Gerardo Aragon
2007014536Colombia: Villegas Editores 2007. Hardcover. Near Fine/Near Fine. 4to - over 9¾" - 12" tall. Villegas Editores hardcover books
Alcuin Books, ABAA-ILAB · États-Unis45,00 $US≈ 38,07 €
13 résultats
2006119619New York New York: Salander-O'Reilly Galleries 2006. Softcover. VG. Red wraps; 83 pp.; 35 color plates. Accompanied an exhibition held January 19-February 25 2006 at Salander-O'Reilly Galleries in association with Galerie Lestranger; Contains thirty-five works with extensive annotations by artists such as Jean Briant Jean-Baptiste-Camille Corot Eugene Delacroix Thomas Fearnley Andre Giroux Pierre-Henri de Valenciennes and others. Salander-O'Reilly Galleries unknown books
2007014536Colombia: Villegas Editores 2007. Hardcover. Near Fine/Near Fine. 4to - over 9¾" - 12" tall. Villegas Editores hardcover books
2007011746Bogota Columbia: Villegas Editores 2007. First Edition. Cloth. Oscar Monsalve Pino photography. Square Octavo. 163pp. Color plates line drawings and reproductions. Chronology. Bibliograohy. Bound in red cloth boards with illustrated dust jacket. Facsimile signature. Near Fine/Near Fine. Villegas Editores unknown books
2019113370Medellín: Universidad de Antioquia Facultad de Comunicaciones 2019. 24 cm. Colección Cine 336 pages color plates bibliographical references p.297-309 color pict. wrps. Originally presented as the author's thesis doctoral--Universitat Autonoma de Barcelona 2012. The author analyzes the main changes in cinema rhetorics of non-fiction in the era of the post-truth as an attempt to chart the blurry discursive boundaries of this cinematographic form which to respond to new ways to understand truth and reality in contemporaneity is exploring rhetoric territories that go way beyond the classic and modern paradigms so embedded in the centrality of the documentary institution. Likewise with the use of hermeneutics and an audiovisual specifically rhetorical analysis I seek to understand the situational contexts the intertextualities and the conception of reality behind the speeches of post-truth non-fiction cinema. Then I explore how these speeches are aware of their own history of their intrinsic subjectivity and the complexity that implies to represent the real on this era where the concept of truth has transformed and relativized answering to sensibilities and air of the current time. This is the reason why non-fiction cinema interacts inspiring and inspiring itself with actual discursive strategies like the ones developed in science the social movements arts or mass media giving place to own novel rhetoric that can be detected in audiovisual statement actio in style and in rhetoric auditive and visual figures elocutio the documentary structures dispositio the arguments and modalities inventio the projected world and context intellectio. As such this representation method has been expanded to even more complex forms that among its characteristics they suspect deconstruct satirize reflect recycle perfomatize fictionalize such reality constituting itself in one of the main sources of creativity innovation and auto reflection of current cinematography and an important speech about contemporaneity. CONTENTS: Presentación -- Metodologia -- La retórica y la hermeneutica en el analisis del cine de no ficción -- La retórica: un sistema integral de analisis y producción de discurso documentales -- Aproximacion de la retórica -- La nueva retórica -- Retórica posestructuralista -- La nueva retórica -- El canón retórico en el cine de no ficción -- Actio: la enunciación y enunciación -- Dispositio: la organización estructural de la imagen y el sonido -- Macroestructuras y superstructuras -- La partición del discurso en secciones -- Ordenación de las partes del discurso -- Inventio: busqueda de ideas y materiales en el desarrollo y preproducción -- La voz documental y el grado de autoridad -- Aproximación al dacumental y al cine de no ficción de la posverdad -- Documento y documental -- Las fronteras borrosas con la ficción y lo experimental -- Una frontera ambigua: documental y cine de no ficción -- Hacia una imposible delimitación del cine de no ficción -- El cine de no ficción en la era de la posverdad -- Retóricas de la era posverdad y cine de no ficción -- Cambio de paradigma y nuevas sensibilidades contemporaneas -- El giro retórico: la forma si importa -- Nuevos discursos