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Animal Babies, written by Kathryn and Byron Jackson with illustrations by Adele Werber, Little Golden Books, Simon and Schuster, NY, 1947.
Many of the pages in this copy have been colored on with crayon, pen and pencil by "BABYLION THE BUSY," which is scrawled in a childish hand inside the front cover (I'll have to scan it!). Still, it's a lovely little find.
The Tale of Genji
by Murasaki Shikibu, ( 紫式部 )
Translated by Royall Tyler
1182 pages
I put together a set titled , #Mybooks.
These are #books , #magazines that I have read or will read at some point.
The books are mainly #nonFiction , #history, #biographies , #autobiographys and #historicalevents I found to be #interesting.
This is #myLibrary
1956; The Hardboiled Lineup, Anthology edited by Harry Widmer. Cover art by Mort Kunstler. The Art Director is unknown but a lovely use of Lines on the front and back referring to the title.
1955; Salambo by Gustave Flaubert. Cover art by Rudy Nappi. Art Director of Berkley Books was Tom Dardis.
1957, 3th Printing; Japanese Tales of Mystery and Imagination by Edogawa Rampo. Cover art by M. Kuwata
1958; Summer Boy by Walter B. Lowrey. Original title: Watch Night. Cover art Lou Marchetti. Great Design! GGA, tension, Bold lettering, The front desighn is reused in Black&white on the back. The reviews as a kind of torn newspaper strip in black at the back. Art Director was Rolf Ericson
Junk Jet n°1 wants to capture and transfer junk’s ambiguities indicating non-function, or at least bad-function implied in the nature of technology, and various forms of mis-use for aesthetic purposes. What could be the aesthetic (non-) function of junk within clean computational aesthetics of electronic media?
Therefore, relevant fields are all sorts of re-use, of wrong-use and non-use, and of tinkering (bricoler, basteln) of forms and found objects, of theories and (small) narratives, of fashions and styles, and of course of computers and other electronic devices. Junk Jet n°1 wants to explore do-it-yourself works of computer culture, accidental outcomes, deviant and normal aesthetic forms that result from misused media, subverted customary tools, and jammed common practices.
For this reason it has collected works from theorists, artists, architects, and musicians who treated in various forms counter use of electronic devices, or who produced counter works (and counter counter works) of counter aesthetics, tunneling mainstream (above all architects’, designers’, and artists’ stream) practices. Processes of deformation and variation are more important than linear chains of formulation and fixation. This includes works and concepts on collage (Holger Lund), on chance, cut up, bootleg and sampling (Jan Jelinek, Rank Sinatra, Mowblind), and on hybrid techniques (Nicole Sudhoff), all of them turning electronic devices, and other forms of computation into machines of indeterminacy. Open experiments in which someone or something may fail are of great importance: Through the lens of failure Junk Jet watches authority falter, methodologies crumble, tests getting tested – until they crash. Failure is regarded a means for confronting the seemingly fixed hierarchies implemented in technologies, but above all in procedures.
Junk Jet n°1 claims itself political, not in that it handles political topics, but in that it goes after medial techniques that show alternatives to the tautological and exploitative practices of our mass culture. Junk Jet n°1 wants to cultivate its anti heart by “introducing noise to signal”: by distorting the digital hype and collapsing the technological seduction, by subverting the computer, and exploring the aesthetics of noise and the beauty of collapse and crash – perhaps the crash of the beauty.
