2007Best.-Nr. R150210359FAYARD. 2007. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 149 pages. . . . Classification Dewey : 844-Essais
1973Best.-Nr. R240140614STOCK. 1973. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 226 pages - couverture contrepliée.. . . . Classification Dewey : 844-Essais
1961Best.-Nr. RO80182821EDITIONS SOCIALES. 1961. In-12. Broché. Etat d'usage, Couv. convenable, Dos satisfaisant, Quelques rousseurs. 277 Pages. 1 er plat et pages déchirés. Trace de stylo sur le 1er plat. Quelques rousseurs sans conséquence pour la lecture.. . . . Classification Dewey : 844-Essais
ISBN : 2070710068. Gallimard. 2003. In-8 Carré. Broché. Très bon état. Couv. fraîche. Dos impeccable. Intérieur frais. 822 pages. Photo en couleur issue d'un journal collée en page de garde. Nrf. 'Cet Eloge s'imposa il y a bien longtemps. J'avais seize ans, et toi mon frère dix-huit, quand nous marchions dans les rues de New York a l'heure ou le soleil couchant éclaboussait les tours.' (...)
2003Best.-Nr. RO40130851Gallimard. 2003. In-8. Broché. Très bon état, Couv. fraîche, Dos impeccable, Intérieur frais. 822 pages. Photo en couleur issue d'un journal collée en page de garde.. . . . Classification Dewey : 844-Essais
1932Best.-Nr. R240099230EDGAR MALFERE. 1932. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 179 pages.. . . . Classification Dewey : 844-Essais
1978Best.-Nr. R200075459FAYARD. 1978. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 411 pages.. . . . Classification Dewey : 844-Essais
ISBN : 287691333X. First. 1996. In-8 Carré. Broché. Bon état. Couv. légèrement passée. Dos satisfaisant. Intérieur frais. 274 pages. Grande ville française échangerait 250 m2, loyer symbolique contre services rendus...
1996Best.-Nr. RO40098460First. 1996. In-8. Broché. Bon état, Couv. légèrement passée, Dos satisfaisant, Intérieur frais. 274 pages.. . . . Classification Dewey : 844-Essais
Librairie Armand Colin, Paris. 1911. In-12 Carré. Broché. Bon état. 1er plat abîmé. Dos plié. Quelques rousseurs. 289 pages. Etiquette de code sur la couverture. Quelques tampons de bibliothèque (et ex-libris). Rousseurs sur la tranche. Choses abolies et choses qui demeurent. Le dogme fondamental. Dieu. Du génie. Le sacrifice. Gouverner...
1911Best.-Nr. RO40259670Librairie Armand Colin, Paris. 1911. In-12. Broché. Bon état, 1er plat abîmé, Dos plié, Quelques rousseurs. 289 pages. Etiquette de code sur la couverture. Quelques tampons de bibliothèque (et ex-libris). Rousseurs sur la tranche.. . . . Classification Dewey : 844-Essais
1958Best.-Nr. RO30304275Editions universitaires. 1958. In-8. Broché. Etat d'usage, Couv. convenable, Dos satisfaisant, Papier jauni. 168 pages. . . . Classification Dewey : 844-Essais
2005Best.-Nr. RO80190638GRASSET. 2005. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 268 pages.. . . . Classification Dewey : 844-Essais
1994Best.-Nr. R260130959FIXOT / LA TABLE RONDE. 1994. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 205 pages.. . . . Classification Dewey : 844-Essais
1918Best.-Nr. R260124936GABRIEL BEAUCHESNE. 1918. In-12. Broché. Etat d'usage, Couv. légèrement passée, Coiffe en pied abîmée, Quelques rousseurs. 206 pages. Tampons de bibliothèque. Ecriture sur le page de garde.. . . . Classification Dewey : 844-Essais
SEUIL. 1975. In-8 Carré. Broché. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais. 314 pages - 1 plan en noir et blanc sur 2 pages en fin de volume.
1975Best.-Nr. R320098552SEUIL. 1975. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 314 pages - 1 plan en noir et blanc sur 2 pages en fin de volume.. . . . Classification Dewey : 844-Essais
1918Best.-Nr. RO80243031Librairie Plon. 1918. In-12. Broché. Etat passable, Couv. défraîchie, Dos abîmé, Papier jauni. 286 pages.. . . . Classification Dewey : 844-Essais
1992Exhibition catalog from the show of the same name at the publisher's gallery in excellent condition with minor shelf wear to covers, small tear upper back cover. Binding is solid and square, exterior shows no other blemishes, text/interior is clean and free of marking of any kind. Illustrated with 73 vintage, historical photos by many different photographers, including Isidore van Kinsbergen, Kassian Cephas, Onnes Kurkdjian, C.B. Nieuwenhuis, H.M. Neeb, etc. that document Indonesia's struggle for independence from 1845-1950. Essays by 13 different writers on subjects as the Aceh war, tobacco in sumatra, early indonesian photography, Java antiquities.
