Kenneth a abraham (32 resultados)

Paperback. Condición: Good.

Paperback. Condición: Good.

Hardcover. Condición: Near Fine. Estado de la sobrecubierta: Fine. 2nd. Cloth, 160 pages, illustrations (some colour); 28 cm. Near fine. Firm binding, clean inside copy. Age toning. Fine DJ. A large-format coffee-table book. Profusely illustrated. *** "Think Faberge, and what comes to mind are images of fabulous, glittering jewelry, the mystery and allure of Europe's great royal courts and, of course, the magnificent Imperial Easter Eggs made for the Russian Tsars. Carl Faberge was, first and foremost, a goldsmith, and the exquisite objects that came out of the Faberge workshop at its peak represent the ultimate refinement of the goldsmith's art. Each piece was designed with the express purpose of bringing joy to its recipient. Accomplishments of the Faberge workshop were not limited to precious metals and lapidary work. Their enameling techniques consistently attained a subtlety adn brilliance of technique that had rarely been matched elsewhere - the work glows with richly colored enamels used with unrivaled virtuosity." - Publisher. *** CONTENTS: Metals, enamels and stones; A restless imagination; Stone carvings; Flower studies; Imperial Easter eggs; In retrospect; Marks and standards; Wrong attributions, pastiches & forgeries. Size: 4to.…

Softcover. Volume 70, Number 3 (September 2002). Softcover. Very good condition; on upper right corner of front cover, mended tear on outer paper surface.

Paperback. Condición: Sehr gut. 324 S. Very Good. Shrink wrapped. Sprache: Englisch Gewicht in Gramm: 580.

Condición: Very Good. 1967. Pamphlet. In original wrappers, 29pp. Clean copy with minor shelf wear. . . . .

Hardcover wit. Condición: Good. Prompt Shipment, shipped in Boxes, Tracking PROVIDED: Good Hardcover torn, Chipped and taped Dust Jacket, Stamp on bottom edge, Clean Pages, Name inked out on front free endpaper, damp stain to boards and dust jacket, Prompt Shipping with Tracking.

Third Edition. Very good cloth copy in a very good if slightly edge-nicked and dust-toned dust-wrapper, now mylar-sleeved. Light foxing to edges and prelims. Remains well-preserved overall; internally strong and clean. Physical description; 186 pages : illustrations (some colour) ; 26 cm. Notes; Includes bibliographical references (page 167). Contents; The house of Fabergé Artist or craftsman Formative influences Materials and techniques Objects of function The jewellery The stone carvings Toys and flowers The imperial Easter eggs Catalogue of imperial Easter eggs Some specially commissioned Easter eggs Gold marks and workmasters' initials The designers, craftsmen and managers. Subjects; Fabergé, Peter Carl (1846-1920) Criticism and interpretation. Fabergé eggs. Jewelry Russia 19th-20th centuries. 1 Kg. Profusely Illustrated (ilustrador). …

Third Edition. Very good cloth copy in a very good if slightly edge-nicked and dust-toned dust-wrapper, now mylar-sleeved. Light foxing to edges and prelims. Remains well-preserved overall; internally strong and clean. Physical description; 186 pages : illustrations (some colour) ; 26 cm. Notes; Includes bibliographical references (page 167). Contents; The house of Fabergé Artist or craftsman Formative influences Materials and techniques Objects of function The jewellery The stone carvings Toys and flowers The imperial Easter eggs Catalogue of imperial Easter eggs Some specially commissioned Easter eggs Gold marks and workmasters' initials The designers, craftsmen and managers. Subjects; Fabergé, Peter Carl (1846-1920) Criticism and interpretation. Fabergé eggs. Jewelry Russia 19th-20th centuries. 1 Kg. Profusely Illustrated (ilustrador). …

Condición: Very Good. 1967. Pamphlet. In original wrappers, 29pp. Clean copy with minor shelf wear. . . . . Books ship from the US and Ireland.

Colección educación abierta nº 13. 220 pp. Rústica. Buen estado. ISBN 84-294-1434-7.