With noisy contributions by:
Kim Cascone, The Breadboard Band, Asli Serbest & Mona Mahall, Marc Wright & Tim Kaiser (girl.tv), Gerd De Bruyn, Susigames, Hisham Almannai, Nicole Pruckermayr, Holger Lund, Burak Arikan, Nicole Sudhoff, Pascal Glissmann & Martina Höfflin, Amy Alexander, Jaromil, Sebastian Schöpsdau, Farmers Manual, Martin Woodtli, Claus Pias, Olia Lialina, Moritz von Pein, Christine Berrie, Rank Sinatra, Sven Koenig, Dieter Kovacic (dieb13) & Oliver Stolz, The Breadboard Band, 2-5bz, Nobukazo Takemuro , Alex Tsitsigias, Peter Plessas, Kid Fellow, Sinebag, Jan Jelinek, Mowblind
Release Date: November 2007
ISSN: 1865-9357
Number of pages: 69
Measurements: 25 x 20 x 0.5 cm
There is barely three hours left before the star Beta Niobe will go nova and explode. Captain Kirk, Mr. Spock, and Dr. McCoy beam down to Sarpeidon, the star's only satellite, to assist in rescue operations.
But though once inhabited by a highly civilized humanoid species, the landing party finds no trace of human life left. How can that be? Their search for an answer hurls them back centuries in time and traps them in the doomed planet's past, where Spock demonstrates he is capable of experiencing strong emotions.
Paula Weideger on Book Promotion Tour for Menstruation and Menopause visiting the Post-Intelligencer in Seattle USA. February 16, 1976. Photo Ewald Vanvugt.
Part of an author’s visit to a city is meeting local journalists. The office of the Post-Intelligencer, a major newspaper in Seattle, was one of the decors of plywood and formica for an author or an artist to pitch a book or a record to a wider audience. Notice the portrait on the backcover of the book. The large front page of the newspaper on the wall identifies the exact location, while the picture tells about the reality of similar rituals in dozens of places.
Title: [Union Pacific Railroad Illustrations back cover]
Alternative Title: Union Pacific Railroad illustrations, [page 60]
Creator: Russell, Andrew J.
Date: 1869
Part Of: Union Pacific Railroad Illustrations
Page Number: p. 60
Physical Description: 34 x 49 cm
File: vault_folio_2_f594_u5_1869_60_opt.jpg
Rights: Please cite DeGolyer Library, Southern Methodist University when using this file. A high-resolution version of this file may be obtained for a fee. For details see the sites.smu.edu/cul/degolyer/research/permissions/ web page. For other information, contact degolyer@smu.edu
For more information and to view the image in high resolution, see: digitalcollections.smu.edu/cdm/ref/collection/wes/id/1227
View U.S. West: Photographs, Manuscripts, and Imprints digitalcollections.smu.edu/all/cul/wes/
Scanned by me
- FEMEIA, ANUL XXII Nr. 8 AUGUST 1969. Rubrica: PENTRU ALBUMUL DUMNEAVOASTRA.
Ion Dichiseanu -
Filmographie (Wikipedia):
Darclée (1960)
Post-restant' (1961)
Porto-Franco (1961)
Tudor (1962)
Titanic vals (1964) - Gigi Stamatescu
Mofturi 1900 (1964)
Runda 6 (1965)
Dincolo de barieră (1965)
Tunelul (1966)
Frumoasele vacanţe (1967)
Întoarcerea (din "De trei ori Bucureşti" - 1967)
Amprenta (1967)
Bătălia pentru Roma (1968)
Războiul domniţelor (1969)
Castelul condamnaţilor (1970)
Cântecele condamnaţilor (1970)
Printre colinele verzi (1971)
Sfânta Tereza şi diavolii (1972)
Pistruiatul (1973)
100 lei (1973)
Muşchetarul român (1975)
Cantemir (1975)
Toate pânzele sus (1976) - serial TV - Pierre Vaillant
Severino (1977)
Pentru patrie (1977)
Acţiunea Autobuzul (1977)
Melodii, melodii (1978)
Ultima frontieră a morţii (1979)
Clipa (1979)
Burebista (1980)
Al treilea salt mortal (1980)
Trandafirul galben (1982)
Misterele Bucureştilor (1983)
Dragostea şi revoluţia (1983)
Căruţa cu mere (1983)
Zbor periculos (1984)
Racolarea (1985)
Maria şi Mirabela în Tranzistoria (1988)
Neînvinsă-i dragostea (1993)
Triunghiul morţii (1999)
Vocea inimii (2006)
Supravieţuitorul (2008)