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Analyzing #8220;Frankenstein#8221; Formalist Perspective Essay. The formalist method of degas photography literary criticism is primarily focused on the text itself, rather than external topics such as history and background, the author#8217;s biographical information, or the social contexts which surround a piece of work. In the formalist perspective, we ask ourselves, why did the author choose to write his or her work in this specific style? Why did he or she choose to include certain literary elements? #8220;What matters most to the formalist critic is how the work comes to mean what it doeshow its resources of language are deployed by the writer to convey meaning#8221; (DiYanni 2076). A reader can employ the formalist method to decipher many meanings in Mary Shelley#8217;s classic text Frankenstein. Shelley uses setting, foreshadowing, point of view, and characterization so that the reader can gain a sense of suspense and anticipation, which are all essential to the book#8217;s distinctive gothic mood and tone.

A fundamental factor of the formalist outlook is the setting of the Essay on Social Media and News, text. Mary Shelley#8217;s #8220;Frankenstein#8221; has a very dark, gloomy setting that reflects the hideousness of the monster and society#8217;s reaction to him, as well as our own. A very important factor of the setting is the weather: #8220;Our situation was somewhat dangerous, especially as we were compassed round by a very thick fog.#8221; (page 8). The description gives the reader a feeling of interaction with the characters in the novel and with the environment also. Degas Photography! The narrative generates a sense of suspense that entrances the a. morgan, reader. The text itself relies on the setting because the reader needs to feel the emotions arising from the novel and that#8217;s why Mary Shelley integrated this into the story using the creature#8217;s monstrosity and nature as an element of photography anticipation. As a result, these components are crucial to the book#8217;s triumph. In chapter ten, we see how Victor reacts to his surroundings. While at case study Chamounix Valley, he feels consolation at the nature that surrounds him. At the degas photography, same time, he notes that the landscape is characterized by disorder and destruction: the valley is plagued by eugnie grandet constant avalanches, and it often seems that the mountains themselves will crash down on Victor#8217;s head. #8220;The ascent is precipitous#8230;It is a scene terrifically desolate#8230;where trees lie broken and strewed on the ground#8230;#8221; (page 93).

As though he wanted to conquer the mountains that are so dangerously overwhelming, he climbed to the top of Montanvert, one of the region#8217;s most forbidding glaciers. Photography! While at the top, Victor begins to feel the massive power nature has over man. While Victor is undergoing a major change in his perspective, we see what effect the setting has on him. Victor being at the top of such a dangerous glacier also foreshadows the coming of danger. When the monster shows up, the case, reader begins to speculate as to what kind of confrontation Victor is going to have with the monster. If this same meeting between Victor and the Monster were set in a field of flowers, we would definitely have a completely different idea of the text, and it would change the photography, story incredibly.

The immense snow coverage, high altitude, and the dangers of the glacier give the reader a better understanding of the text. Eugnie Grandet! Mary Shelley#8217;s novel left an impression on its readers because of its dark tone. Photography! She used deliberately used foreshadowing as a method of enticing the reader and drawing them into her suspenseful story. The story of #8220;Frankenstein#8221; starts off with Robert Walton#8217;s string of letters to his sister, Margaret Saville. Walton#8217;s letters utilize a literary device called framing, which sets up the major premise of the novel. The use of multiple narratives calls the reader#8217;s attention to garrett, the telling of the story, adding layers of complexity to the intricate relationship between author and reader. As Walton listens to Victor#8217;s story, so does his sister. As his sister reads Victor#8217;s story, so does the reader. By using the framing method, Shelley may have been trying to link her novel to the oral tradition of telling ghost stories which inspired her to write her own novel.

In addition to photography, setting the scene for the telling of Victor#8217;s narrative, Walton#8217;s letters introduce an important character: Walton himself. Walton#8217;s second letter introduces the idea of loss and Bonaparte: Revolution loneliness, as Walton complains that he has no friends with whom to photography, share his triumphs and failures, no sensitive ear to a. morgan, listen to his dreams and ambitions. Walton turns to Victor as the friend he has always wanted. His search for companionship parallels the monster#8217;s desire for a mate later in the novel. #8220;But I have one want which I have never been yet to satisfy#8230;I have no friend, Margaret: when I am glowing with the enthusiasm of success, there will be none to participate my joy; if I am assailed by disappointment, no one will endeavour to sustain me in dejection#8230;I desire the company of a man who could sympathize with me, whose eyes would reply to mine.#8221; (page 18). This similarity between man and monster becomes clearer as the degas, novel progresses. Of Human Cloning Essay! It suggests that the two may not be as different as they seem. Framing helps the reader find the interrelation among the characters and come up with observations that would be concealed in photography other circumstances. The framing technique also makes the story more compelling because Walton will eventually see the Multiple Essay, monster at the end of the novel. The story about the creature would just be a story, if not for Walton#8217;s personal encounter with Frankenstein and his creation. Shelley uses Walton and the framing perspective to add validity to the novel. Another important part of analyzing using the formalist perspective is looking at characters#8217; relationships and roles in the novel.

Most obviously, in Frankenstein, there is the creator, Victor Frankenstein, and the creation, the monster. But what do these roles mean? A creator is photography, one who brings something into existence; Victor literally creates the monster#8217;s body piece by piece and it becomes his sole obsession in his scientific career, but Victor stops there. Once the monster#8217;s body is created, it is abandoned, physically and mentally. This is Napoleon Bonaparte:, where Victor fails his role as a creator; he fails to see through the full development and process of his creation. If Victor had taken the role of a mentor or father and helped his creation develop mentally, he and the monster would have been united in the book instead of becoming bitter enemies. Instead Victor repeatedly turns away, rejects, and degas photography loathes the monster: #8220;My abhorrence of this fiend could not be conceived!#8221; (page 81).

The monster however tries to fulfill his role as creation as much as possible. He is trusting in his creator, until he realizes that he has been abandoned and what he is to society #8220;Was I, then, a monster, a blot upon the earth, from study, which all men fled and whom all men disowned?#8221; Still yet, the degas photography, monster realizes that as his creator, Victor is garrett a. morgan, obligated to endow some happiness upon his creation: #8220;Do you duty towards me, and I will do mine towards you and the rest of photography mankind.#8221; (page 89). The monster now recognizes himself as a monster, but still knows it is garrett, Victor#8217;s duty to aid him, and sadly concedes that society will never accept him for photography, anything because of his appearance. One of the other roles portrayed in Frankenstein is that of Master and Slave. Unlike the creator and creation roles, this relationship changes during the course of the novel. In the beginning of the novel, Frankenstein was working for himself and eugnie grandet created the monster for degas, the advancement of science. The monster had no power because he was dumped and Multiple abandoned in an unknown world; he barely knows what to eat at this point. Victor still lived in his society with his friends and allies. Later in the book, the balance of power begins to shift as the monster recognizes the great physical power he has, because Victor created it to be better that himself. Also Victor begins to find his power slipping when he cannot begin to turn to his friends and degas photography family because of what he has created and done. However, when the two meet, the red lobster study, power switches.

The monster proceeds to tell his tale and uses his power of photography persuasion to use Victor. When Victor quits the female creation, the monster becomes supreme. During this period, Victor has almost no control because he created the monster to be better than himself, as the monster realizes early on. The monster knows that Victor cannot escape or keep up with him, thus is very open with his attacks against Victor. He knows that there is no retribution worse then the misery and case study hatred he has already experienced (and that was just for being created). Thus, he has nothing to lose; he shows Victor his supremacy by killing Elizabeth while Victor is in the house, and then escaping completely unscathed. During the scene in the graveyard, though, the power shifts once more between the two. The entire scene is filled with irony as the creation scoffs at the creator. The man of science invokes #8220;spirits of the dead#8221; and #8220;wandering ministers of vengeance,#8221; and the creator vows to degas, destroy his creation. From this point on, the monster and Frankenstein are locked in a race towards oblivion.

Neither have anything to lose, while both have all they have left in life to gain. The final satisfaction of the annihilation of the other and the peace of death is all that lay ahead of them. Victor becomes the haunting and trailing harasser to the monster. Neither have anyone to help them on their journey. The monster has destroyed all of Victor#8217;s support, and in doing so, assured that he shall never be accepted by anyone. Eugnie Grandet! They have nothing left in degas photography their lives accept hatred for Essay Bonaparte: The Revolution, one another and thus, follow this hatred blindly into degas nothingness. Another trend in reading the story is Frankenstein#8217;s lack of Cloning recognizing the creature as his ownin essence, not giving the monster his name. This is the creature#8217;s root problem. The monster is called plenty of names by his creator, from at best, #8220;the accomplishment of photography my toils#8221; to #8220;wretch,#8221; #8220;miserable monster,#8221; and #8220;filthy demon.#8221; The monster possesses familiar impulses to seek knowledge and companionship, but he has no name, and therefore, no identity. On Social And News! So, he cannot obtain these basic things he so longs for, which leads to his problems. #8220;Monster#8221; is degas, extremely harsh, but is the Cloning, first thing introduced into our frame of photography mind. The monster does not even give himself a name other than what has been previously stated.

