Resultados de búsqueda: Libros de Jason Rovito, Bookseller

[Paris], 1790. Quarto. Modern binding, with quarter leather over marbled boards. Contents: [2], viii, 201, [1] pages. Minor foxing to some margins, but a generally well-preserved copy of this uncommon text. A Revolutionary text from the Life Sciences maverick Félix Vicq-d'Azyr, who helped found the Société royale de médecine; becoming its Permanent Secretary at the age of 30. During the National Constituent Assembly, Vicq-d'Azyr was tasked with developing an overarching plan for the re-organization of the medical system in France, as well as the reform of medical education/certification; leading to the present text, arguably one of the foundation stones of State-centred biopolitics. In the preliminaries, Vicq-d'Azyr makes clear that he wished to address those particular abuses of the medical system that affected rural communities and the poor—namely charlatanism and the absence of stanardization. While also developing a more synthetic vision of… Leer más

Paris: Mémoires de l'Académie Royale, [1783]. Offprint. Quarto; rebound in modern marbled boards. Contents: [38 pages]; representing pp. 468-504 of the Mémoires de l'Académie Royale; minor foxing. Illustrated by four folding engravings, bound at rear. Both text and plates with detailed annotations from contemporary reader; contemporary cancel to recto of first leaf. Transcript of an early-neurological lecture from the Revolutionary French scientist Félix Vicq-d'Azyr (1748-1794). A pioneer in comparative zoology, Vicq-d'Azyr here juxtaposed the brain structures of horses, sheep, calves, chickens, frogs, crows, and various fish, to those of the human. Featuring four impressive folding plates illustrating revelations from his brain dissections, which a contemporary reader has conveniently cross-referenced to the text. The same reader has supplied dozens of annotations throughout. Combined with the contemporary cancel to the first leaf of extraneous… Leer más

Torino: Stamperia di Giuseppe Favale, 1829. Pamphlet. Bound in contemporary plain wrappers (22 cm.), showing surface wear. Contents: vi, [1], 8-56 pages. Illustrated by impressive folding engraving bound at rear. A psychiatric treatise from Benedetto Trompeo (1797-1872), named the first Medical Director at the restructured Royal Insane Hospital of Turin in 1828, a full century after its founding. Offering a rationalist theory for the etiology of mental illness—illustrated by a series of ten case studies, complete with autopsy findings—Trompeo appears to plead for his own footnote-in-Foucault, as he concludes with an overview of the Enlightened asylum complex that was then under-construction; built after the 1824 design by architect Giuseppe Maria Talucchi, in which patients/inmates were typologically housed. Talucchi's design is represented here in five views, cross-referenced to an index of 35 of its functional elements. Scarce, with no OCLC records located in North America; five on… Leer más

Roma: Fratelli Pallotta, 1856. Octavo. Presentation binding with gilt-stamped design to boards, dedicated to Catholic Cardinal Gaspare Bernardo Pianetti. Contents: 67, [5] pages, with folding lithograph bound at rear, illustrating Masi and Venditti's therapeutic invention. Ostensibly a treatise on the causes and treatment of cholera (as "peste fredda") from the climatological perspective of medical topography, assembled by the Drs. Francesco Masi and Filippo Venditti; both of whom were celebrated by the Comune of Oriolo Romano for their service in the 1855 cholera epidemic, from which dozens of case histories and statistics are here supplied. As logical appendix, the doctors introduce their therapeutic vapour bath invention ("apparecchio evaporativo")—illustrated by a detailed folding lithograph; rendering this book as something of a sales document to Cardinal Pianetti, to whom the binding is dedicated. Scarce, with only a single OCLC record located (Harvard).

