Book•
A Century of Artists Books
01 Jan 1994-
About: The article was published on 1994-01-01 and is currently open access. It has received 63 citations till now.
Citations
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TL;DR: Comics can be defined as a hybrid word-and-image form in which two narrative tracks, one verbal and one visual, register temporality spatially as discussed by the authors, which can be seen as a way to explore the history of comics.
Abstract: Comics—A form once considered pure junk—Is sparking interest in literary studies. I'm as amazed as anybody else by the comics boom—despite the fact that I wrote an English department dissertation that makes the passionate case that we should not ignore this innovative narrative form. Yet if there's promoting of comics, there's also confusion about categories and terms. Those of us in literary studies may think the moves obvious: making claims in the name of popular culture or in the rich tradition of word-and-image inquiry (bringing us back to the illuminated manuscripts of the Middle Ages). But comics presents problems we're still figuring out (the term doesn't settle comfortably into our grammar; nomenclature remains tricky and open to debate). The field hasn't yet grasped its object or properly posed its project. To explore today's comics we need to go beyond preestablished rubrics: we have to reexamine the categories of fiction, narrative, and historicity. Scholarship on comics—and specifically on what I will call graphic narrative—is gaining traction in the humanities. Comics might be defined as a hybrid word-and-image form in which two narrative tracks, one verbal and one visual, register temporality spatially. Comics moves forward in time through the space of the page, through its progressive counterpoint of presence and absence: packed panels (also called frames) alternating with gutters (empty space). Highly textured in its narrative scaffolding, comics doesn't blend the visual and the verbal—or use one simply to illustrate the other—but is rather prone to present the two nonsynchronously; a reader of comics not only fills in the gaps between panels but also works with the often disjunctive back-and-forth of reading and looking for meaning. Throughout this essay, I treat comics as a medium—not as a lowbrow genre, which is how it is usually understood. However, I will end by focusing attention on the strongest genre in the field: nonfiction comics.
286 citations
[...]
TL;DR: In the early 20th century, graphic design was almost entirely conventionalized as mentioned in this paper and layouts were symmetrical, centered, and symmetric, with a welter of decorative rules and borders.
Abstract: Before the first World War, graphic design was almost entirely conventionalized. Layouts were symmetrical, centered. Variety and interest were achieved by using different type faces, different sizes and weights of type (bold, italic etc.), and by employing a welter of decorative rules and borders. Illustrations and vignettes, either drawings or photographs, might accompany the printed text; but they were rarely integrated, essential parts of typographic compositions.
202 citations
01 Jan 1999
TL;DR: In this article, the variable aleatoire egale au nombre de lancers necessaires for obtenir toutes les faces du de is defined, and the parametres of these variables are discussed.
Abstract: Notons X la variable aleatoire egale au nombre de lancers necessaires pour obtenir toutes les faces du de. Soit Xi la variable aleatoire egale au nombre de lancers necessaires pour obtenir la i ieme nouvelle face. Tous les Xi suivent une loi geometrique. Precisons leur parametre : Des le 1 lancer, on obtient une nouvelle face, donc X1 a pour parametre 1. Pour obtenir une 2 face, on n’a plus que 5 choix sur les 6 faces du de, donc X2 a pour parametre 5 6 .
45 citations
Book•
01 Jan 1868
TL;DR: In this article, the lecteur, enhardi and devenu momentanément féroce comme ce qu’ il lit, trouve, without se désorienter, son chemin abrupt and sauvage, à travers les marécages désolés de ces pages sombres and pleines de poison.
Abstract: Plût au ciel que le lecteur, enhardi et devenu momentanément féroce comme ce qu’ il lit, trouve, sans se désorienter, son chemin abrupt et sauvage, à travers les marécages désolés de ces pages sombres et pleines de poison ; car, à moins qu’ il n’ apporte dans sa lecture une logique rigoureuse et une tension d’ esprit égale au moins à sa défiance, les émanations mortelles de ce livre imbiberont son âme comme l’ eau le sucre. Il n’ est pas bon que tout le monde lise les pages qui vont suivre ; quelques-uns seuls savoureront ce fruit amer sans danger. Par conséquent, âme timide, avant de pénétrer plus loin dans de pareilles landes inexplorées, dirige tes talons en arrière et non en avant. écoute bien ce que je te dis : dirige tes talons en arrière et non en avant, comme les yeux d’ un fils qui se détourne respectueusement de la contemplation auguste de la face maternelle ; ou, plutôt, comme un angle à perte de vue de grues frileuses méditant beaucoup, qui, pendant l’ hiver, vole puissamment à travers le silence, toutes voiles tendues, vers un point déterminé de l’ horizon, d’ où tout à coup part un vent étrange et fort, précurseur de la tempête. La grue la plus vieille et qui forme à elle seule l’ avant-garde, voyant cela, branle la tête comme une personne raisonnable, conséquemment son bec aussi qu’ elle fait p 24
40 citations
TL;DR: The authors investigates the zine as a compelling example of autographics, theorizing the dynamics of self-representation in these handmade texts, reading the intersection of text, layout, and production as a complex site of selfrepresentation.
