Objectile (19 risultati)

Softcover/Paperback. Condizione: Sehr gut. 93 p. Very good. Shrink wrapped. / Sehr guter Zustand. In Folie verschweißt. Sprache: Englisch Gewicht in Gramm: 368.

Softcover/Paperback. Condizione: Sehr gut. 93 S. Very good. Shrink wrapped. / Sehr guter Zustand. In Folie verschweißt. Sprache: Englisch Gewicht in Gramm: 320.

Soft cover. Condizione: Good. No Jacket. CURRENTLY WE ONLY SELL TO UK LOCATIONS. PLEASE DO NOT PLACE ORDER IF INTERNATIONAL SHIPPING IS REQUIRED. Objectile is working on technologies for a "Non-Standard Architecture". That means, that the architectural projects consists of a "model" with its primary elements varying on the basis of invariant relations between them. Colour illustrations. Height 20cm. Crease on back cover (see photo). Pencil scribbles on some pages (see photo).…

Condizione: Used. pp. 93 1st Edition.

Condizione: Used. pp. 93.

Condizione: Brand New. New. US edition. Expediting shipping for all USA and Europe orders excluding PO Box. Excellent Customer Service.

Condizione: New. This is a Brand-new US Edition. This Item may be shipped from US or any other country as we have multiple locations worldwide.

Condizione: Used. pp. 93.

hardcover. Condizione: As New. New hardcover has a tiny bit of shelf wear to dust jacket. Cosmetic only. Unread copy.

Hardcover. Condizione: Brand New. 240 pages. 8.67x0.55x11.03 inches. In Stock.

Condizione: New.

Condizione: As New. Unread book in perfect condition.

Buch. Condizione: Neu. Neuware - Gilles Deleuze's The Fold (1988) is a vast reflection not only on Leibnizs monadology, but also on the present and future of a new culture informed by a neo-Leibnizian approach to philosophy and the arts. Deleuzes baroque is both a transhistorical epistemic model and an artistic manifesto. It proposes a way of being that thrives on a notion of identity as inherently manifold, potentially contradictory, open-ended, and contingent on infinity. It also outlines the principles of a contemporary aesthetics that relies on the work and theory of artists as varied as Paul Klee, Jean Dubuffet, Simon Hantai, and Tony Smith. In a neo-baroque society, the work of art becomes an objectile, a self-modulating machine able to operate through the input, but without the intervention, of an author. Focusing also on Deleuze and Guattari's What is Philosophy (1991), this book discusses theoretical questions crucial to artistic debates in the period 19501980: art as philosophy; artistic thinking as opposed or germane to philosophical (and scientific) thinking; painting and sculpture as metaphysical operations; the ground as both the origin and negation of art; color as the degree zero of painting; authorless art; and art as infinity. The final section of the book centers on Peter Eisenman's theory and work in the aftermath of Deconstructivism.…

Condizione: New. 2025. 1st Edition. hardcover. . . . . . Books ship from the US and Ireland.

Condizione: New. 2025. 1st Edition. hardcover. . . . . .

Couverture souple. Condizione: bon. R240110867: 1995. In-4. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 36 pages - nombreuses photos et figures noir et blanc dans le texte - étiquette sur le 2eme plat. . . . Classification Dewey : 674-Technologie du bois et du liège.

Softcover. Condizione: Gut. 1. Auflage, 8°, XI, ca. 100 S., ill. Obrosch., zahlreiche Abb., Teil der "Consequence Book Series on fresh architecture vol. 6", neuwertig, sehr guter Zustand Deutsch.

