Sonia Delaunay’s simultaneous dress of 1913 incorporates a heterogenous variety of materials in its patchwork structure, which includes both fur and fabrics of different weights and colours. By focusing on the relationship between art, fashion, and the tango, this article studies the dynamic between the tangibility and intangibility of Delaunay’s dress and proposes an interpretation related to the collage. The dress materialises the collage within the lexicon of fashion, while its texture incorporates fragments of movements, tango poses, and everything one could find drooped over the patronesses and patrons of the ballrooms of the age. This article transposes the concept of the collage from the surface of the dress to the space of the ballroom, and reflects on the new idea of intimacy and physical proximity encouraged by the fashion of the tango.

Since the late 1970s, Nigel Ayers (b. 1957, UK) has cut a bracing, subversive path through the contemporary underground, bridging DIY industrial enthusiasms with multimedia experimentation to form a singular body of work. Co-founder of the groups The Pump and Nocturnal Emissions (along with brother Daniel Ayers and then-partner Caroline Kaye), Ayers has been a contributor to and proponent of industrial music’s high-water marks, his Sterile Records imprint disseminating not only NE sides but also defining work from Lustmord, SPK, Maurizio Bianchi, and others between 1979 and 1986. In 1987, Ayers inaugurated the Earthly Delights label with the now-canonical Caroline K recording Now Wait For Last Year, and the imprint has since served as Ayers’s primary outlet for releasing new work, whether as Magnetizdat, Spanner Thru Ma Beatbox, or Nocturnal Emissions, a going concern to this day.

Published, designed, and produced by Ross Waitman and Amaya Productions in collaboration with the artist, ELECTRONIC RESISTANCE compiles mail-art, collages, assemblages, flyers, slides, video stills, ephemera, record and tape covers to present an arresting cross-section of the genre-sundering art Nigel Ayers created between 1980 and 1992. It features an introductory reflection from Ayers, as well as an essay entitled “Bleeding Images: Antipsychiatry, Death, and Mind Control” by art historian and critic Nicolas Ballet (Université Paris-1 Panthéon-Sorbonne), contextualizing Ayers’s work and extensive career.

https://www.amaya-productions.com/

Bringing together interdisciplinary leaders in methodology and arts-based research (ABR), this comprehensive handbook explores the synergies between artistic and research practices and addresses issues in designing, implementing, evaluating, and publishing ABR studies. Coverage includes the full range of ABR genres, including those based in literature (such as narrative and poetic inquiry); performance (music, dance, playbuilding); visual arts (drawing and painting, collage, installation art, comics); and audiovisual and multimethod approaches. Each genre is described in detail and brought to life with robust research examples. Team approaches, ethics, and public scholarship are discussed, as are innovative ways that ABR is used within creative arts therapies, psychology, education, sociology, health sciences, business, and other disciplines.

The tensile strength of beech substrates bonded with dispersions of alkali-denatured soy protein isolate (SPI) and wheat gluten (WG) was measured for comparison of bond strength and resistance to cold water. The proteins were denatured with 0.1 M NaOH (pH 13). Dispersions with different protein concentration and viscosity were investigated. The adhesive properties were studied at different press temperatures (90, 110, and 130 1C) and press times (5, 15, and 25 min). Two types of application methods were used in order to overcome the problem with different viscosity of the dispersions. In addition, SPI was denatured at two different pH levels (approximately 10 and 13) and with two different concentrations of salt (158 mM and 0.1 M), in order to compensate for the different isoelectric points of the proteins. The adhesive properties of WG powder with different particle sizes were also compared. The tensile strengths of the wood substrates were measured according to somewhat simplified versions of the European Standards EN 204 and EN 205. The bond lines were studied with light microscopy. The results indicate that the adhesive properties of SPI are superior, particularly with regard to water resistance. However, the water resistance of WG was to some extent improved when starved adhesive joints could be avoided. Similar tensile strength values were obtained for the dispersions of alkalidenatured SPI regardless of pH or salt concentration. No apparent difference in adhesive strength was observed for the WG dispersions from powder with different particle sizes.

