Manuel molés (20 Ergebnisse)

Zustand: As New. : La fiesta va por dentro: Conceptos y retratos es un libro escrito por Manuel F. Molés, con prólogo de Iñaki Gabilondo. Publicado en 1992 por Espasa-Calpe, forma parte de la Colección La Tauromaquia, número 42. El libro cuenta con 326 páginas y ofrece una visión profunda sobre el mundo de la tauromaquia, combinando conceptos y retratos. EAN: 9788423954421 Tipo: Libros Categoría: Arte y Cultura Título: La fiesta va por dentro Autor: Manuel F. Molés Editorial: Espasa - Calpe Idioma: es-ES Páginas: 326 Formato: tapa blanda.…

Zustand: Good. : Antoñete, el maestro es una biografía escrita por Manuel Molés que narra la vida y trayectoria de Antonio Chenel Albadalejo, conocido como Antoñete, una figura destacada del mundo del toreo. El libro ofrece una visión íntima de la vida personal y profesional de Antoñete, desde sus inicios hasta su consagración como maestro del toreo. A través de anécdotas y testimonios, Molés construye un retrato completo de este icónico personaje, explorando sus logros, desafíos y legado en la tauromaquia. EAN: 9788403597211 Tipo: Libros Categoría: Otros Título: Antoñete, el maestro Autor: Manuel Molés Editorial: Aguilar Idioma: es-ES Páginas: 193 Formato: tapa blanda.…

Zustand: Very Good. : Antoñete, el maestro es una biografía escrita por Manuel Molés que narra la vida y trayectoria de Antonio Chenel Albadalejo, conocido como Antoñete, una figura destacada del mundo del toreo. El libro ofrece una visión íntima de la vida personal y profesional de Antoñete, desde sus inicios hasta su consagración como maestro del toreo. A través de anécdotas y testimonios, Molés construye un retrato completo de este icónico personaje, explorando sus logros, desafíos y legado en la tauromaquia. EAN: 9788403597211 Tipo: Libros Categoría: Otros Título: Antoñete, el maestro Autor: Manuel Molés Editorial: Aguilar Idioma: es-ES Páginas: 193 Formato: tapa blanda.…

tapa blanda. Zustand: Bien. Historia.(93) Historia 16. Madrid. 1976. 23 cm. 1 v. Encuadernación en tapa blanda de editorial ilustrada. Cubierta deslucida. (=3412317=) LK296.

tapa blanda. Zustand: Bien. Historia.(93) Historia 16. Madrid. 1976. 23 cm. Encuadernación en tapa blanda de editorial. Cubierta deslucida. (=3592411=) HL58.

tapa blanda. Zustand: Bien. Corridas de toros (791.862) La fiesta va por dentro: conceptos y retratos Espasa-Calpe. Madrid. 1992. 24 cm. 326 páginas : ilustraciones. Encuadernación en tapa blanda de editorial ilustrada. Colección 'La Tauromaquia ; ', numero coleccion(42). Prólogo de Iñaki Gabilondo. Corridas de toros. Gabilondo, Iñaki (. 1942-) . ISBN: 8423954420 (=3813084=) JP22. …

Encuadernación de tapa dura. Zustand: Bien. 1� Edición. Eguia, Bilbao, 1992. Todo el ejercicio taurino en las plazas de España, Francia, Portugal, México, Venezuela, Colombia, Perú y Ecuador. Toros. Tauromaquia. Toreros. Carteles. Profusamente ilustrado. 412 pp. 30 x 22. Tapa dura de editorial ilustrada. Sin subrayados ni anotaciones. Perfecto estado de conservación. ISBN 8487778011.…

Encuadernación de tapa blanda. Zustand: Muy bien. Idioma español. Ejemplar en buen estado. Dimensiones: 22x14 - 125 pp. Cubierta deslucida.

Encuadernación de tapa blanda. Zustand: Perfecto. Cadena SER, Jaén, 2009. Tauromaquia. Toros. Toreros. Profusamente ilustrado. 130 pp. 21 x 15. Tapa blanda de editorial ilustrada. Sin subrayados ni anotaciones. Perfecto estado de conservación.

Encuadernación de tapa blanda. Zustand: Muy Bien. 1� Edición. 193 paginas mas laminas de fotografias bn.

Zustand: Good. Aguilar. Encuadernación en tapa blanda. Molés, Manuel Antoñete, el maestro Tapa deslucida. Tapa ilustrada. Pags.193. Volúmenes.1.

Encuadernación de tapa blanda. Zustand: Bien. 1� Edición. El País / Aguilar, 1996. Prólogo de Joaquín Sabina Biografías. Colección: Visto y leído. Toros. Tauromaquia. Láminas b/n. 194 pp. 24 x 15. Tapa blanda de editorial ilustrada con solapas. Sin subrayados. Buen estado de conservación. ISBN: 9788403597211. Firmado por el Autor(es). …

72pp Rustica Edicion completa y comentada. Ilustraciones.

Madrid, El País - Aguilar, Colecc. Visto y Leído, 1996. Pról. Joaquín sabina. Preámbulo Antonio Chenel. 24x15 cm. 194 p. + XXXII láms. fot. b/n. Rústica, solapas. Buen estado. Primera edición. (Ref. N. 1205-A).

Madrid, 1992. Espasa-Calpe, S.A. Rústica editorial con solapas. 326 pp., 24 x 16 cm. Ilustrado con fotografías en b/n. Estado normal. TOROS.

4to. Retrato del Autor y caricatura por Maribona. 248 pp. 203 pp. 2h. Encuadernación en holandesa de época. En el primer tomo pequeñas trazas de polilla en últimas páginas sin afectar al texto. Faltas en lomera y rozaduras. Manuel Martínez-Moles. Nace el 10 de febrero de 1863 en Cabaiguán y Muere en la Habana en 1851. Afanoso historiador y folclorista, escribió gran cantidad de artículos que aparecen en revistas y periódicos de la época como por ejemplo: Hero, El Fígaro, Revista Bimestre Cubana, El País, El Heraldo de Cuba, Diario de la Marina, Sancti Spíritus, El Fénix, entre otras.…

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.…

Habana, Impr. de El Fígaro, 1926. 20x14 cm. 248 p. Rústica. Dedicatoria del autor. Leves desperfectos en cubiertas. Primera edición. (Ref. N. 713-D).

1928 Cultural, La Habana Con prólogo. 599 pg. Índice: Vocabulario. Refranes y frases proverbiales. Frases, dichos y dicharachos. Apéndice. 24x17 cm. Nueva encuader. en simil piel sin las cubiertas. Para ver o recibir fotografías de los libros puede ir a nuestra web o solicitarlas., ).

1928 Cultural, La Habana Con DEDICATÓRIA. Con prólogo. Índice: Vocabulario. Refranes y frases proverbiales. Frases, dichos y dicharachos. Apéndice. 599 pg. 24x17 cm. ENC. EN MEDIA PIEL ÉPOCA. Para ver o recibir fotografías de los libros puede ir a nuestra web o solicitarlas., ).