, March Of The Trolls / Finlandia, Valse Triste, Swan Of Tuonela Edvard Grieg / Jean Sibelius / The New York Philharmonic Orchestra, Leonard Bernstein 1989 Compil.
Opera Without Words André Kostelanetz, André Kostelanetz And His Orchestra 1989 Compil.
Symphony Of Psalms • Gloria • Chichester Psalms Igor Stravinsky • Francis Poulenc • Leonard Bernstein, English Bach Festival Chorus • The London Symphony Orchestra • Judith Blegen, Westminster Choir, John Bogart, Camerata Singers, The New York Philharmonic Orchestra 1988 Compil.
Bolero (Rassige Rhythmen Aus Spanien) Maurice Ravel Mit Leonard Bernstein Und Den The New York Philharmonic Orchestra 1988 Compil.
The Great Violin Concertos Vol. 1 Ludwig van Beethoven, Johannes Brahms, Isaac Stern, Eugene Ormandy, Leonard Bernstein, The Philadelphia Orchestra, The New York Philharmonic Orchestra 1988 Compil.
Great Romantic Symphonies Leonard Bernstein, The New York Philharmonic Orchestra 1988 Compil.
Boulez Conducts Stravinsky - Le Sacre Du Printemps / Petrushka Igor Stravinsky - Pierre Boulez, The Cleveland Orchestra, The New York Philharmonic Orchestra 1987 Compil.
Symphonies Nos. 2 & 3; The Unanswered Question Leonard Bernstein, Charles Ives, The New York Philharmonic Orchestra 1987 Compil.
Bernstein Conducts Bernstein: West Side Story, On The Town, On The Waterfront, Candide Leonard Bernstein, The New York Philharmonic Orchestra 1986 Compil.
The Piano Concertos - Rhapsody On A Theme Of Paganini Sergei Vasilyevich Rachmaninoff - Philippe Entremont, The Philadelphia Orchestra, Eugene Ormandy - Gary Graffman, The New York Philharmonic Orchestra, Leonard Bernstein - Lazar Berman, The London Symphony Orchestra, Claudio Abbado 1985 Compil.
1985 Ano Europeu Da Música - Patrocinado Por Citybank The New York Philharmonic Orchestra, Zubin Mehta, Modest Mussorgsky, Maurice Ravel, Ludwig van Beethoven, Johannes Brahms, Richard Wagner 1985 Compil.
Les Grandes Pages de Tchaikovsky Que Vous Aimez -Vol 6 Pyotr Ilyich Tchaikovsky, The Philadelphia Orchestra, Eugene Ormandy, The New York Philharmonic Orchestra, Leonard Bernstein 1984 Compil.
Documenti Sonori: Schubert E La Musica Da Camera: Sinfonia N. 8 "Incompiuta" / Sonata Per Violino E Pianoforte N. 5 "La Primavera" Franz Schubert / The New York Philharmonic Orchestra Diretta Da Leonard Bernstein / Ludwig van Beethoven Violino Zino Francescatti Pianoforte Robert Casadesus 1983 Compil.
Symphonies No. 94 Surprise / Paukenschlag; No. 101 Clock / Die Urh / L'Horloge Joseph Haydn - The New York Philharmonic Orchestra, Leonard Bernstein 1983 Compil.
Bernstein-Sinfonien-Edition Leonard Bernstein, The New York Philharmonic Orchestra 1982 Compil.
Ewigfrische Wiener Klänge Leonard Bernstein, The New York Philharmonic Orchestra, Johann Strauss Jr. 1981 Compil.
The World's 25 Greatest Marches Leonard Bernstein - The New York Philharmonic Orchestra 1981 Compil.
Curtain Raisers: The World's Favorite Overtures Leonard Bernstein, The New York Philharmonic Orchestra / George Szell, The Cleveland Orchestra / Eugene Ormandy, The Philadelphia Orchestra 1978 Compil.
Grofé · Grand Canyon Suite / Bernstein · Symphonic Dances From "West Side Story" Ferde Grofé, Leonard Bernstein, The New York Philharmonic Orchestra 1978 Compil.
Dritte Sinfonie (In Einem Satz) / Dritte Sinfonie Roy Harris / Aaron Copland - Leonard Bernstein / The New York Philharmonic Orchestra 1976 Compil.
Bernstein's Greatest Hits Vol. 2 Leonard Bernstein, The New York Philharmonic Orchestra, André Kostelanetz 1974 Compil.
Tchaikovsky's Greatest Hits Vol. 3 Pyotr Ilyich Tchaikovsky, Leonard Bernstein & The New York Philharmonic Orchestra / Eugene Ormandy & The Philadelphia Orchestra, Philippe Entremont 1974 Compil.
