86 records matched your query       

05516aam a2200529 i 4500
001 3E280F4C6D7C11EEBBB0FB5526ECA4DB
003 SILO
005 20231018010120
008 230531m20222023nyua          000 0 eng c
035    $a (OCoLC)1380789778
040    $a MZA $b eng $e rda $c MZA $d FUG $d WTU $d UIU $d LHL $d OCLCF $d NUI $d SILO
041 1  $a eng $h ger
042    $a pcc
050  4 $a N7433.4.M3626 $b C65 2023
100 1  $a Goethe, Johann Wolfgang von, $d 1749-1832, $e author.
240 10 $a Zur Farbenlehre. $k Selections. $l English
245 10 $a Colored objects / $c Johann Wolfgang von Goethe ; translated by Charles Lock Eastlake ; interpreted by Russell Maret in multi-chromatic letterpress, set in his new 'Rapid' type, and printed by him and Sarah Moody on a variety of papers, during the fourth Covid winter.
264  1 $a [New York, NY] : $b Russell Maret, $c MMXXII-MMXXIII [2022-2023]
300    $a 1 volume (unpaged) : $b color illustrations ; $c 17 x 26 cm
586    $a Manhattan Fine Press Book Fair Collector's Prize, 2023.
500    $a Author's name at head of title.
500    $a Special Collections has copy number 19. $5 IaU
500    $a "In his "Introduction" to the 1970 edition of Goethe's Theory of Colors, Deane B. Judd humorously stated that "In view of the fact that Goethe's explanation of color makes no physical sense at all, one might wonder why it is considered appropriate to reissue this English translation." The same might be asked of my current printing of "Colored Objects," a chapter from Goethe's larger Theory. The answer to both conundra is the same. Even if Goethe's scientific conclusions lacked substantive merit, the chromatic phenomena he describes in Theory of Colors are observably true. Goethe was able to accurately describe the way in which color is experienced and the ways in which colors interact with and elicit one another. It was only the scientific explanation as to why these phenomena occur that he could not quite knit together. Goethe's continued relevance as a color theorist, then, is for artistic and poetic, rather than scientific, pursuits. It is not likely that Goethe would have appreciated this assessment. As he wrote to J. P. Eckermann in 1827, "I never observed the natural world for poetic reasons." Whether this assertion was an example of bombast or a failing of self-knowledge is irrelevant. We can all benefit from Goethe's poetic approach to science. When considering how to illustrate Colored Objects, it seemed dubious to use diagrammatic or scientific imagery. Rather than illustrating the disproven science, why not make a book in which the phenomena Goethe describes are able to be experienced by readers as they page through the book? In order for this to work, though, the pace of the reading needed to be slowed down, as each experiment requires time to produce the desired results. This is an important point that Goethe never fully clarifies: for a red disk to elicit a green one, as in the first experiment, the red disk must be viewed in focus for at least twenty seconds before turning the page. Then, after a few seconds, a green disk will appear in its place on the white page. To help slow the reading down, the text is set in my Rapid Stencil typeface, an alphabet of capital letters that conveys a sense of Goethe's declarative style and marries well with the highly graphic illustrations, while taking slightly longer to read than a traditional upper- and lowercase typeface. In this slowing down of the text the reader is further able to appreciate the beauty of Goethe's scientific "method." Colored Objects is printed on Rives BFK and a variety of other papers, with a number of laser-cut parts (some of which move or can be moved) and two pairs of paper glasses with tinted lenses. The laser cutting was done at Makerspace NYC; the glasses were made by American Paper Optics. Emily Martin provided invaluable insights and technical instruction; and her students at the University of Iowa Center for the Book helped come up with an innovative solution to a challenging illustration. The book was designed and bound by Russell Maret and printed by him and Sarah Moody in an edition of seventy-five copies"--Publisher's prospectus.
500    $a Issued in an orange and yellow acrylic slipcase.
600 10 $a Goethe, Johann Wolfgang von, $d 1749-1832. $t Zur Farbenlehre.
630 07 $a Zur Farbenlehre (Goethe, Johann Wolfgang von) $2 fast $0 (OCoLC)fst01359607
650  0 $a Color in art.
650  0 $a Color vision.
650  0 $a Color (Philosophy)
650  0 $a Artists' books $z New York $z New York $y 21st century $v Specimens.
650  7 $a Artists' books. $2 fast $0 (OCoLC)fst00817660
650  7 $a Color in art. $2 fast $0 (OCoLC)fst00868563
650  7 $a Color (Philosophy) $2 fast $0 (OCoLC)fst00868527
650  7 $a Color vision. $2 fast $0 (OCoLC)fst00868676
655  7 $a Letterpress printing. $2 aat
655  7 $a Eyeglasses. $2 aat
655  7 $a Artists' books. $2 fast $0 (OCoLC)fst01750153
655  7 $a Specimens. $2 fast $0 (OCoLC)fst01423861
655  7 $a Artists' books. $2 lcgft
655  7 $a Accordion fold format. $2 rbbin
752    $a United States $b New York (State) $d New York, $e publication place.
700 1  $a Maret, Russell, $e printer. $e publisher, $e printer.
700 1  $a Moody, Sarah, $d 1982- $e printer.
700 1  $a Eastlake, Charles Lock, $c Sir, $d 1793-1865, $e translator.
941    $a 1
952    $l OVUX522 $d 20231117030236.0
956    $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=3E280F4C6D7C11EEBBB0FB5526ECA4DB