julesz (24 resultados)

Illustrated Hard Cover. Condición: Very Good. Estado de la sobrecubierta: No Dust Jacket. First Printing. 8vo - over 7¾" - 9¾" tall.

Hardcover. Condición: Very Good. About like new with no marks. Sharp corners.

HARDCOVER. Condición: Fair. Stereoscopic glasses included. No dust jacket. Binding solid, pages crisp and clean, no markings found. Red cloth covered boards are faded and rubbed with some patches of darkening, handling soil along the spine. Remainder mark at bottom and top edgers of text block. Extremities lightly bumped with minimal tip wear.

Hardcover. Condición: fair. Acceptable Copy. Customer Service Guaranteed.

Condición: New.

Hardcover. Condición: Fair. No Jacket. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Condición: Fair. No Jacket. Missing dust jacket; Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Condición: Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

24 x 21 cm. Condición: Gut. XXI, 276 Seiten Innen sauberer, sehr guter Zustand. Leineneinband rot mit Titeldruck auf Rücken und aufgeklebtem Nummernzettel. Die üblichen Bibliotheks-Markierungen mit Stempeln und Einträgen. DH-25-09B Sprache: Deutsch Gewicht in Gramm: 908.

Condición: Good. Estado de la sobrecubierta: Good.

Hardcover. Condición: Near Fine. Estado de la sobrecubierta: Very Good. 1st Edition. In a red cloth hardcover with black titles to spine. With an unclipped red dust jacket with black titles to spine and front and colour illustration to front. 276 pp. The book is in near fine condition. The cover is free of shelf-wear but there is little sunning to the extremities. The binding is tight and the pages clean and unmarked. The dust jacket is very good with just very minor shelf-wear to the extremities and slight sunning of the spine.

hardcover. Condición: Gut. 420 Seiten; 9780226415277.3 Gewicht in Gramm: 1.

Hardcover. Condición: new. New Copy. Customer Service Guaranteed.

Hardcover. Condición: New. In shrink wrap. Looks like an interesting title!

Hardcover. Condición: Very Good. Book is in Very Good condition. Interior pages are clean. Dust Jacket is in poor condition. Corner, edge and cover wear. Tears to corners. Shelf wear.

Hardcover. Condición: Fine. Estado de la sobrecubierta: Fine. 1st ed. xviii, 406 pages : color illustrations ; 22 cm. Box number: GR0080 ; First MIT Press Edition, 2006 ; 1st printing.

Hardcover. Condición: new. New Copy. Customer Service Guaranteed.

Hardcover. Condición: Very Good. Estado de la sobrecubierta: Very Good. Translated from the Hungarian by J. Naszady and F. Sharp. First edition. Very good in a very good dust jacket. B000JF01ZU.

orig.cloth Minor rubbing. VG., dustwrapper. Textual illustrations. 24x18cm, xxi,276 pp., One stereopticon 707 inserted in pocket. "Renowned for his work in depth perception and pattern recognition, Bela Julesz originated the techniques of computer-generated random-dot stereograms, cinematograms and textures, which resulted in a subfield of human psychology called "early vision." In this book Julesz elucidates the ideas and insights generated by this exciting paradigm in a series of dialogues between Julesz the "naif" and Julesz the scientist. These playful, personal and deeply informed dialogues, illustrated with many of Julesz's own demonstrations, are challenging, but never beyond the reach of the general scientific reader interested in problems of brain research. They cover stereopsis, motion perception, neurophysiology, texture and auditory perception, early vision, visual cognition and machine vision. While Julesz's work on early vision and focal attention is the backbone of the dialogues, he is equally at ease recounting his debate with John Searle or describing his interactions with Salvador Dali. Among the general topics addressed in the dialogues are creativity, the role of mathematics in psychobiology, the role of theories, metascientific questions and the importance of maturational windows and cortical plasticity. Julesz also relates his current work with past findings and ideas and addresses strategic questions that can be solved with existing tools" - Publisher's description. Minor rubbing. VG., dustwrapper.

