View allAll Photos Tagged BackCover
"superF#isSue"
mar.abr.may.2009
Published on 21.03.2009 | otoñosurprimaveranorte | ISBN 978-1-4092-7341-7
(ñ)
SuperF#isSue, YSE #19: Lo convencional, y el gesto vacío/vaciado.
Los efectos de una sociedad centrífuga e hipócrita, desmemoriada y autorreferencial, en fuga permanente, donde ya nadie se plantea o cuestiona nada de ninguna cosa.
¿Qué historias nos cuentan los Medios? ¿Cuáles son las que se validan desde el territorio artístico-cultural, hoy?
¿Qué “no-efectos” producen? ¿Cuál es su orígen? ¿Cómo se vacían de mensajes?
¿Qué lugar puede tener actualmente cualquier otra historia que no sea la propia historia (es decir “la personal”)?
¿Qué rincón puede reclamar la ironía ante una competencia discursiva abrumadoramente (a)plana(da)? // (a)plana(dora)?
¿Son posibles los meta-relatos cuando no hay siquiera narraciones (que no sean puro cuento)?
¿Queda/Hay una audiencia posible para cualquier clase de meta-relato?
¿Cómo agitar/sublevar al espectador/usuario? ¿Tiene sentido hacerlo?
Si el pasado y el presente co-existen: ¿Es sensato creer que, al fin y al cabo, el movimiento es un movimiento cíclico? Y si así fuere ¿hacia dónde se dirigen estas fugas, entonces? ¿A cuánto cotiza la sensatez en el mercado? ¿Por sensatez se entiende (el nefasto) ’sentido común’? ¿Es sensato no ser hipócrita? No lo recuerdo…
¿Puede haber memoria cuando no hay crítica?
La automatización. El ‘querer pertenecer’, sin preguntarse el cómo, el qué o el para qué. La esquizofrenia, la histeria, el pánico, la ausencia, la velocidad virtual y la ansiedad.
¿Cuál es el rostro, cuál el miembro que responde cuando responde en plan autómata a unos estímulos que nada estimulan, obstinados en un recorrido que va de “w” a “w” exhalando: wows a troche y moche.
(e)
SuperF#isSue: the conventional and the empty/emptied gesture.
The effects of a centrifugal and hypocritical, forgetful and self-referential society, in permanent escape, where nobody raises a matter or questions anything anymore.
What stories do the Media tell us? Which ones are validated from the artistic-cultural territory today?
What “no-effects” do they produce? Which is their origin? How are they emptied out of their messages?
What place is there currently for any other History but one’s own history (this is, the “personal” one)?
What corner can irony claim against a overwhelmingly flat(tened) // flat(tener) discursive competition?
Are meta-narrations possible when there are not even narrations (other than fairy tales)?
Is there left/is there a possible audience for any kind of meta-narration?
How to agitate/sublevate the spectator/user? Is there any point in doing it?
If past and present co-exist: is it wise to believe that, in the end, movement is a cyclic movement?
And if it is, where are these escapes directed towards, then? How is sense valued in the market? Is sense understood as (the disastrous) “common sense”? Is it sensible to not be hypocritical? I can’t remember…
Can there be memory when there is no critic?
The automatization. The “wish to belong”, without wondering how, what, or what for. The schizophrenia, the hysteria, the panic, the absence, the virtual speed and the anxiety.
Which is the face, which the limb that reacts when it reacts as an automaton to stimuli that do not stimulate, tenacious in a trajectory going from “w” to “w” exhaling wows thoughtlessly?
# # #
edit(ing), direct(ing) + complements
art direct(ing) + design(ing)
colacao, correct(ing) + additional stuff
translat(ing)
original music
original video
listen(ing)
open(ing) doors
skin abstracts x manuel diumenjo
open(ing) walls
effberliner mauer
frontcover(ing) im(a)g
horadé by fp
highlights from:
a b r e l a m u r a l l a
a coruña
antwerp
barcelona
bologna
bruxelles
buenos aires
burgos
campredó
caracas
dublin
geneva
girona
grenoble
iowa city
lima
london
madrid
mexicali
montreal
paris
portland
tarragona
warsaw
# # #
YSE #19 Original Music | YSE #19 Original Video | YSElected videos
# # #
Official WEBsite | MySpace | Flickr Group | Facebook | Twitter
Kodachrome II
Kodachrome-X
Ektachrome-X
High Speed Ektachrome
1970/September, “Popular Photography” magazine.
Both Sides of Herman's Hermits
Herman's Hermits
MGM E-4386
1966
Illustration by Frank Frizetta (sic), probably better known for his other styles of artwork.
1958, 4th print; The Big Sleep by Raymond Chandler. Cover art by Darcy. Same theme in detail and blue color on the backcover.
1961; Round the Clock at Volari's by W.R. Burnett. Cover art front- and backcover by Mitchell Hooks.
1961; Backcover Photo The Misfits by Arthur Miller. Movie Tie-in. Photo by Ernst Haas. Starring Clark Gable, Marilyn Monroe and Montgomery Clift.
Robert E. Howard’s science fiction novel “Almuric” was first published in book form by Ace Books in 1964.
www.flickr.com/photos/57440551@N03/14299195641/in/album-7...
It was originally a three-part serial that began with the May 1939 issue of Weird Tales.
www.flickr.com/photos/57440551@N03/14324857774/in/set-721...
The novel features a muscular hero known on earth as Esau Cairn. He transports through space to a world known as Almuric to hide from the law after a deadly altercation with a corrupt politician. While there he battles wild beasts and ape-like humanoids and becomes known as the Iron Hand due to his physical strength and fighting skills.
1953 second print; The Girl Cage by Charles Mergendahl. unknown Artist. One of the first popular Library paperbacks (Correct me if I'm wrong) with a drawing on the backcover. Art Director Ed Rofheart
Wartime photo ads typically mixed in greater or lesser amounts of patriotic boosterism. Forget Germany's Zeiss & Leica junk, when Kodak has a "revolutionary new optical glass"! (I have to assume this is the radioactive-thorium stuff made famous by the Aero Ektar?)
And "serving human progress" by sending a shipful of sailors to a watery doom seems a little grisly even for wartime.
1955 PBO; Great Tales of City Dwellers Anthology. Detail of the Backcover art by Robert Maguire. SEE Dames, Dolls & Gun Molls on page 95
1958 PBO; Baby Moll by Steve Brackeen (pseudonym of John Farris). Nice repeat on the backside. Cover art by Barye Phillips.
1952; Chicago Confidential by Jack Lait and Lee Mortimer. Cover art by Robert Stanley. Uncensored Shocking ! SEE AT LARGE !
1st print Jan. 1952 - 350,000
2nd print Febr. 1952 - 404,000
3rd print March 1952 - 250,000
4th print May 1952 - 201,000
5th print Nov. 1952 - 101,000
1958; The Key by Jan de Hartog. Cover art by Richards. Movie Tie-in starring Sophia Loren and Trevor Howard
1953; The Four of Hearts by Ellery Queen.unknown Artist. The color of the four of hearts is black on the back cover !