cientificos y sus relaciones con el cine de no ficción -- La crisis de la historiagrafia retórico subjetividad y pequeños relatos -- Nuevos discursos de la subjetividad como estrategia autobiograficoas performativas poetico experimentales y ensayisticas de representación de la realidad -- Analisis retórico de algunas peliculas ejemplares del cine de no ficción de la posverdad -- Sin sol Chris Marker 1982 Francia -- Las playas de Agnes -- Harun Farocki 1988 Alemania -- Bien despierto -- Los rubios -- Fotografias -- Digital -- El cine como espejo del mundo -- Conclusiones -- Bibliografia citatada -- Bibliografia complementaria -- Indice analitico -- Indice Onomástico -- Ondice de titulos Listas de figuras -- Ejes retóricos -- Modelo de analisis retórico -- Voz y niveles del relato -- Punto de vista -- Distancia -- La superstructura -- Categorias de estructuracion tropologica -- Esquem de la forma filmico de Bordwell -- Generos y clasificaciones desde la retórica y la literatura -- Modelos de clasificacion del documental -- Esquemas de la intellectio -- Hibridaciones del cine de no ficción de la posverdad. Universidad de Antioquia, Facultad de Comunicaciones unknown books
20089005829Albuquerque New Mexico: Fresco Fine Art Publications 2008. 1st. Hardcover. Book fine Dust jacket fine. Bound in the publisher's origina blue cloth with the front cover and spine stamped in silver. <br/><br/> Fresco Fine Art Publications hardcover books
2008191337San Francisco: The San Francisco AIDS Foundation 2008. Magazine. Twenty-one issue run various paginations 8.5x11 inches illustrations tables figures stapled newsletters/magazines a summary sheet from July 1996 on Protease Inhibitor drugs very good. Published 4 times a year until the late 1990s then bi-annually issues included are: June November 1989 March June September & December 1993 March & December 1994 March & June 1995 July 1996 Summer/Autumn 2001 Summary Sheet July 2006 January 1999 Winter 2003 Summer & Winter 2005 Summer 2006 Summer & Winter 2007 and Winter 2008. The San Francisco AIDS Foundation unknown books
20069009786Minneapolis: Hermetic Press 2006. 1st. Fine Condition. A visual presentation of a poem. In five colors: green yellow orange brown and black. The text of the poem is a parody of Joyce Kilmer's "I Never Saw A Tree Lovely as A Poem." Designed and printed by hand by Philip Gallo in an edition of 100 copies from Trajan. In the shape of a tree the leaves composed of ampersands printed in four different colors and the title of the poem forming the trunk and the ground on which the tree stands. Printed for The Ampersand Club on the occasion of Gallo's presentation on Book Arts in america.Sheet measures 11 x 7.4 inches 27.9 x 18.7 cm. Philip Gallo is the proprietor of the Hermetic Press in Minneapolis and a world-renowned poet printer and typographer. More highly regarded and better known in Europe than in the United States his work as a visual artist and concrete poet is collected by the Victoria & Albert Museum the Walker Art Center the Museum Of Modern Art the University of Wisconsin Brown University and the Getty Museum to name but six. Unmatted. Matted ready for framing add 35.00. Matted and framed add 150.00. Image available on request. <br/><br/> Hermetic Press unknown books
200652116Minneapolis: Phil Gallo at the Hermetic Press 2006. A Phil Gallo sampler: 15 letterpress invitations greeting cards and announcements 16mo to 8vo; plus Advice to Bibliophiles by Umberto Saba N.Y.: Barnes & Noble 2000 pp. 3-17 1 original black paper wrappers lettered in silver. All fine. <br/><br/> Phil Gallo at the Hermetic Press] unknown books
200351729Minneapolis: Stamp Pad Press / Hermetic Press 2003. Edition limited to 75 folio consisting of 4 bifolia each approx. 13" x 10" with letterpress wrappers and contents and a total of 6 visual poems printed in color as below: 1 Preface to an Autobiography by Richard Kostelanetz; 2 A Naive Topognomy of Loopules on a Fabric-Manifold of the All-Angel by Franz Kamin; 3 Dialogue with Anna Blume by Scott Helmes; 4 High-Heeled by K. S. Ernst; 5 Untitled. John M. Bennett; 6 Nuclear Child by Philip Gallo. Fine and contained in the original Zip-Loc bag as issued. <br/><br/> Stamp Pad Press / Hermetic Press unknown books