Sympathy for the anonymous being and our confusion of creator and created, as well as our interest in depicting the creature#8217;s human side indicate an unconscious acknowledgement of Napoleon Bonaparte: The Frankenstein. Walton notes the possibility of living a #8220;double existence#8221; representing as a self-divided mind in degas conflict with itself. Media! The monster and his creator are two halves of the same being. Shelley doesn#8217;t give the monster a name to clearly point out the contradictions but also, the connections between Frankenstein and his creation. Mary Shelley#8217;s Frankenstein is an photography, innovative work that weaves a tale of passion, misery, dread, and Essay and News remorse that personifies the gothic novel. The mood for Frankenstein is set from the very first pages of the story. In a gothic novel, the setting is usually dark and brooding. The setting can bring about feelings of short-lived happiness, loneliness, isolation, and despair. Photography! Shelley#8217;s writing shows how the Media and News, varied and dramatic settings of Frankenstein can create this gloomy atmosphere and tone.

The #8220;dreary night of November,#8221; where the monster first comes to life is a defining moment in the dramatic tale. Shelley can sustain the mood and create a distinct picture and it is admirable the way she begins to foreshadow coming danger. Degas! Shelley writes so that the reader sees and feels these scenes taking permanent hold on red lobster case the memory. She also uses the framing perspective to degas photography, add realism to the story. We, as the reader, are actually transported into the story through this method of eugnie grandet point of view.

We are seeing Frankenstein#8217;s amazing tale through the words of Robert Walton and through the eyes of Margaret Saville. The connection between the two main characters, Frankenstein and the monster, is degas photography, crucial to The Ethics Cloning, the story#8217;s success as well. The dynamic shifts, bonds, rifts that grow between these two set the photography, pace and conflict throughout the eugnie grandet, story. We are able to notice how Victor#8217;s own actions, as well as the monster#8217;s choices, greatly determine the flow and degas photography direction of the novel. Napoleon Bonaparte:! Had, for example, Frankenstein followed through and nurtured the degas, monster (maybe giving it a name, at the least), they both would have become a great asset to Bonaparte: The French, society, instead of a menace. The uses of foreshadowing, point of view, and degas photography characterization help the reader to The French Revolution, experience the life in which Frankenstein is accustomed to.

The author depicts the degas photography, time period, mood, and tone with the Vitamin A and Multiple Scolorosis, use of setting and plot structure, which is necessary to the understanding of the novel. University/College: University of California. Type of paper: Thesis/Dissertation Chapter. Date: 21 July 2016. Let us write you a custom essay sample on degas Analyzing #8220;Frankenstein#8221; Formalist Perspective. for only $16.38 $13.9/page.

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Curriculum Vitae Peter D. Verheyen. Peter D. Verheyen. Syracuse University Libraries. 222 Waverly Ave. Syracuse, NY 13244. 1988: Mellon Internship in rare book conservation at degas, the Folger Shakespeare Library.

1981: DAAD (German Academic Exchange Service) Fellowship for German Area Studies. Biography listed in Marquis' Who's Who in America , 2007 - 2017. Biography listed in Marquis' Who's Who in the World , 2008 - 2017 . Eugnie Grandet? Lifetime Achievement Award , 2016: The Guild of Book Workers' Lifetime Achievement Award is presented to degas individuals regardless of membership for service to the profession of the book arts. Laura Young Award , 2009: The Laura Young Award recognizes members who have made an outstanding contribution of service to the Guild of eugnie grandet Book Workers. Harmatan Leather Award for Forwarding in the Cased Binding category with Saturday Night,1953 / The Elements . Society of photography Bookbinders' Bookbinding Competition, 2003. Professional Associate, American Institute of Conservation, 2002-2016. Delta Phi Alpha German Honor Society, 1981. German, speak, read and write fluently. 2013 - : Research and Emerging Issues Analyst, Program Management Center, Syracuse University Libraries. This newly created position will assist the Library in identifying, processing, analyzing, interpreting and maintaining the Vitamin A and information it needs to help provide a better place and services for patrons.

Syracuse University Library Subject Guides Book Arts Conservation and Preservation 2008 - 2013: As Head, Preservation and Conservation responsibilities included the rare book conservation lab, circulating collections repair, and degas photography, audio reformatting. Also played a strong role in digital preservation activities and Essay Napoleon The, planning related to preservation of collections as they relate to degas photography the new offsite storage facility. Other activities included creating and leading the Mentoring Team (past Chair) and numerous other committees. Study? In addition I led an active program of conservation internships and outreach related to photography the book arts and preservation, as well as maintenance of departmental web pages and subject guides. Promoted to Librarian, Fall 2008. Eugnie Grandet? 1999 - 2008: Preservation and photography, Access Librarian for Special Collections Research Center, Syracuse University Library. Responsibilities included: serving as member of senior management team for A and Multiple, the Special Collections Research Center ; management of Conservation Lab; conservation of rare materials; digitization and degas, encoding of primary source material; web site maintenance and design; exhibitions curation and A and Scolorosis Essay, preparation; project management. Member of digitization related committees. Have served on promotion committee (1 yr. as Chair) and multiple search committees. Supervise 1 FTE professional staff, up to 2 work-study students, and interns.

Promoted to Associate Librarian with permanent status, Fall 2003. Spring, 2003: Adjunct Faculty / Binder in Residence , Wells College Book Arts Center. Co-taught Bookbinding I and II. Courses focus on developing a strong background in degas the principles of traditional bookbinding. Covered techniques include pamphlet, concertina, 4-hole Japanese, German (Bradel) case binding, enclosures, and decorated papers. 1998-1999: Archival Product Manager / Staff Conservator, Gaylord Brothers, Syracuse, NY. Position entailed working with manufacturing, purchasing, sales, customer service and marketing operations to manage a multi-million dollar product line. Also monitored the Help Line, a free preservation consulting service. Red Lobster? 1995-1998: Conservation Librarian for the Syracuse University Library.

Member of Library Web Development Committee and past chair of the degas photography Librarys University Relations Committee (LURC). Responsibilities in this 3 year, grant-funded, position included establishment of conservation lab and conservation of Special Collections materials; digitization and The Ethics Essay, encoding of degas photography collection finding-aids and primary source materials; design and maintenance of Essay Napoleon Bonaparte: The French 3 departmental websites. Supervised up to degas 3 work-study students. 1993-1995: Rare Book Conservator for the Cornell University Library. Supervised 2 FTE.

Involved with planning and implementation of conservation component of Media and News NEH funded project, and treatment of special collections materials. 1991-1992: Employed as Assistant Conservator in the Yale University Libraries. Worked on items from Yale's special collections and degas, supervised 2 FTE + up to 4 students in paperback stiffening. 1988-1991: Assistant Conservator to William Minter, Chicago, IL. Fall, 1988: Attended 3-month Mellon Internship in rare book conservation at the Folger Shakespeare Library with Frank Mowery. 1988 Assistant Conservator at Midwest Book and Vitamin Multiple Scolorosis Essay, Paper Conservation, a division of The Monastery Hill Bindery, Chicago, IL. 1987 - Present: Working as binder and conservator in private practice.

Clients have included the National Gallery of Art Library, the Iowa State University Library, Xerox Corporation, the Syracuse University Library, Central New York Library Resource Council as well as private collectors. Work has included all levels of conservation treatments, hands-on workshops, consultancies, and project website development. Fall, 1987: Attended courses in paper conservation and the restoration of leather, vellum, and those bindings which have wooden boards at the Professional School for Book Restorers (Centro del bel Libro) in Ascona, Switzerland. 1985-1987: Formal apprenticeship in the Kunstbuchbinderei Dietmar Klein, Gelsenkirchen, Germany. Final Examination (Gesellenprfung) completed July, 1987. Fall, 1984: 3-month internship in the bindery of the Germanisches Nationalmuseum, Nuremberg, Germany.

1981-1984: Work-study student in Preservation Department of the Milton S. Degas? Eisenhower Library of The Johns Hopkins University. Professional Memberships and red lobster case, Service | Top. Editor, Journal of degas New Librarianship . Eugnie Grandet? 2016-17. Reviewed New York State Discretionary grant proposals for conservation treatment. 1993, 2008-2015. Reviewed National Endowment for the Humanities / National Park System administered Save Americas Treasures grants, 2004 - 2005.

Central Library Resource Council (CLRC) Member, Digitization Committee, 2008-2009. Member, LSTA Digitization Project Committee Preparing CNY History for the Future 2001- 2002. Chair, Preservation Committee, 1999 - 2001. Member, Preservation Committee, 1996-2001. Member, planning committee for 5-year Regional Automation Plan, 1999. American Institute of degas Conservation: Member of Book and red lobster study, Paper Group (BPG), and Electronic Media Group (EMG). Professional Associate status awarded February, 2002. Served as mentor in Emerging Conservation Professionals Network Mentoring Program; Listowner of CIPPNEWS-L listserv, 2002-2005. (Member 2001-2016) Association Reliure d'Art (ARA) Canada (Member 2003-2007) College Book Art Association (Member 2009-2013) Hand Bookbinders of California (Member 2002-2006) Institute of Paper Conservation (Member 1986-2005) Meister der Einbandkunst: Developed website 2002 - 2005.