Hardback, Pages: 271, Size:220 x 280 mm, Illustrations:19 b/w, 91 col., Language: English. ISBN 9781915487667. Summary Gilles Deleuze's The Fold (1988) is a vast reflection not only on Leibniz's monadology, but also on the present and future of a new culture informed by a neo-Leibnizian approach to philosophy and the arts. Deleuze's baroque is both a transhistorical epistemic model and an artistic manifesto. It proposes a "way of being" that thrives on a notion of "identity" as inherently manifold, potentially contradictory, open-ended, and contingent on infinity. It also outlines the principles of a contemporary aesthetics that relies on the work and theory of artists as varied as Paul Klee, Jean Dubuffet, and Simon Hanta . In a neo-baroque society, the work of art becomes an objectile, a self-modulating machine able to operate through the input, but without the intervention, of an author. Focusing also on Deleuze and Guattari's What is Philosophy? (1991), this book discusses theoretical questions crucial to artistic debates in the period 1950-1980: art as philosophy; artistic thinking as opposed or germane to philosophical (and scientific) thinking; painting and sculpture as metaphysical operations; the ground as both the origin and negation of art; color as the degree zero of painting; authorless art; and art as infinity. Interwoven with examples of works by Christian Bonnefoi, Fran ois Rouan, Robert Ryman, Martin Barr , and Robert Rauschenberg, these discussions shed light on the complexity of Deleuze's investigations. The final section of the book centers on the reception of American minimalism in 1980s France and on the folding in architecture trend in the United States at the beginning of the 1990s. Here, works by Robert Morris, Carl Andre, Tony Smith, and Donald Judd are scrutinized as "preparatory" to the objectile, and Peter Eisenman's theory and architectural projects in the aftermath of deconstructivism are assessed in light of Deleuze's "fold". TABLE OF CONTENTS Introduction: An Estranged Baroque Chapter One: A Twentieth-Century Monad Chapter Two: The Baroque and its Resurgences Chapter Three: The Logos of the Formless Chapter Four: The Self-Modulating Machine of Art Bibliography Index 0 g.…

Rilegato. Condizione: nuovo. Pages: 271 p.Illustrations:19 b/w, 91 col.Language(s):English. Publication Year:2025. Brepols. ISBN: 978-1-915487-66-7. Hardback - Summary Gilles Deleuze's The Fold (1988) is a vast reflection not only on Leibniz's monadology, but also on the present and future of a new culture informed by a neo-Leibnizian approach to philosophy and the arts. Deleuze's baroque is both a transhistorical epistemic model and an artistic manifesto. It proposes a "way of being" that thrives on a notion of "identity" as inherently manifold, potentially contradictory, open-ended, and contingent on infinity. It also outlines the principles of a contemporary aesthetics that relies on the work and theory of artists as varied as Paul Klee, Jean Dubuffet, and Simon Hantaï. In a neo-baroque society, the work of art becomes an objectile, a self-modulating machine able to operate through the input, but without the intervention, of an author. Focusing also on Deleuze and Guattari's What is Philosophy? (1991), this book discusses theoretical questions crucial to artistic debates in the period 19501980: art as philosophy; artistic thinking as opposed or germane to philosophical (and scientific) thinking; painting and sculpture as metaphysical operations; the ground as both the origin and negation of art; color as the degree zero of painting; authorless art; and art as infinity. Interwoven with examples of works by Christian Bonnefoi, François Rouan, Robert Ryman, Martin Barré, and Robert Rauschenberg, these discussions shed light on the complexity of Deleuze's investigations. The final section of the book centers on the reception of American minimalism in 1980s France and on the folding in architecture trend in the United States at the beginning of the 1990s. Here, works by Robert Morris, Carl Andre, Tony Smith, and Donald Judd are scrutinized as "preparatory" to the objectile, and Peter Eisenman's theory and architectural projects in the aftermath of deconstructivism are assessed in light of Deleuze's "fold". TABLE OF CONTENTS Introduction: An Estranged Baroque Chapter One: A Twentieth-Century Monad Chapter Two: The Baroque and its Resurgences Chapter Three: The Logos of the Formless Chapter Four: The Self-Modulating Machine of Art Bibliography Index.…