Abstract: This article investigates the zine as a compelling example of autographics, theorizing the dynamics of self-representation in these handmade texts. Reading the intersection of text, layout, and production as a complex site of self-representation, the materiality of the zine form is examined as a meta-critical refl ection on the form of the book and the potential of the photocopier as a means of production.
21 citations
References
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Book•
[...]
01 Jan 1987
TL;DR: Here are the complete works of the enigmatic fifth- and sixth-century writer known as the Pseudo Dionysius, prepared by a team of six research scholars.
Abstract: Here are the complete works of the enigmatic fifth- and sixth-century writer known as the Pseudo Dionysius, prepared by a team of six research scholars.
782 citations
[...]
TL;DR: In the early 20th century, graphic design was almost entirely conventionalized as mentioned in this paper and layouts were symmetrical, centered, and symmetric, with a welter of decorative rules and borders.
Abstract: Before the first World War, graphic design was almost entirely conventionalized. Layouts were symmetrical, centered. Variety and interest were achieved by using different type faces, different sizes and weights of type (bold, italic etc.), and by employing a welter of decorative rules and borders. Illustrations and vignettes, either drawings or photographs, might accompany the printed text; but they were rarely integrated, essential parts of typographic compositions.
202 citations
01 Feb 1966
TL;DR: In this paper, researchers must book their visit at least three weeks in advance and must indicate the duration they will need, which is the minimum length of a visit they will be able to tolerate.
Abstract: I. Scheduling Research Visits ● Researchers must book their visit at least three weeks in advance. ● Availability is limited, so please schedule far in advance whenever possible. ● Research visits are usually scheduled for Monday, Tuesday, and Friday afternoons, 2-5 PM. Exceptions are occasionally made for researchers who are unavailable during these times. ● Visits will not be scheduled later than 5pm or on weekends. Visits typically last one to three hours. Researchers must indicate the duration they will need.
70 citations
Book•
01 Jan 1969
TL;DR: Early works, ready-mades, and other domains: the rebel as a young man (1902-1911) putting painting at the service of the mind from the fourth dimension to the ready-made (1912-1913) from the ready made to a Rembrandt used as an ironing board from the beauty of precision to precision optics (1918-1968) precision play - an aspect of the beautiful of precision as discussed by the authors.
Abstract: Part 1 Early works, ready-mades, and other domains: the rebel as a young man (1902-1911) putting painting at the service of the mind from the fourth dimension to the ready-made (1912-1913) from the ready made to a Rembrandt used as an ironing board from the beauty of precision to precision optics (1918-1968) precision play - an aspect of the beauty of precision Part 2 The large glass and related works: what's in a word young man and girl in spring psychological and formal antecedents (1911-1912) the large glass (1915-1923) the bridge stripped bare the batchelor's odyssey Part 3 Continuing and completing the large glass: ready-mades, puns and the large glass - unconscious and symbolic associations Rose Selavy, alias Belle Haleine alias Marchand du Sel continuing the large glass completing the large glass perpetual check there is no solution because there is no problem postscript - the clock in profile Part 4 The source material: catalogue raisonne topographical index elements of a descriptive bibliography of Duchamp's writings, lectures, translations and interviews bibliography of works quoted
68 citations
Book•
[...]
01 Jan 1971
TL;DR: In this paper, Munari's ideas about visual, graphic and industrial design and the role it plays in the objects we use everyday are discussed, including lamps, road signs, typography, posters, children's books, advertising, cars and chairs.
Abstract: "Bruno Munari was among the most inspirational designers of all time, described by Picasso as 'the new Leonardo'. Munari insisted that design be beautiful, functional and accessible, and this enlightening and highly entertaining book sets out his ideas about visual, graphic and industrial design and the role it plays in the objects we use everyday. Lamps, road signs, typography, posters, children's books, advertising, cars and chairs - these are just some of the subjects to which he turns his illuminating gaze" -- p. [4] of cover.
51 citations