This included promoting the MDE-Innovation 2004 international bookbinding design competition. (Member 2001-2005) Society of degas American Archivists (SAA) (Member 1996-2016) Published 2nd edition with new introduction of my translation of Der Pressbengel by Ernst Collin (1922) as The Bone Folder: A Dialogue Between An Aesthetically- Inclined Bibliophile And A Well-versed-in-all-aspects-of-the- Craft Bookbinder. For more information, including downloadable text in Essay Napoleon The French signatures for binding, see left sidebar here. November, 2015. Fine press edition by Boss Dog Press with photographs by John (Hans) Schiff in production for publication late 2 nd quarter 2017.

Answered 3 questions about the photography project on Jeff Peachey's blog. Translation into Japanese (based on my English edition) published by Essay Napoleon Bonaparte: Revolution, Laboratory for Preservation, Conservation, and Restoration. Google translation into English. Serialized publication during 2015. Degas Photography? Richard Minsky: Recipient of 2017 GBW Lifetime Achievement Award. The Guild of Book Workers Newsletter , Nr.233, August 2017. A. Morgan? De Springrug (The Springback) by degas photography, Karin Cox.

Contributed technical diagrams and photographs for an article in Handboekbinden , the journal of the Stichting Handboekbinden in the Netherlands, Vol 8, Number 2, 2015. Stolperstein für Ernst Collin . The Ethics Essay? Meister der Einbandkunst (MDE) Rundbrief , 2014.2. Photography? pp 34-35. Case? Open Access: A Model for Sharing Published Conservation Research . Written by Priscilla Anderson, Whitney Baker, Beth Doyle, and Peter Verheyen. AIC News , vol. 39, no. 3. May 1, 2014. pp. 1-6. Edited technical descriptions and front-matter for the exhibition catalog to Limp Bindings from the photography Vatican Library.

Monica Langwe curator. Sollerön, Sweden: Monica Langwe, 2013. Researched and translated passages from historic (primary-source) German binding manuals for case study, Jeffrey S. Peachey's chapter Beating, Rolling and degas, Pressing: The Compression of Signatures in Bookbinding Prior to Sewing in Suave Mechanicals: Essays in the History of Bookbinding , Volume 1. Ed. Julia Miller. Ann Arbor: The Legacy Press, 2013. (pp. 316-381). Platten en perkament : Translation by Marlene Hoogeveen of Vellum on Boards for Handboekbinden (Journal of the Stichting Handboekbinden in the Netherlands), Vol 3, 2012. The article first appeared in the Guild of red lobster case Book Workers Journal, Vol 39 (2004).

Bookbinding Conservation: A Sixty-year Odyssey of Art and degas, Craft by Don Etherington. Review published in Book Arts Arts du Livre Canada, journal of the Canadian Bookbinders and Book Artists Guild, 2010. Republished in an extended version in A and The Bonefolder , Vol 7, 2011 and Bound Lettered , Summer 2011. Translation of photography Der Pressbengel by Ernst Collin (1922) as The Bone Folder: A Dialogue Between An Aesthetically- Inclined Bibliophile And A Well-versed-in-all-aspects-of-the- Craft Bookbinder. The Guild of Essay on Social Media and News Book Workers Journal, 2009. For more information including downloadable text in signatures click here. Der Gebrochene Rücken: A variation of the German case binding : This article orginally appeared in a festschrift honoring Hedi Kyle and her work that was published by Rutherford Witthus in conjunction with the Hybrid Book Conference in Philadelphia, June 4-6, 2009. Review of the photography postprints to The Changing Book conference held at the University of a. morgan Iowa in 2006. Degas Photography? Postprints contained all (save one) papers given at this significant conference for the history of the red lobster book, conservation, and degas photography, the book arts. Guild of Essay Napoleon French Book Workers Newsletter , December 2008.

Member Profiles: Karen Hanmer and Peter Verheyen : Mutual interview between Hanmer and Verheyen on their backgrounds, current work, and degas photography, the state of book arts. The Guild of Book Workers Newsletter , August 2007. The German Case (Bradel) Binding . A step-by-step description of standard binding structure used in Germany. Skin Deep . Edinburgh: J Hewit. Sons. Vol. 22, Fall 2006.

William Anthony, Fine Binder. A review of the Bonaparte: catalog to accompany the exhibition honoring William Anthony. Degas Photography? The Guild of Book Workers Newsletter , February, 2006. Republished in The Bonefolder, an e-journal for the Bookbinder and Book Artist , Volume 2, No. 1, Fall 2005. Springback Ledger Bindings : A step-by-step article describing the English style of this binding as demonstrated by Richard Baker at the Guild of Book Workers Standards of Excellence conference in 2003. Published in the Summer 2005 issue of the Guild of Book Workers Journal. Republished in Yapp , newsletter of the Western Australia Book Arts Guild, vol.

19, no. Bonaparte: The French Revolution? 3, May - June, 2010. Report on the Guild of Book Workers' Friday Forum poster sessions. Photography? The Guild of Book Workers Newsletter , December 2003. Report on the Storage of Architectural Materials at the Syracuse University Library : Article is co-authored by Carolyn Davis and Debra Olson, and describes the development of a tube storage system for The Ethics of Human, architectural materials.

Published in degas photography the 2003 Book and Paper Group Annual of the garrett a. morgan American Institute of Conservation. Expanded HTML version with addition images added since submission for publication. The Springback : Step-by-step article on binding in the springback account book style. Article is co-authored by Donia Conn. The New Bookbinder : The Journal of Designer Bookbinders, volume 23, 2003. In Memoriam Hugo Peller . The Guild of Book Workers Newsletter , June, 2003. Vellum Over Boards : Step-by-step article on binding in vellum over boards as demonstrated at the Guild of Book Workers Standards of Excellence conference in degas photography 2001. Published in the Summer 2004 issue of the Guild of Book Workers Journal. Report on the Guild of Book Workers' Friday Forum poster sessions. The Guild of Book Workers Newsletter , December 2002. Digitized Research Collections : Article for the Syracuse University Library Connection reporting on past digitization projects.

The Library Connection reaches an internal and external audience. Spring, 2002. Vellum Over Boards: Announcement and description of the Guild of Book Workers Standards of Excellence presentation. The Guild of Book Workers Newsletter , June, 2001 (pg. Eugnie Grandet? 5). Study Opportunities. An update of the degas photography Guild of Book Workers Study Opportunities List . The Guild of Book Workers Newsletter , February, 2001. 2nd National Book and Essay Bonaparte: The French, Paper Arts Biennial . A review of the exhibition organized by the Columbia College Chicago Center for degas, Book and Paper Arts.

The Guild of Book Workers Newsletter , October, 2000 (pg. 16). Review of activities on the Guild of Book Workers listserv : The Guild of Book Workers Newsletter , April, 2000 (pg. 3). Letter to the Editor (concerning DB's Millennium Bug on the role of the organization's foreign membership and future of the organization), Designer Bookbinders Newsletter , No. 106, Spring 1999. Fox, Lisa. Preservation Microfilming: A Guide for Librarians and Archivists , 2nd. ed. Case? A book review published in Rare Books and Manuscripts Librarianship , Vol. 13, no. Degas Photography? 1, 1998.

Book Arts on eugnie grandet, the Internet: Study Opportunities : Published in The Guild of Book Workers Newsletter , December, 1997. Degas? Preservation on Scolorosis, the Web , an introduction to resources available on degas photography, the Internet published in the December 96 / January 97 issue of Refermation, the newsletter of the Central Library Resources Council (CLRC) of NY. Letter to the Editor in reply to article about bookbinding on the Internet, Designer Bookbinders Newsletter, no. 95, Summer 1996. Also appeared in different form in The Guild of Essay Book Workers N ewsletter , June, 1996. Degas Photography? Disaster Plan for the Syracuse University Library, Fall 1995. Schleicher, Patty and Mimi. Marbled Designs. A book review published in The G uild of Book Workers Newsletter, December 1994.

Revised Disaster Manual for Yale University Library, 1992. Designed and produced exhibition catalog for the Guild of garrett Book Workers' traveling exhibition, Fine Printers Finely Bound, Too. As exhibitions chair, also organized exhibition. 1992-1994. Basic Paper Treatments for Book Conservators : A Review of the Presentation made by Betsy Palmer Eldridge at degas photography, the 1989 Standards of Excellence in Portland, Oregon. This is an expanded version of the GBW Newsletter article. Published in the Guild of eugnie grandet Book Workers Journal , Vol. XXIV, 1991. Basic Paper Treatments for Book Conservators : A Review of the Presentation made by Betsy Palmer Eldridge at the 1989 Standards of Excellence in Portland, Oregon. Degas Photography? Published in two parts in The Guild of Book Workers Newsletter , June and August 1990.

Letter to the Editor (concerning the Annual Competition), Designer Bookbinders Newsletter , no. Napoleon The Revolution? 67, July 1989. Report on photography, Workshop with Jan Sobota , GBW Midwest Chapter Newsletter , no. Essay Media? 7, July 1989. Chicago Hand Bookbinders Turn 10 , The Guild of Book Workers Newsletter , June, 1989. Chicago Hand Bookbinders Turn 10 , GBW Midwest Chapter Newsletter , no. 6, April 1989. The School for Book Restoration in Ascona, Switzerland and Pastepapers , The Deckled Edge (Newsletter of the degas Baltimore Area Conservation Group), VIII, 1, Spring 1988. Bibliotheca Palatina Exhibition at the University of Heidelberg , The Deckled Edge (Newsletter of the Baltimore Area Conservation Group), VI, 4, Winter 1986. Report on Bookbinding Apprenticeship in garrett a. morgan Germany , The Deckled Edge (Newsletter of the Baltimore Area Conservation Group), VI, 2, Summer 1986.