New York: WNET, 1975. Hand-made report. Coil-bound plain wrappers, with combination of desktop-published sheets and xerographic copies. Total of 180 leaves, printed rectos-only. Founded in February 1972, thanks to a $150,000 grant from the Rockefeller Foundation, The Television Laboratory at WNET/THIRTEEN provided space and resources for video artists and technicians to expand the potential of the television medium. Under the direction of David Loxton, the artist-in-residency program would animate the Laboratory, most notably through the work of Nam June Paik. The present report is replete with references to Paik, with the broadcast of his Global Groove, the production of Suite 212, and his development of a computer interface at one of the Lab's studios to leverage the Paik-Abe video synthesizer. During this residency, Paik would also write the report Media Planning for the Postindustrial Society, where he would coin the digital phrase "electronic super highway." Addressing the full… Leer más

Lille: L. Danel, 1829. Octavo. Contemporary full leather binding, with gilt tooling and edges. Front endpaper with presentation inscription from author to colleague. Illustrated with coloured engraving as frontispiece, and three samples of administrative forms at rear. Contents: 74 pages; some foxing. A fascinating treatise from J.-T. Lefebure, then Secretary General of the Comité Central de Vaccine du Département du Nord (centred upon Lille); illustrative of the official rhetoric called-for during the second generation of the vaccination movement. Following a detailed history of the first two decades of smallpox vaccination, with impressive international scope, Lefebure responds specifically to the anti-vax sentiments that had been bolstered by a series of fresh smallpox outbreaks in Paris (1821-23) and Lille (1824, 1827). To explain how the virus could continue to spread amongst a vaccinated population, Lefebure emphasized the critical significance of standardization—in… Leer más

Servizio Propaganda della RAI (Radiotelevisione italiana), [1962]. Broadsheet poster (43 x 64 cm., folded down to panels of 21.5 x 16 cm.); recto fully-illustrated after black-and-white photographic design. "With the advent of radio, and above all television, Today's Man is literally a participant in the events of his time..." Something of a manifesto from Italy's national broadcasting agency—designed by celebrated graphic designer Pino Tovaglia—regarding RAI's commitment to the ever-more-immediate ecology of the News; published on the occasion of the 28th edition of the Mostra Nazionale della Radio e Televisione. In addition to a short media-theoretical text, and an update on a legislated increase in the diversity of broadcast languages, the verso features a series of information-flow diagrams, illustrating the nodes of RAI's editorial apparatus, their Telstar satellite link for American broadcasts, and the pragmatic structures that support the relaying of sports… Leer más

Paris: Chez Mequignon l'aîne, Libraire, 1801. Octavo. Quarter-leather over marbled boards. Contents: viii, 139 pages, followed by [5] pp. publisher's catalogue. Boards rubbed, with chip to head of spine; nonetheless, a sound binding. Extra-illustrated with two folding plates at rear, visualizing the progression of pustules following vaccination; these plates originally published and sold separately, as per notice to verso of half-title. Some toning to plates and foxing to preliminaries, with loss to lower corner of pp. 19-20 (not affecting text). An early French treatise on the effectiveness of the smallpox vaccine from a member of the Société Médicale de Paris—published only a year after the Comité Central de Vaccine began its initial three year study on the matter. Ranque here is most concerned with addressing the natural hesitancy that attends the adoption of medical innovations—Jenner's new vaccine being the most contemporary… Leer más

Göttingen: Verlag *) - Udo Breger, 1970. Oblong octavo. Illustrated white wrappers (17 x 22 cm.). One of 1000 copies; this copy signed by Ulrichs to colophon. Contents: [104] pages, printed rectos only. Text in German. Created for his Fall 1970 exhibition at Museum Haus Lange, Krefeld, this artist book from Timm Ulrichs offers a "self-portrait of a television image." In his brief introductory text, the Conceptualist explains how "the following pages show the 625 lines and 520,625 pixels of a complete telvision picture, line by line, and point by point." The ensuing leaves illustrate precisely that number of black lines (7 ll.) and dots (42 ll.). Almost no toning to white wrappers; a near fine example of an artist book that is often found discolored. Uncommon, with only 6 OCLC copies located in North America.