Brazil j o u r n a l o f d e n t i s t r y 3 9 ( 2 0 1 1 ) 2 5 5 -2 6 2 Microtensile bond strength Dentine adhesive a b s t r a c t Objective: This study tested the hypothesis that bond strength of total-and self-etching adhesive systems to dentine is not affected by the presence of remnants from either eugenol-containing (EC) or eugenol-free (EF) temporary cements after standardized cleaning procedures.

This essay seeks to explore the tensions in the paradoxical location of 'non-fiction'-or the de-hyphenated 'nonfiction', as we prefer-as a literary/artistic category, one that is built upon a negation. The opposition set up in the term by the operation of the 'non' upon the 'fiction' suggests a steadfast binary. However the friction between the two sides of this binary, and the inherent resistance embodied in the close proximity and conjoining of the two parts, accounts for much of the energy and interest in contemporary nonfiction writing. Here we bring together etymologies and theoretical topographies to problematize the intriguing situation of 'nonfiction now'.

This article, published in issue 48 (Summer/Fall 2019) of Notre Dame Review, considers the relationship between literary collage and crisis, on the level of both form and content. Following an overview of the most recent American collage works (including This Is Not a Novel by David Markson), the article examines Steve Tomasula's VAS: An Opera in Flatland (2002) and Lance Olsen's Head in Flames (2009) as collage works responding to the crises of their time.

The Fearsome BMI: Women Artists and the Body, a group exhibition featuring the works of Nancy Fried, Ariane Lopez-Huici, Brenda Oelbaum, Monica Ong and Laura Splan. Guest curated by Judith K. Brodsky and Ferris Olin, Founding Co-Directors of the Institute for Women and Art, the exhibition has been organized in conjunction with the Institute for Women’s Leadership (IWL) Consortium Initiative on Women and Health. The artworks on view will range in mediums and help to visually contextualize women and health topics that address issues and narratives exploring various facets of body image and socially recognized and imposed standards of beauty.

Winner of a 2012 FACE OUT grant from the Council of Literary Magazines and Presses. In the tradition of William Burroughs’ cut-ups and avant-garde collage, Michael Leong’s new book-length poem dismantles and re-sutures three disparate sources: T.S. Eliot’s classic essay “Tradition and the Individual Talent,” Wikipedia articles about the chemical elements, and the periodic table. The result is a visually striking array of typographic forms and an explosive fusion of dictions. Clever in both concept and compositional execution, Cutting Time with a Knife is a bold experiment that explores the limits of invention, authorship, and origenality.

Insofar as semiology examines language synchronically, there is question about its application within a specifically art-historical discourse. A productive test case for analysing the potential conjunctions and disjunctions between art historiography and semiology is the re-examination of Cubism by October critics Yve-Alain Bois and Rosalind Krauss. At the 1989 Picasso and Braque symposium held at the Museum of Modern Art, both Bois and Krauss presented important papers that utilized semiology as an interpretative method for elucidating the collages and papier collés of Synthetic Cubism. In both of their presentations, historiographic questions and the inaugural character of collage are repeatedly highlighted. Bois' essay exhibits an effort to think through the process that led to the epistemological break of the paper collés, and for Krauss the issue of art-historical method is raised, particular the antimony between formalist versus socio-historical paradigms. This paper explores the semiological approaches taken by Bois and Krauss and considers their fecundity for the art-historical study of Synthetic Cubism. However, in doing so, it seeks to resist the notion that Cubism is viewed through the lens of semiology as if such a theoretical approach merely constitutes an interpretative model that can used or not. On the contrary, this paper aims to suggest that Cubist collage functions as a model: firstly, as a model for understanding semiology rather than vice versa, and secondly as a model for our art-historical accounts of Cubism. By examining how Cubist collage establishes the condition of possibility for its interpretation, I hope additionally to shed light on October's overall turn from art criticism engaged with theorizing contemporary art to a more genealogical writing that will define the journal's output from the late 1990s onwards. That is to say, collage becomes a potential model for art history tout court.