Experiences at the Germanisches Nationalmuseum , The Deckled Edge (Newsletter of the Baltimore Area Conservation Group), V, 2, Summer 1985. Founder and degas photography, publisher of The Bonefolder, an e-journal for the bookbinder and book artist . A peer-reviewed journal published semi-annually online only in PDF format. Red Lobster Case Study? Fall 2004 -2012. Responsibilities included coordinating efforts of editorial board, reviewing and soliciting articles, formatting and degas photography, online publication of issues. Reviews and similar time-sensitive material are being continued on the Bonefolder Extras blog. Archived at Bayerische Staatsbibliothek The Pressbengel Project : Using Der Pressbengel by Ernst Collin, a 1922 dialogue between a bibliophile and bookbinder, as a starting point for further discussions of the the German bookbinding traditio,n this blog explores German bookbinding traditions over the centuries. 2010 -. Eugnie Grandet? Archived at Bayerische Staatsbibliothek. Articles, books, and degas photography, other publications: Die Collins | The Collins : English and German history and bibliography, 2016.

Die Collins: W. Collin, Hofbuchbinder Ernst Collin, der Autor des Pressbengels The Collins: W. Collin, Court Bookbinders Ernst Collin, the Author of the Pressbengel Pragmatism and Compromise in Conservation : A guest editorial published in e-conservation magazine 23 (2012). Articles in new Gaylord Brothers e-Newsletter series. Cover page and direct link to article A Basic Approach to Archival Care , May 2011. Cover page and Essay Media and News, direct link to article The Storage of degas photography Architectural Plans and Other Oversize Materials , November 2011. Challenges to the Online Access of Conservation Literature : This guest post on Jeffrey S. Peachey's blog was in response to queries and Vitamin A and Multiple Essay, laments from degas photography parts of the conservation community who are struggling with access to the literature. The post describes some of the issues related to access to serials in libraries including the costs of subscriptions, packaging of titles, rights, and open access. November 15, 2010.

Review of the Scolorosis postprints to The Changing Book conference held at the University of Iowa in 2006. Postprints contained all (save one) papers given at this significant conference for the history of the book, conservation, and the book arts. Degas? The Bonefolder , vol 5, no 1, 2008, Produced online catalog for the Central New York Book Arts . Media And News? Exhibition dates June 1 - August 17, 2007. Photography? Produced online catalog for the The Art of the Book, the Book as Art , (Printmaking 552). Exhibition dates March 26 - May 18, 2007.

Produced online catalog for the The Book of Origins: A Survey of American Fine Binding . Exhibition dates January 2007 - February, 2008. Produced online catalog for the Guild of Book Workers 100th Anniversary Exhibition. The exhibition features both a retrospective and The, a juried exhibition of photography contemporary works. Exhibition dates September 2006 - November 2007. The Edelpappband, or Millimeter Binding . The Bonefolder, an e-journal for the Bookbinder and Book Artist , volume 1, number 2, spring 2005. Book Art 2003 : Online catalog to Essay on Social an exhibit of book works by students in the Foundation Program of the School of Art and Design, School of degas Visual and Performing Arts at Syracuse University. Eugnie Grandet? Mounted and curated the exhibit, which was extensively advertised using internet resources. Spring, 2003. Degas Photography? SU Book Art : Online catalog to an exhibit of book works by freshman, printmaking, and continuing education students, as well as alums from the School of Art and Design, School of Visual and Performing Arts at Syracuse University. Essay On Social Media? Mounted and degas photography, curated the eugnie grandet exhibit, which was extensively advertised using internet resources. Spring, 2000.

Abecedarium : produced online version of catalog for Guild of Book Workers 1998-1999 traveling exhibition. The Illustrated and Published Works of John Vassos: 1927 - 1946 : an illustrated bibliography of degas Vassos published works, concentrating on the publishers bindings, publication details (where available), as well as published reviews. Completed in January, 1997 and case, currently not available pending revision. The Book as Art: Building a Foundation : This is the online catalog to a bookarts exhibit by students in degas the Foundation Program of the School of Art and Design, School of Essay French Visual and Performing Arts at Syracuse University. Mounted and assisted in curating the degas photography exhibit which was extensively advertised using internet resources. Spring, 1996. Index of Internet Resources: an case study, AskERIC Infoguide compiled by Peter Verheyen. Contains information on internet tutorials, search engines, and some K-12 resources. Completed as part of reference class. Fall 1995. Created and degas photography, managed the Guild of Book Workers website, hosted by CoOL (Conservation Online.

Summer 1994-2002. Created and manage Book_Arts-L, a listserv for the bookarts. Summer 1994 to present. This also includes the Book Arts Web, an online resource list and Cloning, exhibition gallery. Degas Photography? Summer 1995 to present. Garrett A. Morgan? Includes the Book_Arts-L listerv archive hosted by CoOL (Conservation Online. Summer 1994 to degas photography present. CNY Book Arts: Traditional to Scolorosis Innovative : produced print and degas, web-based catalog to show of same name. Summer - Fall 2001. Paper Bound : Exhibition catalog for the 1996-1997 Guild of Book Workers Traveling exhibition. Co-designer with Peter Thomas of print version and designer / producer of online version.

Designed, produced and bound catalog to the July 1994 exhibition Different By Design: Book Bindings by Peter Verheyen . Study? Editor for exhibition catalog to the 1992-1994 Guild of degas Book Workers traveling exhibition, Fine Printers Finely Bound, Too. Co-editor, with William Minter, of Chicago Hand Bookbinders 10th Anniversary Exhibition catalog. Responsible for photography and design of catalog binding. As You can Judge a Book by Vitamin, its Cover , participated in Human Library event at Syracuse University Libraries. Photography? April 7, 2016. Mentioned in the Canadian Bookbinders and Book Artists Guild journal Book Arts Arts du Livre Canada , Vol. Vitamin Multiple Scolorosis? 4, No. 1, 2013. Article entitled Book Arts on the Web and resources featured were The Bonefolder and photography, Book Arts Web by Essay on Social Media, Cathryn Miller.

Digitization of Yale University Library's 1980 Care and Handling of Books slide/tape show mentioned in Preservation News column of photography College Research Library News , October 2012. The show can be viewed here. The Ethics Of Human Cloning Essay? Interviewed for photography, A Conversation about the Bonefolder with Peter D. Verheyen and Karen Hanmer. The interview was hosted by Miriam Schaer for Susan Mills' for Bookbinding Now , a semi-weekly podcast series. Essay? February 15, 2012. Interviewed for Portraits in Preservation on the Library Preservation 2 blog presented by degas photography, Kevin Driedger of the Library of Michigan. January 12, 2012. Included in 1990s section under Paper of the Vitamin A and Essay American Craft Magazine's Timeline for creation of Book_Arts-L listserv in 1994, thereby bringing the book arts online. August/September 2011 issue and online interactive timeline. Interviewed Karen Hanmer for Susan Mills' for Bookbinding Now , a semi-weekly podcast series. July 20, 2011.

Interviewed for Taking Care , a column in Family Tree Magazine, July 2011, by Denise Levenick. Spoke about the care and handling of family documents, environment, and degas, storage. Interviewed by bookbinder and book artist Susan Mills for Bookbinding Now , her semi-weekly podcast series. April 13, 2011. Where Book Art and Technology Mingle: An interview by Richard Minsky published in Fine Books and Collections Magazine (Fall 2010). Mentioned in eugnie grandet Syracuse University Daily Orange article entitled Beyond the Bookshelves . March 8, 2010. Degas Photography? Interviewed about Book_Arts-L, the garrett Book Arts Web, and Bonefolder by Steve Miller of the University of Alabama's MFA in degas the Book Arts Program for their podcast series.

The interview was held during the Hybrid Book Conference at Multiple, the University of the Arts in Philadelphia, June 5, 2009. Interviewed as part of degas Daily News-Record (Harrisonburg, VA) article entitled Book TLC: Bookbinders Give Life To New Works, Revive Old Ones, by a. morgan, Luanne Austin. October 15, 2005. Interviewed for the Society of Bookbinders (UK) Newletter in photography A New Mechanism for Cloning Essay, Our Time (Two) regarding the Bonefolder, the Book Arts Web, and Book Arts-L. April 2005. Mentioned in Preservation News by Jane Hedberg. CRL News, February 2005, Vol. 66, No.

2. Mentioned was the photography first issue of the Bonefolder . Mentioned in Book Arts on the Internet , a review of selected Websites. The Designer Bookbinders Newsletter, Autumn 2004. Discussed were the Book Arts Web and Book_Arts-L. Mentioned in Book arts on the Web: An introduction to selected resources by Cynthia Gregory. Essay? CRL News, April 2004, Vol. Degas Photography? 65, No. 4. Listed resources include: The Book Arts Web and selected sub-pages such as Tutorials and the Book_Arts-L list and list archive. Interviewed by Syracuse Post-Standard for A and Multiple Scolorosis, article on degas photography, Preserving Memories , October 4, 2001. Interviewed for Vitamin Scolorosis, the Staff Matters section of the Syracuse Record in an article entitled PV keeps SU Library's Books in Good Shape. April 16, 2001.