2015Can art express questions about justice? Could art, perhaps, even create justice? In Aesthetic Justice, sociologist Pascal Gielen and curator Niels Van Tomme invite a variety of artists and critical thinkers-including Zoe Beloff, Arne De Boever, Mark Fisher, Matt Fraser, Tessa Overbeek, Kerry James Marshall, Viktor Misiano, Carlos Motta, Nat Muller, Julie Atlas Muz, Gerald Raunig, Dieter Roelstraete, Hito Steyerl, Julia Svetlichnaja, Hakan Topal, Samuel Vriezen and Christian Wolff-to reflect on new futures for the notion and practice of justice. The book offers thought-provoking views on the ways in which art may confront and potentially redirect social and political futures. Incorporating analyses of contemporary artworks that challenge the social, political or economic status quo, as well as interviews with artists and theoretical reflections, Aesthetic Justice considers the liberating potential of aesthetic frameworks and suggests alternatives for a more just future. — Testi: Beloff Zoe, Van Tomme Niels et al. pagg. 320; rileg. brossura. Editore: Valiz, Amsterdam, 2015.
Best.-Nr. 64925Mons, Editions des Cendres, 16 pp., réimpression de l'édition de 1840, broché, couverture légèrement insolée, bon état.
2011Italian philosopher Antonio Negri has declared that "Every kind of change belongs to a form of community art," inverting the convention that community art can be an integral component of social change and extending the rubric of art to propose a commons of all those striving to effect change in social, economic, technological and ecological arenas. So how do these endeavors influence and act upon one another? In Community Art, artists and theorists Tilde Björfors, Bertus Borgers, Paul De Bruyne, Changchengh, Luigi Coppola, An De bisschop, Miguel Escobar Varela, Jan Fabre, Alison M. Friedman, Pascal Gielen, Sonja Lavaert, Carol Martin, Antonio Negri, Alida Neslo, Tessa Overbeek, Lionel Popkin, Richard Schechner, Hein Schoer, Ricky Seabra, Jonas Staal, Klaas Tindemans, Luk van den Dries, Quirijn Lennert van den Hoogen, Hans van Maanen, Bart Van Nuffelen and Karel Vanhaesebrouck explore the practices of artistic and social movements in western and non-western societies. — Testi: De Bruyne Paul, Gielen Pascal. pagg. ple; rileg. brossura. Editore: Valiz, Amsterdam, 2011.
2014Dread: The Dizziness of Freedom reflects on possible re-articulations of the concept of dread in our times. Associated with the "dizziness of freedom" by Søren Kierkegaard, and with "the ecstasy of nihilism" by China Miéville, the experience of dread is a defining characteristic of the contemporary human condition, and--according to the contributors to this volume--an essential and potentially productive emotion. However dark and fatalistic its connotations, through its dialectical coupling of caution and transgression, of paralysis and overdrive, dread allows us to imagine the world differently. Through conversations with and essays by some of today's foremost cultural commentators, this book explores the creative agency of dread--an agency that is created by the very forces wishing to suppress or even destroy it--as well as its politics and related conceptions of fear and anxiety. — Testi: Mieville China, van 't Zelfde Juha et al. pagg. ple; rileg. brossura. Editore: Valiz, Amsterdam, 2014.
2014Equated with notions of public interaction, the term "participation" is often used very loosely, especially within the contexts of new media and innovation research. Among a recent generation of artists and designers working in new media, there is an increasing need to work across disciplines and domains in ways that enable end users to contribute content, form and structure. These artists are currently developing new parameters in creative collaboration and participation in order to meet the specific working methods and processes required by new media. Participation Is Risky illustrates how interesting participative practices and results are typically characterized by the "risky" confrontation between the differences of disciplines and perspectives. While their work will have no fixed form, Participation Is Risky proposes that artists who engage in participative practices must take the risk of abandoning their traditional roles and evolve through participatory collaboration. — Testi: Storni Cristiano, Huybrechts Liesbeth et al. pagg. 344; rileg. brossura. Editore: Valiz, Amsterdam, 2014.
2012In this post-digital age, digital technology is no longer a revolutionary phenomenon but a normal part of everyday life. The mutation of music and film into bits and bytes, downloads and streams is now taken for granted. For the world of book and magazine publishing however, this transformation has only just begun. Still, the vision of this transformation is far from new. For more than century now, avant-garde artists, activists and technologists have been anticipating the development of networked and electronic publishing. Although in hindsight the reports of the death of paper were greatly exaggerated, electronic publishing has now certainly become a reality. How will the analog and the digital coexist in the post-digital age of publishing? How will they transition, mix and cross over? In this book, Alessandro Ludovico re-reads the history of the avant-garde arts as a prehistory of cutting through the so-called dichotomy between paper and electronics. Ludovico is the editor and publisher of Neural, a magazine for critical digital culture and media arts. For more than twenty years now, he has been working at the cutting edge (and the outer fringes) of both print publishing and politically engaged digital art. — Testi: Ludovico Alessandro, Cramer Florian . F.to: 9x25; pagg. 192; BN; rileg. brossura. Editore: Onomatopee, Eindhoven, 2012.