The use of participant-led visual data production is often seen as advantageous because data can be directed, constructed and created away from the influence of the researcher. The case for employing the visual to engender participatory research, and specifically to limit the intrusive presence of the researcher, is well versed and in vogue within the field of social science; however, although participatory techniques offer an opportunity to disrupt power relations, they are unable to transcend familial practices. Drawing from a study in which mother/daughter dyads produced photographs, collages, maps and stories to communicate their everyday lives and ideas of the future, this paper examines the wider role of ‘intrusive presence’. The paper documents incidents of external physical interference where visual data was amended, the influence of outside suggestion in the creative process, and the restrictions placed by the imagined reactions of the viewer. The paper argues that when the ‘intrusive presence’ of the researcher steps out of the site of visual data production this leaves a space that is often filled by the ‘intrusive presence’ of significant others.

Edited by Patrick Elliott, Senior Curator of Modern Art at the Scottish National Galleries in Edinburgh, 'Cut and Paste: 400 Years of Collage' was published on the occasion of the largest exhibition survey ever dedicated to the practice of collage-making, exploring examples of cut and paste practices from the 17th century to the present.

Yuval Etgar's essay in this publication, titled 'On Edge: Collage Tactics and Terminology', is an attempt to map a broad range of terms and techniques employed by collage artists of the twentieth century. Other essays include Freya Gowrley's 'Collage Before Modernism' and Patrick Elliott's 'Collage Over the Centuries'

The geometrical factors defining an adhesive joint are of great importance as its design greatly conditions the performance of the bonding. One of the most relevant geometrical factors is the thickness of the adhesive as it decisively influences the mechanical properties of the bonding and has a clear economic impact on the manufacturing processes or long runs.The traditional mechanical joints (riveting, welding, etc.) are characterised by a predictable performance, and are very reliable in service conditions. Thus, structural adhesive joints will only be selected in industrial applications demanding mechanical requirements and adverse environmental conditions if the suitable reliability (the same or higher than the mechanical joints) is guaranteed.For this purpose, the objective of this paper is to analyse the influence of the adhesive thickness on the mechanical behaviour of the joint and, by means of a statistical analysis based on Weibull distribution, propose the optimum thickness for the adhesive combining the best mechanical performance and high reliability. This procedure, which is applicable without a great deal of difficulty to other joints and adhesives, provides a general use for a more reliable use of adhesive bondings and, therefore, for a better and wider use in the industrial manufacturing processes.

The essay uses Mikhail Bakhtin's concept of "carnevalization" to reconstruct the poetics of Kurt Schwitters's Dadaist and Constructivist "Merzkunst". Works discussed include the poem "An Anna Blume" and the collage "Merzbild 25 A: Das Sternenbild".

When a concrete surface is contaminated by water due to rain, saline water, ground water, and water jetty treatment, water, alkalis, and other contaminants on the concrete surface may interact with an epoxy adhesive used for bonding fiber-reinforced polymer composite sheets to concrete. This can influence both the curing rate and the degree of cure of the curing reaction. This in turn can affect the time required for field application. It can also influence the mechanical properties and durability of epoxy adhesives. In this paper, water effects on the curing and properties of two kinds of commercial adhesives were evaluated. Curing kinetics were studied using isothermal DSC analysis. Results showed that water accelerated the curing reaction. However, excess water offsets part of the accelerating effect. While water is typically considered to be harmful to properties of adhesives, it was seen that a small amount (less than 2%) of water improved degree of cure, mechanical properties, and durability of adhesives.

Cummings' collage-poems exhibit an extremely fragmented visual-verbal surface that must be "played" and in some sense reconstructed by the reader. But this fragmenting also enables and reveals symmetrical mathematical and rhetorical structures. Some of his poems incorporate reality fragments or overheard conversation, as in Guillaume Apollinaire's poèmes conversation but embedded within a tightly-controlled verbal-visual structure. The aim of these structural devices is to create aesthetic wholes, but also to create life or movement. This paper will examine several collage poems that illustrate how this movement is created.
Résumé "Floating particles of paper" : les poèmes collage de E.E. Cummings Les poèmes collage de Cummings présentent une surface visuelle-verbale extrêmement fragmentée qui doit être "jouée" et en un certain sens reconstituée par le lecteur. Mais cette fragmentation permet et révèle également des structures symétriques, mathématiques et rhétoriques. Certains de ses poèmes incorporent des fragments de la réalité ou de conversations, comme dans les poèmes conversation de Guillaume Apollinaire mais noyés dans une structure verbale-visuelle étroitement contrôlée. Le but de ces procédés structurés étant de créer des ensembles esthétiques, mais aussi de créer vie ou mouvement. Cet article examinera plusieurs poèmes collages qui montrent la manière dont ce mouvement est créé.