202057573Saint Paul: Philip Gallo at the Hermetic Press 2020. Edition limited to 35 copies 8vo approx. 10¼" x 6½" 16 leaves printed in blue green and black on rectos only; illustrations throughout; original blue card wrappers; as new in a plexiglas slipcase. "Printed on 180 gsm Rives from handset Studio & Allegro; 'a fractal of pterodactyls' was set in Illustrator from Eurostile and printed from polymer plate; the drawings were created in Illustrator from the Calligraphic Brushes Set & printed from polymer." Gallo's latest creation offered for sale here first: a children's book for adults. <br/><br/> Philip Gallo at the Hermetic Press unknown books
201548167Minneapolis: privately printed 2015. Edition limited to 50 copies this being one of 45 there are 5 artist's proofs; small tall folio pp. 24; illustrations in the text 1 full-page and in color large double-page folding plate printed in color; original stiff orange wrappers with gilt vignette the whole in a plexiglass slipcase. As new at the published price. Electric Tulips 5.1 was conceived as a dialogue between an imaginary literary critic Gallo and the poet Gallo and revolves around the writing and presentation of his poem Electric Tulips 5.1. The essay which results Future Preterite by the esteemed critic Alessandro S. Stompanado is intended to emulate that of the essay by James Joyce written under the pseudonym Vladimir Dixon; and which appeared in the Sylvia Beach publication of 1929: Our Exagmination Round His Factification for Incamination of Work in Progress in which Joyce writes an appreciation of his own novel Ulysses. As such the book is a multi-layered pastiche of both literary and typographic treatments along with a magnificent double gatefold presentation of the poem in eight colors each of the seven stanzas in a separate color and the seminal tulip in an eighth; the type all set by hand and printed letterpress and polymer from Permanent Headline Open from the now defunct foundry Ludwig & Mayer. <br/><br/> privately printed unknown books
201955145Saint Paul: The Hermetic Press 2019. Edition limited to 31 copies this being one of 26 lettered copies on 125 gsm Stardream paper there are also 5 on 110 gsm Plike paper 8vo approx. 9¾" x 5½"; 22 leaves; printed in color throughout handset foundry type used includes Eurostyle Normal & Extended; Aurora Condensed & Bold Condensed; Permanent; Headline & Headline Open; Impact Open; Anzeigen & Inserat Grotesk; Folio Extra Bold; Huxley Vertical; Bauer Bodoni Italic & Bold Roman; Libra; Sapphire; Prisma; Boulevard and Fry's Ornamented card covers in an orange chemise of RFID/NFC Faraday fabric. Quite a book pushing the limits of color type design and poetry found or otherwise "like a slurry full of swarth." <br/><br/> The Hermetic Press unknown books
201655799Minneapolis & Saint Paul: Hermetic Press 2016. The complete series in 3 volumes edition limited to 30 copies 8vo pp. 18; 18; 56; illustrated throughout; original cream printed wrappers. Fine. On Typographica Broodthaers excerpta: "This book started out as an installation but devolved into conceptual art and lay dormant until now. But my first idea was to set it in a kind of poison pen letter fashion and as I had a complete run of Eurostile Extended-which I felt quite suited to it-I went ahead and printed it on a half sheet of Strathmore. It was not long before I decided that the copy was irrelevant-that the idea was simply an idea-or more to the point-joke-that the piece did not need to be produced and that a written description would suffice: The idea of the thing being better than the thing itself. I still have the press and the type still standing after 25 years and for the book I reprinted the form photographed the original drawing and sheet of Strathmore; along with the press and the type piled up and into it. On Word Bags: "Graffiti on a bank building. A suite of seven cibachromes showing individually the letters of the word PROTEST. Building maintenance went over the letters with lacquer thinner and then covered the entire word in clear plastic to protect passers-by. The red spray paint spread and ran down the side of the building imparting a blood & tear-like aspect to the letterforms under the billowing shroud of plastic. Hence body bag viz. word bags. On Palabra Found poems in lowercase Peignot - by way of its modified ascenders and dotted i - if handled as a unicameral may be seen as a democratization of type; or as a kind of gentrified graffiti. <br/><br/> Hermetic Press unknown books