Interviewed for degas, the Staff Circle section of the Syracuse University Alumni Magazine in an article entitled Preserving Special Collections. Spring 2000. Contributor to Traditional and Transformative: Two Approaches to Visual Books which was published in the Journal of the Mid-America Print Council, Summer / Fall, 1996. The article was compiled by Mary Stuart, Associate Professor of Cloning Essay Art at Syracuse University. Interviewed for A Slow Burn: In which Cornells book doctors fight to save the University Libraries collections from self destruction by Hillel Hoffmann.

Cornell Magazine: January/February 1996. Ongoing Presentations and Workshops: Fundamentals of Preservation: Instructor. Offered by ALA's Association for Library Collections Technical Services (ALCTS). the Fundamentals of Preservation (FOP) web course is an introduction to the principles, policies and practices of preservation in libraries and archives. It is designed to inform all staff, across divisions and departments and at all levels of responsibility. Provides tools to begin extending the useful life of library collections. Spring 2011 -. Lecture to classes and host independent studies at whose foci are the history of the degas photography book, use the book form to express some idea, or more traditional binding topics including how-to instruction and materials, equipment, etc. Essay Media And News? Mention on instructor's blog given in degas photography response to a presentation. Other topics have included the preservation and The Ethics Cloning Essay, conservation of books for book collectors. 1993-.

Teaching formal and informal bookbinding classes, 1988-. Classes are structured to photography individual student needs and eugnie grandet, cover various techniques of traditional binding. Taught semester-long book arts course (Printmaking 552) in Printmaking prgram, School of Visual and Performing arts, Syracuse University. Served as tutor for student completing independent study degree in Book Arts through Empire State College. Presentations and Workshops Given: Preserving Digital Collections- An Overview : Session 3 of a three-part of the Library Preservation Today!

ALA/ALCTS webinar. March 16, 2016. Revised and updated repeat of webinar from June 18, 2014. Degas? Recording available here. Teaching Book Arts at Syracuse University Libraries. ightning talk presented at the Identifying Our Role, Impacts, and Scolorosis Essay, Opportunities on our Campus! unconference hosted by the Professional Concerns and Development Committee, Syracuse University Libraries, December 18, 2015. Co-hosted ALCS e-forum on Sustainable Preservation Programs. A summary of the e-forum can be read here. April 22-23, 2015. Preserving Digital Collections- An Overview : Session 3 of a three-part of the Library Preservation Today!

ALA/ALCTS Virtual Preconference. June 18, 2014. Recording (with some audio issues) on ALA/ALCTS YouTube channel. Archival 101: Dealing with Suppliers of Archival Products : This ALA/ALCTS webinar is designed to demystify the archival product terminology and market for the layperson and non-preservation specialist. April 25, 2013. Updated version of degas that given May 11, 2010. Eugnie Grandet? Special Formats, Innovative Preservation Storage Solutions : Expanded version of earlier (2009) presentation that discusses the types of materials; challenges of the materials; storage options; transport and access; other considerations of oversized materials in libraries and archives.

The presentation also discussed the tube storage system developed for architectural and other over-sized drawings at photography, Syracuse University Library as a case-study. Presented at Northern New York Library Network's 3rd Annual North Country Archives Special Collections Conference: Basics Beyond. On Social Media And News? April 12, 2012. Accordion Book Making Workshop: Held in degas photography conjunction with the Central New York Reads program of the Onondaga County Public Library at their Paine Branch. March 27, 2012. Book Repair Basics for Libraries : This presentation was delivered with Marianne Hanley as an ALA/ALCTS webinar to familiarize viewers with different aspects of Media circulating collections book repair for school, public, and academic library staff.

The webinar shows basic descriptions of techniques using images, and video. September 14, 2011. Archival 101: Dealing with Suppliers of Archival Products : This presentation was delivered to CLRC and is designed to demystify the archival product terminology and degas, market for the layperson and non-preservation specialist. October 15, 2010. Archival 101: Dealing with Suppliers of Archival Products : This ALA/ALCTS webinar is designed to demystify the archival product terminology and market for the layperson and non-preservation specialist. May 11, 2010. Fit to be Bound in a. morgan New York : Illustrated lecture on the book arts as practiced in New York State over degas the past 100 years. Topics will included the training required to become a binder, the types of materials used, the growth of book arts organizations and centers, and a look into the future. Also included was a show and tell of bindings and Vitamin A and, artist's books from the speakers collection.

May 8, 2010. Photography? [See also under Other Projects] Co-hosted ALCTS e-forum on Preservation Practices Today: Managing Shrinking Budgets and Changing Formats . The postings from this 2-day discussion can be found in the archives. March 9-10, 2010. Special Formats, Innovative Preservation Storage Solutions : A Presentation to the New York Archives Conference held at LeMoyne College in Essay Bonaparte: The Syracuse, NY on June 4, 2009. Degas? The presentation dealt with the tube storage system developed for architectural and other oversized drawings at Syracuse. See also: Storage of Scolorosis Architectural Materials at the Syracuse University Library . The Preserving of photography Gifts and Donors : A presentation to eugnie grandet the Central New York Library Resource Council (CLRC) Documentary Heritage Program (DHP) at degas photography, Fayetteville Free Library, April 15, 2009. The workshop dealt with accepting gifts to collections and the impact of the implications of preservation and conservation concerns with those items. And News? Co-principle in An Alphabet in Your Backyard 2-year project bringing together Foundation students from the College of Visual and Performing Arts at Syracuse and selected local high schools. A different high school will be part of the project each semester. Roles include speaking on the book arts and degas photography, showing examples of various structures by students and established artists, hands-on instruction, and preparation of materials. Garrett A. Morgan? Finished works will be exhibited at Syracuse University Library, online, and a published work will be prepared for each school.

Fall 2008 - Spring 2010. Lead presenter, with Bradley Shipps, Syracuse University iSchool intern, of 2-part workshop on Lessons for Scanning to members of the Northern NY Library Network. Part 1 focused on Planning Your Digitization Project and Introduction to Scanning. Part 2 focused on photography, Metadata, Intermediate Scanning, and More, also serving as a wrap-up to both parts. Potsdam, NY, September 28 and October 8, 2008. Spoke on the Digital Experience at Syracuse University Library as part of a panel at Vitamin Multiple, the New York Archives Conference in Potsdam, NY, May 28, 2008. Practice Creating Digital Collection s: Part of the photography Ready, Set, Digitize workshop series hosted by CLRC and SCLRC.

Cortland, NY, November 12, 2007. The workshop walked attendees through the processes of scanning and garrett a. morgan, manipulating metadata. A Day with Master Bookbinder Peter D. Verheyen : Historic endband workshop and lecture on training and professional path presented to the Cornell University Book Arts Club. Audio (63 MB, 66min, MP3) of the lecture as well as PDF slides (4.5 MB PDF) are available from Cornell's eCommons. October 11, 2007. Planning for and Managing Digital Projects : Part of the Ready, Set, Digitize workshop series hosted by CLRC and SCLRC. Cortland, NY, September 10, 2007. Degas? Resource list of helpful publications and other resources. Taught semester-long book arts course (Printmaking 552) in the Printmaking Department of the case study School of Art and Design, College of degas photography Visual and Performing Arts at Syracuse University. Spring 2007.

Copyright Law and Digitization: guidelines for a successful project: Spoke on special collections digitization projects at Vitamin Scolorosis Essay, Syracuse University Library and issues related to their development. The event was hosted by CLRC at the Fayetteville Free Library, January 24, 2007. Spoke with Nicolette Schneider on special collections digitization projects at Syracuse University Library and issues related to their development. The Digitization Expo and degas, Vendor Showcase was organized by the Western New York Library Resource Council. May 24, 2006. Setting Preservation Priorities: A how-to workshop sponsored by CLRC. Participant in preservation priorities panel discussion and presenter of afternoon workshop on dealing with archival suppliers. Spoke about and answered questions concerning selecting the most appropriate materials to house your collections, different storage options, terminology found in various catalogs, and how to get the Vitamin best deal from vendors. Workshop held at Liverpool Public Library, March 21, 2006. Presented 2-day workshop on Variations on the German Case Binding which included the degas photography Millimeter/Edelpappband at the Garage Annex School for Book Arts, Easthampton, MA. Cloning Essay? April 17-18, 2004.

Co-presented (With Donia Conn) poster on historic endbands at the Friday Forum, the Guild of degas Book Workers' Standards of Excellence seminar, Denver, CO. October, 2003. Presented 2-day Springback Binding and evening Historic Endbands workshop at Essay The, the Minnesota Center for Book Arts. September 6-8, 2003. Degas? Presented 2-day workshop on the Springback Binding to the New England Chapter of the Guild of garrett Book Workers at the Garage Annex School for Book Arts. May 3-4, 2003.

Presented 2-day Vellum Over Boards and evening Historic Endbands workshops at The San Francisco Center for the Book. Degas? Also spoke to Hand Bookbinders of California on the springback binding. Media? March 1-4, 2003. Co-presented (With Donia Conn) poster on springback binding at photography, the Friday Forum, the Guild of Book Workers' Standards of Excellence seminar, Minneapolis, MN. September, 2002. Disaster Planning , a workshop on Vitamin A and Multiple Essay, disaster preparedness and planning presented to the Central New York Library Resources Council Regional Preservation Needs Assessment Project . April 25, 2002.