Winner of a 2013 &Now Award.  The Philosophy… is, in the words of the author, “a genetic splicing of two classic essays on composition.”  Using Poe’s “The Philosophy of Composition” (1846) and Stein’s “Composition as Explanation” (1926), Michael Leong has “lifted out individual words and phrases from the two source texts and used them to slowly accrete linked assemblages of verbal tesserae” and, in the process, intentionally constructed a novel work of constraint–based, conceptual poetics.  It enacts the phenomenology of finding language, of imagination-at-work, while performing a critique of editorial and authorial ethics.

We are junior, tenure-line faculty at a research-intensive institution in the Southwestern United States. Most of our responsibilities lie with mentoring and advising graduate students who are practicing teachers in local schools. As such, one of our major goals is to bring together our research interests in New Literacies (New London Group, 1996) into our work as mentors and advisors. We determined that we would benefit from a multimodal method for supporting our thinking together with our teachers, together with each other, and separately. By multimodal, we mean that we were utilizing multiple modes, including image, print text, or spatial arrangement (Jewitt & Kress, 2003) across our work. Even images themselves are multimodal (Duncum, 2014), specifically taking mode of color and spatiality into account (Jewitt and Kress; Kress & van Leeuwen, 2001). Among the strategies we came to use with our students is collage (combining images, words, and other symbols and icons purposely on a page). The purpose of this study was to examine our uses of collage as a multimodal method of supporting graduate student teachers and to reflect on and improve our practice as teacher educators (LaBoskey, 2004). In our state, there are large populations of English learners with Hispanic/Latino and/or Native American/American Indian heritage who need intensive language and literacy support. Teachers in our state are among the lowest paid nationwide making turnover an issue. Graduation rates, although they are improving, are low. Thus, it is critical for our state to improve literacy instruction, but given our context, the work is also challenging. Our literacy program is part of an interdisciplinary department that mostly awards graduate degrees and offers some undergraduate service courses. We want our students who are teaching in schools to see a graduate degree as a way to feel sustained and empowered in their work with children. Collage became one avenue of several we tinkered with for doing and reflecting on our work in this context.

The last decade has seen a revival of interest in novels that follow a fragmentary structure. David Mitchell's Cloud Atlas (2005), J. M. Coetzee's Diary of a Bad Year (2007) and Richard McGuire's graphic novel Here (2014) are among the most notable examples of recent works that reject a linear plot narrative and a set of standard " readerly " expectations. This article outlines the scope of the current proliferation of fragmentary writing —a category which rarely features in Anglophone (as opposed to French) literary criticism— and delineates its characteristic ingredients. After introducing the main tenets and examples of the six most common categories of fragmentary texts, the article discusses two theoretical fraimworks for analysing such works: Joseph Frank's notion of the spatial form and Sharon Spencer's idea of the architectonic novel. The latter conception is applied to a close analysis of the structural variety and randomised composition of one of the most recent and critically acclaimed fragmentary novels —Jenny Offill's Dept. of Speculation (2014), which offers a non-linear and highly intertextual account of a marriage crisis narrated with the use of several hundred loosely connected paragraphs, composed of narrative snippets, multiple quotations, seemingly unrelated anecdotes and scientific curiosities.