Torino: RAI (Radiotelevisione italiana), 1954. Pamphlet. Panoramically-illustrated wrappers (21 cm.); minor creasing to corners, with some tanning. Contents: [16] pages; illustrated throughout in tri-tone colours. A dreamy prospectus for RAI (Radiotelevisione italiana), Italy's national broadcasting service, which first began its television programming on January 1st, 1954, with a network of transmitters servicing 2,800,000 subscribers in a northern region of 20 million people. Produded by the celebrated graphic designers Erberto Carboni and Remo Muratore, the prospectus introduces subscribers to the materiality of the network, while providing summaries of the various types of content that would fill 32 weekly hours of programming (e.g. news, sports, entertainment, opera/theatre, children's and women's interest programs), as well as insight into the behind-the-scenes action at RAI's television studios. All with an effortless, modern atmosphere. Scarce, with no OCLC records located;… Leer más

New York: Living Theatre, 1960. Silkscreen poster (36 x 21.5 cm.); printed cyan and red on pink-flecked yellow sheet. Slight scuff to top left corner; otherwise Fine. Poster for a Living Theatre programme of experimental cinema, as curated by Amos and Marcia Vogel's pioneering film society Cinema 16. Comprised of short films from Kenneth Anger (Fireworks and Inauguration of the Pleasure Dome), Stan Brakhage (Reflections on black), and Stan VanDerBeek (What? Who? How?). Hosted on March 7th, 1960 at the Living Theatre loft at 14th and 6th.

Roma: Conquiste del Lavoro, circa 1972. Horizontal broadside, measuring 33 x 141 cm. (unfolded), composed into six panels (33 x 23.5 cm. each). Printed in green, orange, and red, recto-only. Text in Italian. Some wear to folds, with an unfortunate tear at second joint, but a nonetheless well-preserved specimen of this street poster (conforming to the graffiti laws of 1956). A visual manifesto from the post-Operaismo movement in Rome, articulating the ideological function of Italian television and the press; with four info-colonized brains confronted by an autonomous mind, with megaphone. To counter the information monopoly of the Bosses, the anonymous designers (affiliated with the journal Conquiste del Lavoro) here appeal for a strategy of counter-information: "I nostri strumenti sono il giornale sindacale, l'assemblea, il volantino, il megafono, il cilostilato, il giornale murale, la discussione democratica con tutti i lavoratori." Scarce,  with no OCLC or SBN records located.

Paris: Société Anonyme de Television Pirate, 1983. Red-and-blue serigraph, printed to reflective plastic sheet (23.5 x 29 cm.). Share number (000036) perforated to top-right margin. Fine. In early-Winter 1983, the graphic artist/media provocateur Kiki Picasso—i.e. Bazooka member Christian Chapiron—announced the development of a new experimental television station in Paris, to be named Antene 1 (A1). In his inimitable style, Picasso designed these visually striking/disturbing 100 franc shares in the corresponding Société Anonyme de Television Pirate, to support the channel's application for an official license. Whether or not the idea of a Limited Company—and pirate's license—was another media stunt, A1 would indeed get a chance to broadcast an absurd stream of content later that Summer—for a few hours after midnight, to the 18th, 19th, and 20th arrondissements—until the police found their location. Eventually, Picasso would play… Leer más

Basel / Caracas / Madrid, circa 1975. A group of three black-and-white postcards, with rectos fully-illustrated after photographic image of Charlotte Moorman in performance. Some toning. With stamped captions to blank versos. From 1969 onwards, experimental cellist Charlotte Moorman would perform Nam June Paik's descriptively-titled composition, TV Bra for Living Sculpture, more than any work in her repertoire. A bra designed from three-inch cathode ray tubes covered her breasts—like "electronic pasties"—displaying a mix of live television, recorded tapes, closed circuit camera feeds, and/or interference patterns—all while she improvised abstract sounds on her cello. "The real issue implied in the [fusion of] 'Art and Technology' is not to make another scientific toy, but how to humanize technology and the electronic medium, which is progressing rapidly—too rapidly" (Paik, from Howard Wise Gallery brochure). Here: three copies of the same postcard… Leer más

circa 1964. A group of 9 contemporary black-and-white snapshots of The Beatles (9 cm. square), captured off a television set. With child-like manuscript captions to versos. Minor surface wear to a few snaps. A group of truly charming vernacular TV screenshots, captured during a broadcast of The Beatles on tour, with some of the compositions verging on abstraction. Captions read: Paul McCartney, John Lennon, George Harrison, Ringo Starr / John in hotel / Ringo and George in hotel / Ringo in press / John front plays rhythm / Paul in the car / Ringo / Paul in car / George in hotel.