Vellum Over Boards: Hands-on demonstration on degas photography, binding in The Ethics Essay vellum presented to four sessions at photography, the Guild of Book Workers' Standards of Excellence conference. Alexandria, VA. October 5-6, 2001. Of Human Cloning Essay? Also presented poster on same subject. Presentation reviewed in the Guild of degas photography Book Workers Newsletter , February, 2002. Garrett? Bookbinding: A Thriving Craft?

Lecture to the Syracuse University Library Associates. March 1, 2001. Panelist on discussion concerning training and education for bookbinders and conservators at Guild of Book Workers, New England Chapter meeting. Degas? Hanover, NH. January, 2001. Lecture on my apprenticeship/work experience and the state of bookbinding today. Held in on Social Media and News conjunction with solo exhibition in the Utica College Library, September 26, 2000 Taught 7 week basic bookbinding class in Syracuse University's Humanistic Studies Program, Spring 2000. Dealing with Archival Suppliers: archival basics, choosing the right materials, what does it all mean, getting the degas best price. A workshop presented by the CLRC Preservation Committee and Essay, Documentary Heritage Program. December, 1999 and June, 2000.

Historic Endbands : A hands-on workshop in which participants learned 8 historical endband styles and variations. Held at Columbia College Chicago Center for Book and Paper Arts. June 5, 1999. Degas Photography? EAD I mplementation : A presentation dealing with issues relating to starting the EAD implementation process and Vitamin A and Essay, including why, or why not, we should implement, what benefits and risks will there be, computing infrastructure, staffing, and degas photography, distribution of finding aids. Presented at the 1999 MARAC Conference. May 5, 1999.

Getting us out garrett a. morgan / Bringing us together: How listservs and the Web have changed the way in which book artists work and communicate . Presented at Hot Type in a Cold World, a symposium celebrating the degas 25th anniversary of the Silver Buckle Press at the University of Wisconsin, Madison. November 20, 1998. Disaster Planning , a workshop on disaster preparedness and planning presented to garrett the Documentary Heritage Program / CLRC. First presented June 2, 1998. Presentation on SGML and various text and meta-data encoding initiatives to Digital Libraries Seminar at the School of Information Studies, Syracuse University.

Spring, 1998. Presentation on photography, the EAD at the Lake Ontario Archives Conference (LOAC) in Fredonia, NY, with Tom Ruller of the NY State Archives. Spoke about issues and concerns related to eugnie grandet implementation of the EAD, especially for smaller institutions. June 14, 1997. Lectured on library disasters: planning and dealing with them. Western New York Conservation Guild, Buffalo, NY. Oct 9, 1993. Lectured on becoming a bookbinder / conservator, based on my training in photography this country and abroad. Kroch Library, Cornell University. March 19, 1993.

Presented workshop on pastepapers at the Creative Arts Workshop in New Haven, CT, October 19, 1991. Presented joint workshop with Mrs. Heinke Pensky-Adam on historical endbands which was held at the Artists Book Works in Chicago on July 9, 1988. Organized Syracuse University Libraries' unconference on the theme of Identifying Our Role, Impacts, and Opportunities on eugnie grandet, our Campus! Hosted by the Professional Concerns and degas, Development Committee, December 18, 2015. Coordinated and managed Brodsky Endowment for the Advancement of Library Conservation. The series brought noted speakers and workshop presenters to the Syracuse University Library. 2005 - 2012. Co-curated Dawn of New Age: The Immigrant Contribution to the Arts in America . The exhibit introduces five artists who arrived from Europe during the first half of the twentieth century. All were prominent in their respective fields, and each of them created a dynamic vision for a new America.

An article about the eugnie grandet exhibition was included in the January 14 issue of the Daily Orange . Fall 2008. Organized Guild of Book Workers 100th Anniversary Exhibition. Photography? Responsibilities included complete planning and organization, securing of venues, curation of retrospective exhibition, development of online entry process for juried exhibition, securing internal and Vitamin A and Essay, external funds ($25,000 target, $29,000 achieved), receiving and registering entries, coordinating catalog production with photographers and designers, marketing/advertising, and production of online catalog to accompany print version. Coordinated Friday Forum of poster displays by attendees of the Guild of Book Workers' Standards of Excellence seminar, Portland, OR, 2005. Coordinated Friday Forum of poster displays by attendees of the Guild of Book Workers' Standards of Excellence seminar, Providence, RI, 2004. Co-presented posters on Spring[binding] Hath Sprung , a springback binding exhibition and the debut of The Bonefolder, an e-journal for photography, the bookbinder and book artist . Coordinated Friday Forum of poster displays by attendees of the Guild of Book Workers' Standards of Excellence seminar, Denver, CO, 2003.

Co-presented poster on historic endbands with Donia Conn. Bonaparte:? Coordinated Friday Forum of poster displays by attendees of the degas photography Guild of on Social and News Book Workers' Standards of Excellence seminar, Minneapolis, MN, 2002. Co-presented poster on photography, springback binding with Donia Conn. Of Human? Organized and co-ordinated 2001 CNY Book Arts: Traditional to degas photography Innovative. Responsible for raising $3500 in form of foundation grants and gifts, as well as producing of eugnie grandet fully illustrated catalog to accompany the exhibition. Curated and mounted exhibition of student work from various book arts related Foundation Program classes at the College of Visual and Performing Arts, Syracuse University.

Spring 1996,1998, and 2000. Organized and coordinated 1996-1997 Guild of degas photography Book Workers Traveling exhibition, Paper Bound . Co-designer with Peter Thomas of print version and designer / producer of online version. Organized a university-wide preservation awareness poster contest whose subject was the Essay Napoleon Bonaparte: Revolution dangers posed by food and drink in the library. Resulted in the printing of posters, postcards, and degas photography, bookmarks. Fall 1993. Organized the Cornell University Librarys (in conjunction with the Multiple Scolorosis Library Public Affairs Department) display booth at Reunion Weekend. Featured were the photography activities of the Department of Preservation and Conservation. June 4-5, 1993. Organized and coordinated 1992-1994 Guild of Book Workers traveling exhibition, Fine Printers Finely Bound, Too. Designed and produced exhibition catalog. Organized and promoted talk by Jan Sobota to Chicago Hand Bookbinders at Artists Book Works, August 11th, 1989.

Significant Workshops Conferences Attended: Society of American Archivists DAS courses. March 11-14, 2014. Digital Archives and Libraries Preserving Digital Archives Digital Forensics for Archivists - Part I II Implementing Online Teaching and Learning: Using Moodle and Vitamin Essay, Other Web 2.0 Features: An ALA online course taught by Diane Kovacs. September 10 - October 5, 2012. American Institute of Conservation (AIC ): Ethos, Logos, Pathos: Ethical Principles and Critical Thinking in Conservation, Philadelphia, PA May 31 - June 1, 2011. Photography? The Hybrid Book Intersection and Intermedia: Brought together established and The Ethics of Human Essay, emerging artists, scholars, librarians and educators to explore a variety of topics in a series of eight panels.Panels included Book Arts in Academia, Book Arts in the Social Sphere, the degas Future of Letterpress, Intersection and Intermedia, Modes of Production, Offset Applications, The Reciprocity of Books and Digital Media, and garrett a. morgan, Text and the Hybrid Book. University of the Arts, Phildelphia, PA, June 4-6, 2009. Standards of degas Excellence.

Annual seminar of the on Social and News Guild of Book Workers. Features presentations on advanced binding and conservation techniques. Attended: 1989 - 1995, 1998 - 2005, 2011. iPres Conference on degas, the Preservation of Digital Objects: The theme of the conference was Words to red lobster study Deeds: Collaboration in degas the Realm of Digital Preservation . Cornell University, October 8-10, 2006. New York State Higher Education Initiative Annual Meeting. Focus on eugnie grandet, digital preservation.

New York, NY. Photography? June 5, 2006. Making Sense of Vitamin A and Scolorosis Essay Metadata: Workshop provided an degas, overview of metadata concepts and examples of practical applications such as cross-walking. NYLINK, Albany, NY. September 22, 2005. Artists' Books Online: Working group meeting in Charlottesville, VA. The project, led by Johanna Drucker, is a developing a DTD which will provide enhanced access to artists' book collections. June 6-7, 2005. As a member of the Work Group/Advisory Board I continue to provide input to the project.

Emerging Technologies 2004, a workshop with Roy Tennant, California Digital Library, hosted by CLRC. September 20, 2004. Digital Preservation Management, a workshop offered by The Ethics of Human Essay, the Cornell University Library. August 3 - 8, 2003. Full Metal Binding, taught by Daniel Kelm. Garage Annex School, Easthampton, MA, October 19-20, 2002.

Managing the Past, taught by Nicolas Barker. Degas Photography? Rare Book School, Charlottesville, VA, July 28 - August 2, 2002. Garrett A. Morgan? Redefining Preservation, Shaping New Solutions, Forging New Partnerships. Degas Photography? Co-sponsored by the University of of Human Michigan Library and the Association of Research Libraries. March 7 - 8, 2002. Planning for degas photography, Digitization: Everything you need to A and Multiple Scolorosis Essay know but didn't realize that you needed to know. Presented to CLRC by degas photography, Liz Bishoff, Project Director, Colorado Digitization Project. March 1, 2002. Preservation Techniques for Paper Based Collections. Workshop on surface cleaning techniques presented by eugnie grandet, Elizabeth Morris.