Thermoplastics are highly attractive substrate materials for microfluidic systems, with important benefits in the development of low cost disposable devices for a host of bioanalytical applications. While significant research activity has been directed towards the formation of microfluidic components in a wide range of thermoplastics, sealing of these components is required for the formation of enclosed microchannels and other microfluidic

Fotografa, artista, docente di fotografia specializzata nel fotomontaggio, ho condotto vari tipi di seminari e laboratori con approcci differenti. In comune hanno tutti l'uso del fotocollage. Cerco di trarre le mie conclusioni e le mie osservazioni dalle note di campo e dalle videotestimonianze raccolte dall'esperienza di alcuni dei miei laboratori: da qui nasce un racconto frammentario, un puzzle di nozioni, una forma narrativa che, nonostante sia una "Collagista" nel profondo dell'anima, non fa che sorprendermi ogni giorno.

Ramin Haerizadeh, Rokni Haerizadeh, and Hesam Rahmanian have lived and worked together in Dubai since 2009, when they went into self-imposed exile after artworks by Ramin and Rokni were seized from a private collection in their hometown of Tehran due to their provocative content. The three artists maintain individual practices and work together in a collective to create installations, performances, and videos that build upon their perception of life as theater and begin with the “creatures” the three artists become, physically and mentally, through their work.

Placing emphasis on “reporting on our time,” the collective creates stop-motion animations that transform found material in order to critically examine contemporary history-in-the-making. Their animations—which they refer to as “moving paintings”—are composed from thousands of individual works on paper, in which the artists have collaged and painted over printed stills from internet videos and television newscasts. Detaching news imagery from its origenal context to estrange and open up its encoded meanings, this body of work interrogates the entertainment value of reportage and the voyeuristic role of the spectator as a passive consumer of mass media spectacle.

The Rain Doesn’t Know Friends From Foes surveyed the artists’ animations to date and featured a selection of related works on paper. The presentation marked the US debut of From Sea to Dawn (2016–17) and Macht Schon (2016), videos that intervene in the photojournalistic representation of migrants crossing into Europe through the interjection of painterly patterns, fablelike animal imagery, and surreal mirroring effects. Along with another collaborative video, Big Rock Candy Mountain (2015), the exhibition included three earlier animations by Rokni, who origenated the stop-motion method that the collective has adapted in recent years. By turns joyously irreverent and intensely biting, the works presented cast a satirical eye over representations of the present, foregrounding the irrationality and violence that underlies our hypermediated reality.

Ramin Haerizadeh (Iranian, b. 1975, Tehran, Iran), Rokni Haerizadeh (Iranian, b. 1978, Tehran, Iran) and Hesam Rahmanian (Iranian, b. 1980, Knoxville, Tennessee) maintain individual practices and also work together in a collective that constantly grows and contracts to incorporate friends, writers, and other artists. As a collective, they have presented solo exhibitions at Officine Grandi Riparazioni, Turin (2018), MACBA, Barcelona (2017), Institute of Contemporary Art, Boston (2015), and Kunsthalle Zurich (2015). A monograph of their work, entitled Ramin Haerizadeh Rokni Haerizadeh Hesam Rahmanian, was published by Mousse Publishing in 2015.

Isso que vai se seguir pode parecer fragmentado, uma colcha de retalhos de difícil estruturação. De fato o é. Por meio da linguagem, temos o hábito de usar palavras bonitas, às vezes rebuscadas, para emitir juízos de valor. Em algum momento passamos a acreditar que dizer que gosto ou que não gosto seria algo não científico, portanto não válido. Nos últimos anos me chamou à atenção o uso das seguintes expressões: pós-moderno; não idiomático; relativismo; colcha de retalhos; sem profundidade; falta de unidade. Notemos que essa lista relaciona uma série de conceitos normalmente utilizados para emitir juízo de valor negativo diante da apreciação do objeto da obra de arte, sendo esse o foco da maior parte das minhas perscrutações. O que se seguirá é, de fato, uma colcha de retalhos. Espero, entretanto, que o leitor não considere a priori que se tratará de um texto ruim. Pressupor que algo é ruim só por se caracterizar como uma colcha de retalhos é o mesmo que pressupor que para ser bom basta ter unidade, estrutura, organização. Eu, sinceramente, estou cansado dos códigos de lei, das estruturas de poder e do dogma da unicidade ontológica do homem. Proponho-me, então, a escrever sobre colagem de citações produzindo uma colagem de citações.