Hardcover. Condición: Good. No Jacket. Shelf and handling wear to cover and binding, with general signs of previous use. Internally clean. Secure packaging for safe delivery.

GEORGE, Kenneth D./ ABRAHAM. Eugene C./ NELSON, Miles A LAS CIENCIAS NATURALES EN LA EDUCACION BASICA. Fundamento y métodos Aula XXI/ Educación Abierta / Santillana 1977 Rústica editorial ilustrada -2KG Buen Estado Los nuevos enfoques pedagógicos de las Ciencias Naturales han supuesto una verdadera innovación didáctica en lo que respecta al contenido y a los métodos de enseñanza. Foto_Qu. 328 pp Q (Ref.-219) Ciencias naturales. Pedagogía. Escuela. Educación.Madrid.…

GEORGE, Kenneth D./ ABRAHAM. Eugene C./ NELSON, Miles A LAS CIENCIAS NATURALES EN LA EDUCACION BASICA. Fundamento y métodos Aula XXI/ Educación Abierta / Santillana 1977 Rústica editorial ilustrada -2KG Buen Estado. Algo mareado. Los nuevos enfoques pedagógicos de las Ciencias Naturales han supuesto una verdadera innovación didáctica en lo que respecta al contenido y a los métodos de enseñanza. Foto_Qu. 328 pp Ciencias naturales. Pedagogía. Escuela. Educación. Q (Ref.-22302) libroMadrid.…

GEORGE, Kenneth D./ ABRAHAM. Eugene C./ NELSON, Miles A LAS CIENCIAS NATURALES EN LA EDUCACION BASICA. Fundamento y métodos Aula XXI/ Educación Abierta / Santillana 1977 Rústica editorial ilustrada -2KG Buen Estado Los nuevos enfoques pedagógicos de las Ciencias Naturales han supuesto una verdadera innovación didáctica en lo que respecta al contenido y a los métodos de enseñanza. Foto_Qu. 328 pp Ciencias naturales. Pedagogía. Escuela. Educación. Q (Ref.-311) libroMadrid.…

Leather bound. Condición: Near fine. Limited Edition. Miniature volume, 63pp. Green morocco, title in gilt on spine and front panel, with decorative gilt illustration of Lincoln. All edges gilt. Book measures 2 x 3 inches. Frontispiece portrait of Lincoln, and four illustrations. From a limited edition of 1,500 copies. Light shelf wear to covers. A unique Lincoln collectible. (Bradbury 315). Limited edition of Abraham Lincoln, The Song in his Heart by Kenneth A. Bernard, in miniature. (ilustrador).…

8Vo Softcover. Condición: Good. Estado de la sobrecubierta: Good. 2744pp. Black boards, bronze lettering, unclipped jacket. Text is clean on unmarked, uncreased pages. Hinges are secure, textblock is square with pointed corners. Minimal overall book shelf/timewear, boardwear, light foxing on inner boards, endpapers and textblock edges; minimal jacketwear.…

Condición: Used. pp. x + 313.

Taschenbuch. Condición: Neu. Transactions on Computational Science XXI | Special Issue on Innovations in Nature-Inspired Computing and Applications | Marina L. Gavrilova (u. a.) | Taschenbuch | xvi | Englisch | 2013 | Springer | EAN 9783642453175 | Verantwortliche Person für die EU: Springer Verlag GmbH, Tiergartenstr. 17, 69121 Heidelberg, juergen[dot]hartmann[at]springer[dot]com | Anbieter: preigu.…

hardcover. Condición: Acceptable. Acceptable. Dust Jacket NOT present. CD WILL BE MISSING. SHIPS FROM MULTIPLE LOCATIONS. book.

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

Condición: very_good. Book is in very good condition and may include minimal underlining highlighting. The book can also include "From the library of" labels. May not contain miscellaneous items toys, dvds, etc. . We offer 100% money back guarantee and 24 7 customer service.