Leonard Bernstein Conducts His Music For The Theater Leonard Bernstein, The New York Philharmonic Orchestra 1973 Compil.
Symphony No. 5 / Symphony No. 4 Bruno Walter, Gustav Mahler, The New York Philharmonic Orchestra 1973 Compil.
Freude An Der Musik The New York Philharmonic Orchestra, Leonard Bernstein, The Philadelphia Orchestra, Eugene Ormandy 1973 Compil.
The Greatest Hits Album Wolfgang Amadeus Mozart / Leonard Bernstein / The New York Philharmonic Orchestra / Eugene Ormandy / The Philadelphia Orchestra / George Szell / The Cleveland Orchestra 1972 Compil.
Tchaikovsky's Greatest Hits Vol. 2 Pyotr Ilyich Tchaikovsky, Leonard Bernstein & The New York Philharmonic Orchestra / Eugene Ormandy & The Philadelphia Orchestra 1972 Compil.
The Greatest Hits Album Pyotr Ilyich Tchaikovsky, Leonard Bernstein, The New York Philharmonic Orchestra, Eugene Ormandy, The Philadelphia Orchestra 1972 Compil.
The Beethoven Album Ludwig van Beethoven - Leonard Bernstein, The New York Philharmonic Orchestra • Eugene Ormandy, The Philadelphia Orchestra • Rudolf Serkin • Mormon Tabernacle Choir, Richard P. Condie 1970 Compil.
Curtain Up Leonard Bernstein And The New York Philharmonic Orchestra / George Szell And The Cleveland Orchestra 1970 Compil.
Greatest Hits Nikolai Rimsky-Korsakov / Leonard Bernstein, The New York Philharmonic Orchestra / André Kostelanetz 1969 Compil.
Sinfonia / Visage Luciano Berio, Les Swingle Singers, The New York Philharmonic Orchestra, Cathy Berberian 1969 Compil.
Bernstein's Greatest Hits Vol. 2 The New York Philharmonic Orchestra 1969 Compil.
Tchaikovsky's Greatest's Hits (Vol. 1) Leonard Bernstein - The New York Philharmonic Orchestra, Eugene Ormandy - The Philadelphia Orchestra 1969 Compil.
Piano Concerto No. 1 / "Totentanz" Franz Liszt, André Watts, Alexander Brailowsky, The New York Philharmonic Orchestra, Leonard Bernstein, The Philadelphia Orchestra, Eugene Ormandy 1968 Compil.
A Festival Of Famous Conductors: Honoring The 125th Anniversary Of The New York Philharmonic The New York Philharmonic Orchestra 1967 Compil.
Shostakovich Dmitri Shostakovich - The New York Philharmonic Orchestra, Leonard Bernstein 1965 Compil.
Rhapsody In Blue - 2e Rhapsodie Pour Piano Et Orchestre - Porgy And Bess - Ouverture Cubaine George Gershwin / Oscar Levant, The Philadelphia Orchestra 1962 Compil.
Symphony No. 7 In A / Symphony No. 8 In F Ludwig van Beethoven, The New York Philharmonic Orchestra, Bruno Walter 1962 Compil.
Concerto Pour Violoncelle / Concerto Pour Piano N° 2 Dmitri Shostakovich - Mstislav Rostropovich, The Philadelphia Orchestra, Eugene Ormandy, The New York Philharmonic Orchestra, Leonard Bernstein 1960 Compil.
Symphony No. 5 / Kindertotenlieder Bruno Walter, The New York Philharmonic Orchestra, Wiener Philharmoniker, Kathleen Ferrier / Gustav Mahler 1951 Compil.
Heart Of The Violin Concerto Zino Francescatti ; Dimitri Mitropoulos, Eugene Ormandy, The New York Philharmonic Orchestra, The Philadelphia Orchestra Compil.
Tchaikovsky Ultimate Classics - Edition Meister Der Klassik - Les Grands Maitres Du Classique Pyotr Ilyich Tchaikovsky, Leonard Bernstein, Israel Philharmonic Orchestra, The New York Philharmonic Orchestra Compil.
Oustanding Musical Favourites Leonard Bernstein, The New York Philharmonic Orchestra Compil.


Why are emails sent from tjarder@yahoo.com not received at jeromejarder@yahoo.com.?
Why are emails sent from tjarder@yahoo.com not received at jeromejarder@yahoo.com.
How can I make the email messages have a larger window again?


text:
Estate of John Ashbery
Birthday Whoopee, 2016
collage on paper
11 x 8 1/2 inches
A Dream of Heroes, 2015
8 x 10 1/2 inches
P.K.