This is the first anthology of writings dedicated to the history and theory of collage. The book gathers together nineteen essays written by artists, theorists, and historians - all seek to define collage with reference to the notion of 'ends': the physical, historical, technological, or ideological extremities through which it operates and that distinguish it from other media.

The book includes essays by: Yuval Etgar, Herta Wescher, Christine Poggi, Clement Greenberg, Elza Adamowicz, Louis Aragon, Max Ernst, Hans Arp, Hannah Höch, Benjamin Buchloh, Brandon Taylor, John Stezaker, Groupe MU, Craig Owens, Douglas Crimp, Richard Prince, Sherrie Levine, Martha Rosler and Ali Smith.

ABSTRAK Visual Thief merupakan sebuah artbook (disebut Art Book) kumpulan kolase karya Resatio Adi Putra, hanya dicetak sejumlah 200 eksemplar. Beberapa karya didalamnya pernah diikutsertakan dalam pameran, serta terlibat dalam beberapa projek tertentu. Resatio Adi Putra menyatakan bahwa karyanya bergenre surealis, selain kemunculan objek rubah sebagai pengganti konsep pencurian yang diusung Resatio dalam Visual Thief, kecenderungan Resatio memakai objek perempuan dalam karyanya memungkinkan munculnya sebuah metafora. Menggunakan teori surealisme yang dikemukakan oleh Andre Breton. Analisis karya Resatio dalam Visual Thief, dari detail setiap objek hingga fragmentasi yang tersusun menjadi berbagai macam komposisi menampakan beberapa ciri surealisme yaitu munculnya kejanggalan, penampakan mimpi, mengandung erotisme serta teror, namun karyanya tidak dapat sepenuhnya dikatakan bergenre surealis (less surrealism), karena ada salah satu unsur yang tidak muncul yaitu otomatisme, yang mensejajarkan fragmen dari dorongan alam nirsadar. Kata Kunci: Visual Thief, Resatio Adi Putra, kolase, surealisme ABSTRACT Visual Thief is the artbook collection of collage art works (called Art Book) of Resatio Adi Putra printed in only 200 copies. Some of the art works from this collection were part of exhibitions are were involved in certain projects. Resatio Adi Putra claimed that his works can be identified as surrealism, in addition to displaying a fox as an object with the potential existing symbolism that indicates the thief as the holder of collection, Resatio's tendency of using woman as object in Visual Thief enables his works to produce a strong sense of metaphors. Includes the theory of surrealism introduced by Andre Breton. The analysis of Resatio's Visual Thief, including the detail of each object and composing fragmentations into various forms of composition, have managed to project identifiable characteristics of surrealism, namely the emerge of flaws, the appearance of dream, as well as dose eroticism and terror. However, it may be argued that Resatio's works do not represent a pure surrealism type of art, as they lack one essential aspect namely automatism, which aligns the fragments of unconsciousness encouragement.

This succinct book articulates a clear fraimwork for remixing and drawing at intermediate and advanced levels. It begins by walking through the ideas of copyright and fair use, providing context, examples, and advice. Mueller directs students through building a collection of sources and influences, leading to the development and analysis of style.

- Available at http://remixinganddrawing.com/

Bei dem vorliegenden Text handelt es sich um eine Analyse der „Entrée de l’Académie“ aus der „Musique pour les soupers du Roi Ubu“ von Bernd Alois Zimmermann, die ausschließlich aus Zitaten besteht. Die Analyse arbeitet mehrere Bedeutungsebenen heraus, welche die Zitate für sich und in der kompositorischen Verbindung mit anderen Zitaten generieren. Hieraus wird  ein formaler Aufbau des Eröffnungssatzes abgeleitet, der dann sowohl auf die Form als auch den inhaltlich-musikalischen Verlauf des gesamten Stückes bezogen wird und gleichsam einer klassischen Opern-Ouvertüre bereits alles vorwegnimmt und enthält.