Condición: good. Gently used with light wear to the cover, corners, or spine. Pages are clean and free of writing or highlighting. Binding is tight and fully intact. Dust jacket included with hardcover books. Ships fast in a protective poly mailerâ"Monday through Friday, excluding weekends and holidays.…

Paperback. Condición: Good. no dj. Words of Jesus Christ, The. Book.

First Edition. Good cloth copy in a good, somewhat edge-bumped and dust-stained dust-wrapper, now mylar-sleeved. Staining to prelims. Gilt top edge. Remains well-preserved overall. Series; The Thyssen-Bornemisza collection. Physical description; 431 p. : ill. (some col.), map ; 30 cm. Notes; At head of title: The Thyssen-Bornemisza Collection. Contents; Introduction -- Notes on the catalogue -- Bibliographical abbreviations -- List of paintings -- List of changes of attribution since 1969 -- Catalogue -- Artists' biographies. Subjects; Painting, German Catalogs. Painting, Gothic Germany Catalogs. Painting, Early Renaissance Germany Catalogs. Painting, Renaissance Germany Catalogs. Painting Private collections Switzerland Lugano Catalogs. Thyssen-Bornemisza Collection. 1 Kg.…

First Edition. Good cloth copy in a good, somewhat edge-bumped and dust-stained dust-wrapper, now mylar-sleeved. Staining to prelims. Gilt top edge. Remains well-preserved overall. Series; The Thyssen-Bornemisza collection. Physical description; 431 p. : ill. (some col.), map ; 30 cm. Notes; At head of title: The Thyssen-Bornemisza Collection. Contents; Introduction -- Notes on the catalogue -- Bibliographical abbreviations -- List of paintings -- List of changes of attribution since 1969 -- Catalogue -- Artists' biographies. Subjects; Painting, German Catalogs. Painting, Gothic Germany Catalogs. Painting, Early Renaissance Germany Catalogs. Painting, Renaissance Germany Catalogs. Painting Private collections Switzerland Lugano Catalogs. Thyssen-Bornemisza Collection. 1 Kg.…

(Master jewelers.) Text in French. Profusely illustrated mainly in colour. Cloth. Very good in dustjacket with small nick to front panel.

paperback. Condición: New. Paperback Pages Number: 718 Language: Chinese. U.S. law library: Insurance Law. Principles and Practices is different in civil law in general textbooks. general textbooks usually follow a certain logical structure. comprehensive. systematic. depth-related The topics described. even if it is accompanied by case explanations are mostly related to the principle point of contention. difficulty or topic to substantiate or supplement it. While the book is more than straight to the case. to note the.…

Paperback. Condición: Fine. First Edition. 156 pages. Features: Interview with Christopher Alexander; Four Reviews and an overview of Christopher Alexander's 'The Nature of Order' - an essay on the art of building and the nature of the universe; Going after the avant-garde - architectural aesthetics and the spirit of advertising; Architecture - biological form and artificial intelligence; Urban superconscious and the return of the garden myth; On the early sketches of Eric Mendelsohn; A view of berlin holocaust memorials; A treasure of Sullivan architectural ornament; Charles Biederman (1906-2004); Why Charles Biederman matters (to me); An imaginary dialogue between Kandinsky and Klee on Abstract art and nature; Florida Everglades; The color of art in nature's landscape; book reviews. Clean, bright and unmarked with very light wear. An excellent copy.…