Two Turtles
11 3/4 x 8 1/2 inches
Since the late 1940s, the acclaimed New York School poet John Ashbery has been fascinated and engaged in the process of collage making. Ashbery builds upon his influences: Cubist paintings of Braque and Picasso, the collage novels of Max Ernst, Kurt Schwitters and Joseph Cornell. The work and encouragement of his friends and contemporary artists, such as Joe Brainard and Trevor Winkfield, have had a tremendous impact on Ashbery's collages. He combines high and low culture with equal doses of art historical and pop culture references.
Ashbery's poetic sensibility, typically characterized as surrealist, carries through in his visual collage compositions as he re-associates imagery often into often humorous juxtapositions. As the reader can be delighted by the unexpected surprises in Ashbery's lines, so too can the collage viewer be tickled by the hilarious occurrences in his maddening visual logic. Just as he has been championed for pushing boundaries in the canon of poetry, John Ashbery continues to expand perimeters in his collages.
John Ashbery was born in Rochester, New York in 1927, and graduated cum laude from Harvard University in 1949. Almost immediately after moving to New York City, he began a life long friendship with the painter Jane Freilicher and established himself with the New York School of Poets. Ashbery is widely considered one of the most celebrated living American poets winning nearly every major America award in poetry including the National Book Award, the National Book Critics Circle Award, a MacArthur Fellowship, a Pulitzer in 1976 for his poetry collection Self-Portrait in a Convex Mirror and a Guggenheim Fellowship. He served as executive editor of Art News and as the art critic for New York magazine and Newsweek. In 2012 President Obama awarded Ashbery the National Medal in Humanities. John Ashbery continued to be an important and inspiring figure in the poetic and visual art community until his passing in September of 2017 though his death will likely not hinder the spread of his inspiration and influence.
A Group Exhibition February 16 - April 8, 2017
New Collages December 15, 2016 - January 28, 2017
John Ashbery & Guy Maddin
Collages June 18 – July 31, 2015
Painter Among Poets April 13 – June 14, 2013
Recent Collages October 20 – December 3, 2011
Tibor de Nagy Gallery Painters & Poets
Celebrating 60 Years January 15 – March 5, 2011
From the Seventies
John Ashbery, Joe Brainard and Donald Evans November 5 – December 5, 2009
Collages September 4 – October 4, 2008
Jane Freilicher: Painter Among Poets
$40.00 April 13, 2013
Frank O'Hara: Poems from the Tibor de Nagy Editions 1952-1966
Tibor de Nagy Gallery Painters & Poets: Celebrating 60 Years
$40.00 January 15, 2011
John Ashbery: Collages
$20.00 September 4, 2008
Tibor de Nagy Gallery: The First Fifty Years: 1950-2000
$40.00 December 1, 2000
John Ashbery in Art in America
Whispers out of Time, John Ashbery's Collages by Josh Scheiderman
One might describe Ashbery's collage art as "a weird ether of forgotten dismemberments," to borrow a line from his 1977 poem "Collective Dawns."
John Ashbery - They Knew What They Wanted, Collages and Poems
New York Times Review
John Ashbery, a Poet With Paper and Glue
A new book pairs some of Ashbery's poems with the sophisticated and playful visual collages he also made over the course of his career.
By Gregory Cowles April 6, 2018
New York Observer Review for Tibor de Nagy Painters & Poets
Wall Street Journal Review for Tibor de Nagy Painters & Poets
John Ashbery - Brooklyn Rail The Construction of Fiction, Pratt Manhattan Gallery
After the death of the artist and poet Joe Brainard in 1994, his friend, the poet John Ashbery, recovered an envelope of paper cuttings Brainard had collected for use in collages. The envelope was a posthumous message for Ashbery and reminded him of the collages he had made while spending time with Brainard and the poet James Schuyler in the 1970s. For Ashbery, who died in September 2017, the envelope was a fond reminder of his friend and signaled a return to his work as a collagist.
John Ashbery in Artsy by Julia Wolkoff
"Why Famous American Poet John Ashbery Made Hundreds of Collages
In his 1975 masterwork Self-Portrait in a Convex Mirror, the late American poet John Ashbery (1927–2017) meditates on Francesco Parmigianino's painting of the same name. The emotional intimacy of the Renaissance artist's sensitive, tender-hearted portrait captured Ashbery's imagination: "The soul establishes itself. / But how far can it swim out through the eyes / And still return safely to its nest?"