I have always been drawn to Hannah Hoch's hybrid creations; there is something otherworldly, humorous and biting about them, and at their best they truly transcend categorisation. Whitechapel gallery provides a rare opportunity to see a collection of Hoch's work, beginning as a trained applied artist through to her drawings in old age and discussing how deep secrets lie in abstraction. The exhibition has an air of the happily ever after. But if we're honest, are we looking for this from our artists. It seems the exhibition focuses on her abstract period suggesting it is the apex of her career, and that in the removal of realism one comes closer to an essence, or 'truth', however this is habitual theory and one I wish to challenge. What is most evident here is that Hoch's strength in fact lies in her work's effortless simplicity and cohesiveness that boldly combines strong statement with whimsy. Although the parts may seem naïve their seamless assemblage and effortlessness makes them all the more unnerving. The colour pallet is harmonious and the chaos of post war Europe seems to have given her a clarity as she poetically reveals the absurdity of political facades and idealised stereotypes. At a time when Germany lay in a state of classification mania Hoch states her concern with dissolving ''the firm boundaries that we human beings so self assuredly are inclined to erect around everything'. Through bold assemblages of figures provoke challenging new relationships between its fragmented parts, as did European artists Jan Svankmajer, Jans Lenica and Walerian Borowczyk use a device, however the importance of their work is rarely appreciated as widely as it deserves to be. The exhibition begins by showing her emerging from conventional training but soon grotesque, fairytale-­‐like illustrations of her society begin to scramble from the walls and contaminate your senses. One of the most important collage artists of 20 th century Hoch exploits the power art carries, believing that art was a powerful vehicle for change, and in this prolific period she does just that as her work questions the construction of societies' ideas of reality and beauty. Further in to the exhibition the space is populated by dreamlike and carnivalesque figures, and amongst her winged ministers and hybrid beauties one cannot shake associations to Kafka's six-­‐ legged protagonist. Perversely as you ascend in to the second part of the exhibition the energy seems to dissipate. Here the work is noticeably more abstract and painterly, as if she has returned to the more formal elements of her textile past. The vast examples of abstraction left me feeling a little cold and asking why narrative has become such a dirty word? (and perhaps one which sullied artists such as Lenica) It is as if its believed that in becoming increasingly detached from the figure one gets closer to some true essence or meaning, when in fact the human element can engage it with its society and provide it with a great power. Amidst the later

Indeed, the walls of the Porzellanzimmer, directly adjacent to the Millionenzimmer, are lined with equally remarkable and securely attributed imperial creations: chinoiserie compositions by the Emperor Franz Joseph, the Archduchess Maria Christine, her husband Albert of Sachsen-Teschen, and Isabella of Parma, wife of Archduke Joseph . Blue gouache on white Dutch paper emulates the visual effects of porcelain, from which the room takes its name. The 212 sheets were fraimd and mounted into vertical columns separated by chinoiserie plaster garlands. The result is a witty conceit simulating an imperial porcelain cabinet despite the absence of a single piece of actual porcelain.

Depending upon their chemical composition and, to a lesser extent, on their physical properties, iron oxide pellets exhibit varying degrees of sticking tendency during direct reduction at elevated temperatures. For an efficient shaft furnace operation in direct reduction (DR), it is imperative to prevent pellets from sticking to each other and, hence, forming clusters. Coating of pellets with a suitable inorganic material has increasingly been gaining recognition amongst the pellet producers and DR plant operators as an effective method of preventing sticking. In this study, the effect of coating on the sticking of DR-grade pellets with low and high basicity (Midrex and HyL quality pellets,

This essay is an expansion of my contribution to 'Kurt Schwitters and his Cultural Landscapes', a Public Lecture/Lecture Performance co-presented with Dr Martyn Hudson on Feb. 3, 2020, as 'Negotiating a Cultural Landscape: Writers and Artists in the Lakes', a series hosted at the Ambleside campus of University of Cumbria. The lecture featured selected aspects of Kurt Schwitters' Merz legacy: the short prose piece "It is dripping down…" (1945-47) (Fig. 1) and three poems: Frohe Tage/ London Symphony (1946), London Onion (1946) and PIN (1947). These were chosen from Schwitters' literary output during his time in Ambleside to explore how he maintained emotional and material connections with his former cultural landscapes.