Montreal: Editions Gilles Gheerbrant, 1972. Large folio (52.5 × 39.5 cm). Original printed cloth portfolio; title page, 2 leaves with the preface in English and French, six signed color screen prints on thicker paper, each with a glassine sheet and inserted in a bifolium, each printed on the front with an introductory text by the respective artist. Very good. Rare and early portfolio of computer-generated graphics which, as emphasized on the title page, were then screen-printed in only 200 copies "by hand" of the printer Pierre Foisy. The portfolio brings together experimental pieces by some of the best-known pioneers of computer-generated art who worked in the context of the theorists Max Bense and Abraham Moles, who developed theories of "artificial creativity" and "artificial intelligence" back in the 1950s and 1960s and led corresponding interdisciplinary research. About a year before the portfolio offered here was printed, Moles published his book "Art et ordinateur" (Art and Computer). Prior to this, some of his essays on the subject had already attracted international attention. Like Bense, Moles no longer saw the artist as the author of an individual work, but rather as the author of a programmable rule or principle according to which the computer generates corresponding patterns through random combinatorics. Nevertheless, this place of the subject was also to be replaced by the computer by appropriating an empirically ascertainable, statistically verifiable psychology of perception. In "Art et ordinateur", Moles imagined a future in which "emotion engineers" would be able to program aesthetic pleasure. The art academies of this future he envisioned as computer centers that would be supplied with the results of experimental psychology laboratories in which the effect of the work would be measured on test subjects. Therefore, it is not surprising that the pioneers of these art experiments did not usually come from art academies, but from mathematics, physics, technology and psychology institutes, for example. Almost an exception was the philosopher Hiroshi Kawano, who specialized in aesthetics and began investigating the possibilities of computer technology in art in Japan. His interest was initially less technical and more art-theoretical, inspired by the writings of Max Bense. When the computer center was opened at the University of Tokyo in 1962, he began to teach himself programming there. A few months earlier, he had already published an essay in which he introduced Bense's theory into the Japanese debate. The results of his first graphical programming work were published shortly afterwards in the "Japan IBM Review". Numerous other graphical works followed, the technical foundation of which were so-called Markov chains, i.e. mathematical models in stochastics. At the end of the 1960s, he turned away from the Marko chains and started working on other methods of image generation using computers, which he himself described as research into "artificial intelligence". In 1971, he presented his interest in AI at the International Colloquium for Computer Art in Zagreb, where he gave a lecture entitled "Computer Art as Artificial Intelligence". ( Simone Gristwood, Hiroshi Kawano (1925-2012): Japan's Pioneer of Computer Arts, in: Leonardo, Volume 52, Number 1, 2019, pp. 75-80) Another exception is the painter as well as gold and silversmith Manfred Mohr, who also came to computer art through the publications of Max Bense. At the Meteorological Institute in Paris, he was given access to a flatbed plotter and the CDC 7600 supercomputer, enabling him to create his first algorithmic computer graphics in 1969. (Daniel Becker, in: AKL XC, 2016, p. 184) Frieder Nake and Georg Nees, on the other hand, were both mathematicians and students of Max Bense in Stuttgart. Together with Michael Noll (who is not represented in the portfolio), the three pioneers were called Group 3N. They were among the first to use computers and graphomats to create graphics. Frieder Nake had completed his doctorate on probability theory and was a research assistant at the computer center of the Technical University in Stuttgart for many years. For him, graphics was above all a method of mathematical research. He ended his active work as a computer artist as early as 1972. (D. Becker, AKL XCI, 2016, p. 481) Nees completed his doctorate under Bense in 1969 on the subject of the generation of graphics by computer ("Generative Computer Graphics") and worked as an industrial mathematician and software engineer at Siemens after his time at university. His graphics were shown at the world's first computer art exhibition in Stuttgart in 1965. The exhibition comprised drawings that had been generated by running algorithms on a computer, which were then coded on punched paper before being physically generated by a drawing machine. From 1969, Nees worked for a time with the architect Ludwig Rase, who was also employed by Siemens, developing computer-generated architectural designs. The first projects that were accompanied by the computer from design to construction were the Siemens exhibition stand at the Hanover Fair in 1970 and the German Pavilion at the industrial exhibition in São Paolo in 1971 (D. Becker, AKL XCII, 2016, p. 107). This portfolio showcases examples of the beginnings of "artificial creativity" or "artificial intelligence" that are graphically sophisticated and well suited for exhibitions. The German philosopher Dieter Mersch recently noted the similarities and differences between these beginnings and today's developments: "While early computer art with Nees, Moles and Bense used random generators as the decisive motor for creativity, the more elaborate AI models are basically based on plagiaristic procedures, which, however, do the same thing: they mathematically simulate contingency in order to increase the number of aesthetic works in an arbitrary way." (Dieters Mersch in: Ästhetik digitaler Medien, Bielefe.…