SUNY College of Environmental Science and Forestry, Syracuse, NY. March 1, 2001. Digitizing Two Projects, workshop on the digitization of degas full text and images from Essay on Social Media and News primary sources. Held at, and presented by, Mid-York Library System. Degas Photography? December 13, 2000. Training for field trial of newly developed Climate Notebook preservation management technology for environmental monitoring. Image Permanence Institute, Rochester, NY. Of Human? November 27-28, 2000. Attended Bookbinding 2000: A celebration of degas Bernard C. Middleton. Conference featured presentations of high-level binding and conservation techniques as well as lectures relating to the history of the book, binders, and preservation.

Rochester Institute of Technology. June 1-3, 2000. Digital Imaging for Libraries and Archives, a workshop presented by on Social Media and News, Anne Kenney and photography, Oya Rieger, Department of Media and News Preservation and Conservation, Cornell University Library. Photography? July 13-18, 1997. FAST workshop sponsored by RLG on garrett a. morgan, digitally encoding archival finding aids in SGML (EAD). Degas? Responsible for technical details (hardware/software) and adaptation of the EAD.DTD to WordPerfect SGML editor.

August 12-13, 1996. Intensive one-week workshop on polarized light microscopy, taught by eugnie grandet, Professor Walter McCrone of the degas McCrone Research Institute, at Cornell University. August 2-6, 1993. Workshop with Jan Sobota on working in relief at GBW Midwest Chapter Meeting, June 18, 1989. Play With Your Books : Brought to Syracuse University Library the exhibit of altered books and hosted an afternoon workshop in Preservation for students and community members.

Summer 2010 Juror for the Everson Museum of Arts' exhibition Fit to be Bound , an The Ethics Cloning, exhibiton featuring the work of New York State artists. April 17 - july 11, 2010. [See also under Workshops and Presentations Given] Juror for the Guild of degas photography Book Workers' 2009 2011 traveling exhibiton entitled Marking Time . Spring 2009. Principle author and coordinator for $4000 CLRC Regional Automation Grant to digitize 1500 negatives from the The Ethics Essay Clara Sipprell Collection, a selection from this 13,000+ image collection of works by this significant American photographer of the photography early to Vitamin Scolorosis Essay mid-20th century. Degas Photography? This is a continuation of the 2008 project. Eugnie Grandet? 2009-2010. Principle author and coordinator for $5280 CLRC Regional Automation Grant to digitize 2270 negatives from the Clara Sipprell Collection, a selection from this 13,000+ image collection of works by this significant American photographer of the early to mid-20th century.

Other aspects included the (re)processing and degas photography, rehousing of the collection by interns. 2008. Principle author and coordinator of $4,500 CLRC Regional Automation Grant to develop search and retrieval system for of Human, EAD inventories at Syracuse University Library and fund further encoding of inventories. Degas? Juror for case, Helen Warren DeGolyer American Bookbinding Competition hosted by Southern Methodist University's Bridwell Library. January 20, 2006 Principle author and coordinator of $18,000 CLRC Regional Automation Grant to digitize 668 original sketches by architect Marcel Breuer. This grant provided networked access to the images with enhanced metadata in a searchable database format and photography, has since been integrated into the Marcel Breuer Digital Archive. The grant was awarded in red lobster December 2004 with partial funding.

Principle author and coordinator of $3,000 CLRC Regional Automation Grant to digitize the 1412 Charles Eisenmann photographs of circus sideshow performers. This grant provided networked access to over 1200 19th century cartes de visite and cabinet cards with enhanced metadata in a searchable database format. The grant was awarded in December 2003 with partial funding. Developed tube-based storage system for architectural and other oversized materials. Pilot system for 228 tubes constructed in photography 2001/02. Second phase for an additional 877 units constructed during the spring of 2003. An article appeared in the AIC Book and Vitamin A and Scolorosis Essay, Paper Group Annual, 2003. Degas? Principle author and coordinator of $10,000 CLRC Regional Automation Grant to A and Scolorosis digitize the degas photography Gerrit Smith Broadside Collection at the Syracuse University Library.

This grant will digitize and eugnie grandet, provide full text access to degas photography over 2500 pages of writings by Gerrit Smith on abolitionism, suffrage, temperance, and other social issues. The grant was fully funded, and awarded December 2001. The project was completed in January of 2003. Co-juror with Richard Minsky, founder of the garrett Center for Book Arts in New York City, of Bright Hill Press's first juried national book arts exhibit. Works were selected on basis of conceptual, aesthetic, and craft aspects. Degas Photography? September 2, 2002. As chair of CLRC Preservation Committee, instrumental in eugnie grandet development of grant proposal for Central New York Library Resources Council Regional Preservation Needs Assessment Project . Awarded Summer 2001. Photography? Coordinated CLRC Regional Automation Grant to a. morgan digitize materials from the degas Syracuse University Librarys Erie Railroad glass plate negative collection. Responsibilities included benchmarking, setting scanning parameters, HTML tagging and project site creation. Fall 2000 - Spring 2001. Coordinated CLRC Regional Automation Grant to digitize selected materials from the Syracuse University Librarys Oneida Community and Street Smith Publishers collections.

Responsibilities included benchmarking, setting scanning parameters, OCR, HTML tagging and project site creation. Worked with outside vendor for garrett a. morgan, digital imaging of Street Smith Materials. Fall 1999- Spring 2000. Developed CLRC Region Digital Projects website for the Central NY Library Resource Council. Work included conversion of collection inventories into HTML from a variety of degas formats, digital imaging, and overall website design. Summer-Fall 1999. A And? Coordinated CLRC Regional Automation Grant to digitize selected materials from Syracuse University Library's Oneida Community Collection with the Systems Office. Degas Photography? Included benchmarking, setting scanning parameters, HTML tagging and project site creation. Spring 1998. Internship at ERIC/IT developing a DTD for the GEM (Gateway to Educational Materials) project. Project would collect and harvest metadata for K-12 lesson plans which are available on the Internet.

The DTD is based on elements created for A and Scolorosis Essay, the Dublin Core Metadata Element Set. Spring 1997. Conducted site visits, consultancies and workshops on a variety of subjects for libraries in the Four County Library System, a part of the SCRLC, and for the Syracuse University Library. Summer 1994-. Photography? Reviewed New York State Discretionary grant proposals for conservation treatment. Spring, 1993.

Involved in Action Planning process at Yale University resulting in establishment (among others) of book repair program for general collections materials. 1992. For descriptions and images of these and garrett, other bindings created see Peter Verheyen - Bookworks. August 3 - 6, 2017. Keele University in with SoB conference. August 20 - 23, 2015. Keele University in with SoB conference. May 15, 2014 - July 5, 2015. St Bride Foundation, London, UK; Houghton Library, Harvard University, Cambridge, MA; Minnesota Centre for Book Arts, Minneapolis, MN; Bonhams, New York, NY; San Francisco Centre for the Book, San Francisco, CA. June 20 to September 14, 2014. Exhibited was the The Raven Limp Bindings from the Vatican Library.

September 18 - December 15, 2013. Dalarnas Museum, Falun, Sweden, Swedish Institute of Classical Studies, Rome, Italy, Sankta Eugenia Katolska Församling Stockholm, Sweden. Exhibited was an interpretation of a 1579 ledger from the Vatican Library. Form Function. February 15 - March 16, 2012. Wallace L. Photography? Anderson Gallery, Bridgewater State University, Bridgewater, MA. August 27, 2011- April 15, 2012.

The Chicago Public Library, Chicago, IL. Exhibited was The Crucible , selected runner up in category. The Thread That Binds : An Exhibition of Fine Bindings Presented by Essay Napoleon Bonaparte: French, the Lone Star Chapter, Guild of degas Book Workers. June 3, 2011 - January 14, 2012. DeGolyer Library, Southern Methodist University, Dallas and the Museum of Printing History in Houston, TX. May 26 - July 7, 2011. Public Library Biekorf , Brugge, Belgium.

July 1 - August 31, 2010. May 15, 2009 -March 20, 2011. Minnesota Center for Book Arts, Minneapolis, MN; San Francisco Public Library; San Francisco, CA; University of Washington Seattle Library, Seattle, WA; University of Essay on Social Utah Marriott Library, Salt Lake City, UT; Denver Public Library, Denver, CO; Public Library of Cincinnati and Hamilton County, Cincinnati, OH; Skillman Library, Lafayette College, Easton, PA; Dartmouth College Library, Hanover, NH; Emory University Library, Atlanta, GA. July 22 - August 28, 2008. Ann Arbor District Library, Ann Arbor, MI.

January 21-March 7, 2008. SUNY Oneonta Art Gallery. January 2007 - February 2008. Syracuse University Library, Syracuse, NY; Michigan State University Library, East Lansing, MI; Public Library of degas Cincinnati and Hamilton County, Cincinnati, OH; UAA/APU Consortium Library, University of garrett a. morgan Alaska, Anchorage; Minnesota Center for Book Arts, Minneapolis, MN; Columbia College Chicago Center for Book and Paper Arts, Chicago, IL. September 2006 - November 2007.

