Die Reihe 7: Form—Space
Theodore Presser Co in association with Universal Edition, Bryn Mawr, Pa.; London, 1965, Wraps, , , Good /
87 pp. Good, Octavo. Wraps with wear and soiling, previous owner’s signature. Edited by H. Eimert & K. Stockhausen. Contents: György Ligeti—“Metamorphosis of Musical Form”; Ursula Burghardt-Kagel—“Amancio Williams Space Theatre”; Christian Wolff—“On Form”; Mauricio Kagel—“Translation-Rotation”; John Whitney—“Moving Pictures and Electronic Music”; Rainer Fleischhauer/Jörn Janssen—“Project for 200,000 Inhabitants”; Jörn Janssen—“Initial Project. Designed for Gottfried Michael Koenig.”; Details to other volumes of Die Riehe. (All but Christian Wolff translated by Cornelius Cardew.)
THIS EXHIBITION presents Renaissance editions of Dante's Divine Comedy from the John A. Zahm, C.S.C., Dante Collection at the University of Notre Dame, together with selected treasures from The Newberry Library. The Zahm collection ranks among the top Dante collections in North America. Purchased for the most part by Zahm in 1902 from the Italian Dantophile Giulio Acquaticci, the 15th- and 16th- century imprints presented here form the heart of Zahm's collection, which totals nearly 3,000 volumes, including rare editions and critical studies from the Renaissance to the present. The nine incunable editions and nearly complete series of 16th-century imprints featured in this exhibit constitute essential primary sources for both the history of Dante's reception during the Renaissance and the early history of the printed book.
"With over 250 titles in print, Pendragon Press is a leader in the publication of musicological research, reference works, and studies of many aspects of musical life. With 27 series, ranging from Aesthetics to the history of theory, to vocal music, we have been servicing the musicological community for over 30 years, and, with the help of our friends, hope to continue for another 30. "
The EServer (founded in 1990 at Carnegie Mellon as the English Server), attempts to provide an alternative niche for quality work, particularly writings in the arts and humanities. Now based at Iowa State University, we offer fifty collections on such diverse topics as art, architecture, race, Internet studies, sexuality, drama, design, multimedia, and current social issues. In addition to short and longer written works, we publish hypertext and streaming audio and video recordings. Our collections grow as increased membership has new works to publish with us, and as we teach new members how to publish works to the Web and to the more than two million readers who visit our site per month. According to Alexa, this makes us the most popular arts and humanities website in the world.
“Most people know the legend of Thomas Chatterton -- brilliant poet who failed to make a living, starved himself to send expensive presents to his family, and died by his own hand at seventeen -- much better than his poems. Like all legends, it is partial and exaggerated, but was a powerful influence on the Romantic movement and long after. The painting "The Death of Chatterton" by Henry Wallis epitomises this reputation. His fame rests, apart from this almost unbearably romantic life story, on his "Rowley Poems". These he wrote in a sham Middle English dialect, and passed off as the work of Thomas Rowley, a priest of Bristol in the fifteenth century, and some of his friends. The imposture was quickly detected (though some continued to believe in him for many years), but they were published in a collected edition after his death and were popular and much admired by the Romantic poets, especially Wordsworth, Shelley, and Keats, who dedicated "Endymion" to the memory of Thomas Chatterton.”
An excellent report by Maureen Mulvihill of the auction of rare books and manuscripts from the estate of Paula Peyraud
The Paula Peyraud Collection: Samuel Johnson & Women Writers in Georgian Society. An Auction Report by Maureen E. Mulvihill as published in Eighteenth-Century Studies, Fall 2009, with 8 images and a list of selected buyers, prices & new locations of the Peyraud properties.
A pdf of the published report may be downloaded here: http://www.ilab.org/download.php?object=documentation&id=81
‘DARK LADY’ OF RARE BOOK COLLECTORS, PAULA FENTRESS PEYRAUD (CHAPPAQUA, NY, 1947 ~ 2008). Peyraud Collection Auction, May 2009, Bloomsbury Auctions N.Y. 483 Lots (books, manuscripts, images). Sales total: $1.6 million, including premium. Photograph, Margie Van Dyke. Bookplate from Peyraud copy of Frances Burney’s Cecilia, (lot 218, buyer McGill University). Bookplate bears inscribed initials (“FCP - EKP”), being the collector’s grandparents Frank C. Peyraud & Elizabeth Krysler Peyraud, both visual artists (see “Peyraud,” Benezit, vol. 10, 2006 edition).
Memories of the Future “The Branch Line”
“Yes, sirree, in the dream business there’s no time for sleep. We’re always working. Day and night. A completely dreamed-out pillow is an old dream-producing tool that has served millions of headboards. You have only to touch the down hidden inside and . . . Here—wouldn’t you like to see? The man wiped his hand on his apron then pressed it to one of the pillows. Through the cracks between his fingers, parti-colored smoke curled slowly up into the air in hazy, tenuous shapes. His free hand dove under the apron—and out came the bulging transparent eye of a magnifying glass. “You’ll see better with this.” Squinting through the glass, Quantin now clearly saw seeping out of the pillow images of people, trees, coiling spirals, bodies, and fluttering clothes; the parti-colored air swaying above the man’s fingers formed an open lattice through which a host of worlds flowed and intertwined. The man put away the glass. “There. Now the feathers filling these pouters, what are they? A wing torn into a host of tiny wingednesses, a flight exploded in eiderdown. Once they’ve been sewn into pillows, these tiny wingednesses fight to free themselves and take flight. Without success. They go on struggling until someone’s brain lies down on their atomized flight, and then . . . As for the human brain’s affinity for pillows, it’s entirely natural: they’re related, after all, the pillow and the brain. For what do you have under the crown of your head? A grayish white, porous- plumose pulp wrapped in three pillowcases. (Your scientists call them membranes.) Yes, and I maintain that in the head of any sleeper, there is always one pillow more than he thinks. No point pretending to have less. No, sirree, Off you go!Sigizmund Krzhizhanovsky—translated from the Russian by Joanne Turnbull