John Ashbery in Hyperallergic by John Yau
The Childhood Innocence of John Ashbery's Art
Ashbery's primary subject matter concerns an alternate world where nothing goes permanently wrong, and where disasters are nothing more than pranks
Art in America - Whispers out of Time by Josh Scheiderman
On December 31, 2017, the New York Times Magazine released its annual "The Lives They Lived" issue dedicated to the "artists, innovators, and thinkers" who had died that year. It featured a photo of John Ashbery's collage-making desk, complete with paste can, scissors, and piles of ephemera. It might have seemed like an odd homage to the late poet. While there have been numerous critical studies of his poetry, there has been no sustained critical work on Ashbery's collages. But two concurrent New York exhibitions—"Oh, What Fun! Collages 2015–2017" at Tibor de Nagy Gallery through October 14 and "The Construction of Fiction" at Pratt Manhattan Gallery through November 14—make it clear that Ashbery's collages were in fact an integral part of his writing practice, shedding light on the nature of his idiosyncratic poetic technique.
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John Ashbery - They Knew What They Wanted, Collages and Poems New York Times Review
Artforum John Ashbery (1927-2017) by Richard DemingJanuary 2018
Decades ago, Harold Bloom declared that after the death of Wallace Stevens, in 1955, we entered the "age of Ashbery."
The New York Times By Will HeinrichJanuary 5, 2017
He places this figure where it will reinforce rather than disrupt the original composition, so that even as he is shading, psychologizing or interpreting the painting he's chosen, he's also letting it shine as it is.
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Hyperallergic by John YauJanuary 5, 2017
The journey or the dream, the unavoidable movement from one domain to another, is one of the themes running through a number of the recent collages. In others, which use a game board as the ground upon which Ashbery has affixed various images, a terrain is re-imagined. We seem to encounter the most unlikely and ordinary things, all of which are mysterious portents of what lies ahead. The other thing that struck me about these works is how gay some of them are. For a poet who is notorious for writing opaque poems in which autobiography and transparency are dispensed with, a number of collages celebrate the youthful male body with an innocence that is touching, tender, and, frankly, poignant and sweet.
The Paris Review by Dan PiepenbringJanuary 5, 2017
John Ashbery is eighty-nine. In the last two months, he's published a new collection of poems, Commotion of the Birds, and launched an exhibition of his latest collage work, which appears through January 28 at Tibor de Nagy.
What have you done in the last two months?
The Observer by David D'ArcyJanuary 5, 2017
Much has been made of the notion that Ashbery creates his collages by accretion, as he does with his allusive poems. No doubt. Yet he also works as a curator here, selecting images and staging them to tug the viewer in unexpected ways. All the more unexpected since the artist whose sly boyishness comes through in this new work is almost 90.


Just Powertex, No Strings Attached!
Hello and welcome to May!! I can't believe how fast the year is passing, but it means it is time for another blog – Yay!
As always, the team at Powertex UK have put together another fantastic set of project packs, with a fabulous mdf base shape to work on and some really gorgeous embellishments. Here is the Guitar project pack that I used for this project – I just love the heart starbursts and the paper flowers give so much dimension to the project.
First, I played with a rough layout for my project. This helps me gain an overall picture of how I'm going to construct my project, even if it changes as I start working. I decided to keep this project quite simple so the only extra thing I added were some pieces of cotton lace I had in my stash.
I wanted to use the hatched pattern embossed paper as an overall base texture for the body of the guitar, so I used the mdf shape as a template to draw around before carefully cutting the shape out.
I then attached the two pieces of mdf together using the rectangular piece of mdf on the back. The back of all three pieces were painted with bronze Powertex and then fixed together whilst wet. The whole of the back of the project was also painted over to produce a neat finish. This only takes a few minutes to dry to the point where you can turn it back over and start creating (a hairdryer can help speed up the process if you are impatient like me!).
The wallpaper I cut out earlier was added first using bronze Powertex as a glue on the back. Then the front was also painted over.
The small mdf plaques were attached to the neck of the guitar to provide some extra depth before I added some lace over the top of them along the neck.
Two pieces of different cotton lace were added across the body of the guitar. When adding lace that I want to meet the edges of a project I always use a piece that is a little bit longer than needed and trim is once it is on the project. This is because a lot of cotton lace tends to shrink a little when you coat it with Powertex, so if you cut it to the exact size first then it often ends up too short.
The embellishments were then all added by coating with Powertex and pressing into position. Once done, the project was left to dry overnight.
Once dry, I used different blends of ultramarine blue, turquoise, green, lilac and white powercolor pigments using a dry brushing technique. And finally a quick brush using rich gold colortricx to give it a lift and a shimmer.
You can follow more of what I get up to with my Powertex creations and workshops on my facebook page.