The Grolier Club, New York, NY; Michigan State University Library, East Lansing, MI; University of photography Utah, Salt Lake City, UT; Portland State University Library, Portland, OR; The Bridwell Library, Southern Methodist University, Dallas, TX; Dartmouth College Library, Hanover, NH. January - June, 2006. A traveling exhibition of the Chicago Hand Bookbinders. Venues were the Golda Meir Library, the University of Wisconsin (Milwaukee); Northwestern University Library; Joan Flasch Artists' Book Collection, John M. Flaxman Library, School of the Art Institute Chicago. Fall, 2005 - Spring 2006. A set book design binding exhibition organized by Les Amis de la Reliure d'Art Canada in collaboration with the Bibliothèque Gabrielle Roy, Ville de Quebec, Canada and the Muséum National d'Histoire Naturelle, Paris, France. Exhibited was The Book of Origins. A Poet's Book: Noirs, Bleus, Sables , by Nane Couzier.

September 21 - November 27, 2005. A set book design binding exhibition organized by Les Amis de la Reliure d'Art Canada in eugnie grandet collaboration with the Ramezay Museum, Montreal, Canada. Exhibited was Noirs, Bleus, Sables. Bill Anthony: The Lineage of a Master. July 21-August 23, 2005. An exhibition of works by apprentices and degas, students of Bill Anthony, and their protégées. Held at the Iowa Artisans Gallery, Iowa City, IA. 20 May - 9 October, 2005. Galerie des Hospices, Limoges, France. The New England Chapter of the Guild of eugnie grandet Book Workers. November - December, 2004.

Providence Athenaeum, Providence, RI. June - August, 2004. Kunst Centret Silkeborg Bad / Art Center Silkeborg Bad, Silkeborg, Denmark. November - December, 2003. Thomas Goldwasser Rare Books, San Francisco, CA. July - October, 2003.

Venues include Baytums of Bath, Oxfordshire County Museum, National Library of photography Wales. Exhibited was Saturday Night, 1953 / The Elements . The book was awarded the Harmatan Leather Award for Forwarding in the cased binding category. Garrett A. Morgan? Chicago Hand Bookbinders 25th Anniversary Exhibition. January - March, 2002. The Newberry Library, Chicago, IL. Exhibited is RHM (Robert Hunter Middleton), The Man and degas photography, his Letters . Work is being shown as part of the retrospective aspect of the exhibition, representing work exhibited with Chicago Hand Bookbinders by past members. The Hand Bookbinders of California 30th Anniversary Exhibition. November, 2002 - January, 2003. San Francisco Public Library, Main Library, San Franciso, CA.

Venues include Binney Smith Gallery, Bethlehem, PA; Artists Image Resource, Pittsburgh, PA; Spaces Gallery, Cleveland, OH; Museo de Arte Y Diseo Contemporneo, San Jos, Costa Rica. Exhibited was Twenty-six Words (Television book/box structure). The Hand Bookbinders of California 29th Anniversary Exhibition. November - December, 2001. September - October, 2001. Schweinfurth Memorial Art Center, Auburn, NY. Exhibited was Heaven on Earth , and Teach me, Star of Night . Represented in traveling exhibition of the work of Thorsten Dennerline. June - September, 2001. Sala El Farol, Universidad de Valparaso, Valparaso, Chile, and Galleri Torso, Odense, Denmark.

The Guild of Book Workers. October 2000 - June 2002. University of Utah, Salt Lake City, UT; Syracuse University Library, Syracuse, NY; Ohio University Library, Athens, OH; Columbia College Chicago Center for Book Paper Arts, Chicago, IL; Smith College Library, Northampton, MA; Swarthmore College Library, Swarthmore, PA; San Diego State University Library, San Diego, CA; San Francisco Public Library, San Francisco, CA; Conservation Online (CoOL) virtual host site. Exhibited is on Social Media and News, one copy of degas photography of Twenty-six Words by Thorsten Dennerline / Bird Press. Solo Exhibition . Utica College Library. Utica, NY. September - October, 2000. Vitamin A And Scolorosis? The 2nd National Book and Paper Arts Biennial.

Columbia College Chicago / Center for Book and Arts. Chicago, IL. September - October 2000. Exhibited are two copies of Twenty-six Words by Thorsten Dennerline / Bird Press. Artists Books and Beyond . Cooperstown Art Association. Degas? Cooperstown, NY. Exhibited were three design bindings and the edition binding of Twenty-six Words by Thorsten Dennerline / Bird Press. SU Book Arts . Syracuse University Library.

March - April , 2000. Exhibited were the edition bindings to Twenty-six Words and Real Things People Said. by Thorsten Dennerline / Bird Press. Heaven on Earth. The Lone Star Chapter of the Guild of Book Workers. July - December, 1999. Botanical Research Institute of Texas, Fort Worth, TX; Museum of Printing History, Houston, TX; Perry-Castaeda Library, Austin, TX. Set book exhibition of John Muir's Heaven on Earth: Explorations into the Wilderness published by Essay and News, Randolph Bertin at his Press Intermezzo with original illustrations by photography, Charles D. Jones. Turning up the Page, Artists books of the 90s . University of Missouri-Kansas City Gallery of Art. Exhibited was design binding of The Ethics Twenty-six Words by Thorsten Dennerline. Abecedarium , The Guild of Book Workers.

October 1998 - December 1999. Greensboro Public Library, Greensboro, NC; Bienes Center for Literary Arts, Broward County Library, Ft. Degas? Lauderdale, FL; Newberry Library, Chicago, IL; Ohio University Library, Athens, OH; Denver Public Library, Denver, CO; Denison Library, Scripps College, Claremont, CA; Conservation Online (CoOL) virtual host site. Thematic exhibition celebrating the alphabet. Eugnie Grandet? Exhibited is Twenty-six Words by Thorsten Dennerline. The complete book can be viewed here. Paper Bound . The Guild of Book Workers . September 1996 - September 1997.

Scripps College, Claremont, CA; The University of Rochester, Rochester, NY; Columbia College Chicago Center for Book and degas, Paper Arts, Chicago, IL; Smith College Northampton, MA; Ohio University, Athens, OH; Conservation Online (CoOL) virtual host site. Set-book exhibition of Peter and Bonaparte: The French, Donna Thomas book Paper, A Collection of Handmade Paper Samples from the United States of America . Created Space: An Exhibit of the New England Chapter of the Guild of Book Workers . John Hay Library, Brown University, Providence, RI; Syracuse University Library, Department of photography Special Collections, Syracuse, NY; Albert M. Greenfield Library, University of the Arts, Philadelphia, PA. Exhibited were 2 copies of Fine Printers Finely Bound, Too [binder's copy], [commissioned copy] and Juvenals Fifth Satire. Different By Design: Book Bindings by Peter Verheyen . Gallery Julius of the Schweinfurth Arts Center, Auburn, NY. Exhibited were 20 previously exhibited and several newly created bindings. Solo exhibition of recent works. Cornell University Library. October, 1993. 50 x 25: The work of the Rarach Press. Bridwell Library, Southern Methodist University, Dallas, TX. September 1993 - January 1994.

Exhibited were 2 copies of Opus Salvelinus . State of the The Ethics of Human Cloning Essay Art Gallery, 4th Annual Juried Photography Show . The Guild of photography Book Workers. October 1992 - March 1994. Explore Print!, San Francisco, CA; Scripps College, Claremont, CA; Dallas Public Library, Dallas, TX; Minnesota Center for the Book Arts, Minneapolis, MN; The Newberry Library, Chicago, IL; University of Michigan, Ann Arbor, MI; Swarthmore College, Swarthmore, PA; Cornell University Library, Ithaca, NY. Exhibited were A Fowl Letter Book and Juvenals Fifth Satire . Creative Arts Workshop, Annual Student Exhibition . Exhibited were two collages and one photograph. GBW New England Chapter 10th Anniversary Exhibition. March - June, 1992. Museum of Our National Heritage, Lexington, MA; Round Top Center for the Arts, Damariscotta, ME. Exhibited was A Letter and Some Photographs . GBW Midwest Chapter Exhibition.

July - November, 1991. Ohio State University, Columbus, OH; Moellering Library, Valparaiso, IN; Western Michigan State University, Kalamazoo, MI; Indiana University, Bloomington, IN. Exhibited was Juvenals Fifth Satire . Contemporary American Bookbinding . The Grolier Club / The Guild of Book Workers. October 1990 - June 1991. Bibliotheque de lArsenal, Paris, France; Bibliotheca Wittockiana, Brussels, Belgium; Grolier Club, New York.

Freiberger Library, Case Western Reserve University, Cleveland, OH. Exhibited were Dantes Inferno and RHM (Robert Hunter Middleton), The Man and his Letters , and one original pastepaper. Chicago Hand Bookbinders 10th Anniversary Show . March - October 1989. Reyerson and Burnham Library of the Art Institute, Chicago, IL.; Northwestern University Library, Evanston, IL.; Brigham Young University Library, Provo, UT. Newberry Library, Chicago, IL, GBW Standards Seminar and Vitamin A and, the Caxton Club in Chicago. Exhibited were RHM (Robert Hunter Middleton), The Man and his Letters and 2 original pastepapers.

Last Modified: Saturday, 14-Sep-2013 12:11:36 EDT.