M. 139 (teils farb.) Abb. 858 S. OLwd. Sprache: Deutsch 0 gr.

593 S. OLwd. Sprache: Deutsch 0 gr.

gebundene Ausgabe. Condición: Gut. 592 Seiten; Das hier angebotene Buch stammt aus einer teilaufgelösten wissenschaftlichen Bibliothek und trägt die entsprechenden Kennzeichnungen (Rückenschild, Instituts-Stempel.); leichte altersbedingte Anbräunung des Papiers; der Buchzustand ist ansonsten ordentlich und dem Alter entsprechend gut. Sprache: Deutsch Gewicht in Gramm: 1350.

591 Seiten Schutzumschlag nachgedunkelt, sonst gutes Exemplar. Sprache: Deutsch Gewicht in Gramm: 1500 Gr.-8°, Hardcover/Pappeinband mit Schutzumschlag.

12 pp.; 28 x 21.6 cm; loose leaves; black-and-white; edition size unknwon; unsigned and unnumbered; photocopy / xeroxed Exhibition brochure / checklist published in conjunction with show held May 1 - July 23, 1993. Curated by Jean-Noël Herlin, with research by Karen Bubb and Sarah Wagner. Selected artists include Jean-Noël Herlin, Karen Bubb, Sarah Wagner, Wolfgang Paalen, Tom E. Lewis, Joseph Cornell, Laurence Vail, A. Raymond Katz, Irving Kriesberg, Yves Tanguy, Piet Mondrian, Fernand Léger, Claude Bentley, David Smith, Matta, Jean Follett, Pablo Picasso, Marcel Duchamp, Robert Brownjohn, Ivan Chermayeff, Thomas Geismar, George Brecht, Jim Dine, Claes Oldenburg, Jim Davis, Elaine de Kooning, William T. Wiley, Frank Stella, Man Ray, Red Grooms, Michael Todd, Ay-o, George Ortman, Nam June Paik, Harry Soviak, Arni Hendin, Thomas Downing, Gerald Oster, Reginald Neal, Dakota Daley, Nicholas Quennell, Bela Julesz, Michael Noll, Dan Flavin, Louise Nevelson, Peter Saul, Lila Katzen, Elaine Sturtevant, Kim MacConnel, Liliana Porter, Mel Bochner, Lawrence Weiner, Eleanor Antin, Jean Dubuffet, Yoko Ono, Larry Bell, Marilyn Levine, Larry Rivers, Susan Weil, Arman, Dorothea Rockburne, Robert Rauschenberg, Robert Kushner, Lynda Benglis, Marcia Hafif, Joan Miró, Karole Armitage, Beverly Naidus, Meret Oppenheim, Ronnie Cutrone, Keith Haring, Michael Graves, Judith Shea, Gordon Matta Clark, James Lee Byars, Louise Lawler, and Izhar Patkin, and many others. Materials presented drawn largely from the Jean-Noël Herli Archive. "Exhibition invitations? I've seen a few. Any working art critic inevitably acquires an extensive knowledge of this genre of printed ephemera. Heralding gallery and museum shows, invitations flood the mailbox, crowd the desk and all too often accumulate so intractably on the kitchen counter as to seem part of the decor. You can't live with them, and until the show is over, you can't throw them out. Still, life without such art-world byproducts would be a lot more difficult. Not only do they convey the important facts -- the who, when and where -- of shows that need to be seen. They're also advertisements bent on seducing us into attendance by being clever, eye-catching or provocative -- although sometimes they nip interest in the bud. (There's probably no art lover with mailing-list credentials who hasn't held up some gallery announcement and said, "Forget it!") Invitations are style statements in a minor key, ancillary artworks of a collective sort. Designed by artists, by graphic designers, by art dealers and museum curators -- usually a combination of the above -- they are the advance guard for the real thing. Their merit is judged in the very act of reading one's mail." -- Roberta Smith, "Art Invitations As Small Scraps Of History," New York Times, May 16, 1993. Very Good. Light edge wear. Contents clean and unmarked.