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a Fake Vincent Van Gogh (1853-90) landscape is located on p.168 and 169 as a double-page spread. The Margin of the gutter divides the Image in two. The dimensions of the image on p.168 are 1042 X 1024 pixels and the image on p.169 is 1005 X 1024 pixels... By Todd Van Buskirk
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Note: the painting in the book is printed in black and white. The Lulu preview shows the painting in color. Debates have arisen as to whether all biographies are fiction, especially when authors are... More > writing about figures from the past. All history is seen through a perspective that is the product of our contemporary society and as a result biographical truths are constantly shifting. So the history biographers write about will not be the way that it happened. It will be the way they remembered it. On the other hand, the Art Newspaper named eighteen “Van Goghs” in public collections that had been downgraded as fakes or are works of questionable authenticity. Most of them were taken off display, including pictures in the Van Gogh Museum, the Kröller-Müller Museum, the Detroit Institute of Arts and the Nationalmuseum in Stockholm. Art scholars and expert historians alike constantly challenge and raise issues about van Gogh’s oeuvre and presumably will continue to do so.< Less
Carl Schuricht conducts the beginning at around quarter=100 but veers as high as quarter=120 (see fig.1 on p.233). Then, at around bar 54 he bursts ahead to nearly a quarter=140 (see fig.2 on p.335). As he approaches the 2nd theme, at bar 95 he pulls... By Todd Van Buskirk
Paperback: $17.00
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The purpose of “figures” is to present visual information directly relevant to the content of the document, especially information that would be hard to explain in written text. A figure... More > may present information from published sources. Provide a parenthetical insertion within the text of the document at the point where you wish the reader to refer to the figure; e.g.: (see fig. 1). If you do not use original content, a source citation must be included. Citations are references to another textual element from the perspective of the citing document. In order to have citations, there must be a cited-citing pair. From a formal perspective, cited-citing pairs are relations. The relational operation is recursive: for example, citations may refer to other texts in which citations refer to still other texts. Thus, a network of citation relations is spanned at each moment in time and reproduced over time. Therefore, citations have a position in a multi-dimensional space constituted by other citations.< Less
Fig.7 shows a comparison of settings by Zollner and Schubert in Wilhelm Muller's "Das Wandern," the first measure of Fig.7 is printed on p.139, the last measure of Fig.7 is printed on p.202 (each measure of Fig.7 is separated by two blank pages) By Todd Van Buskirk
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In a 1793 text called On the Sublime (Vom Erhabenen), Schiller argues that the mathematical sublime ought to be labeled the theoretical sublime. Most contemporary theorists feel uncomfortable about... More > ascribing significance to inaudible relationships to music; we tend to assume that there should be some meaningful relationship between analysis and auditory experience. Now consider that any entity in a music system is a “thought-object.” A music object cannot sound or be heard unless it is somehow converted into a thought-object. In order to generate a particular music object usually several thought-objects have to interact and finally undergo a synthesis process. The music domain is made of many different classes whose objects finally influence the performance. As a first approach, our music model distinguishes the following classes: Instrument, Generator, Note and Score. It is important to note that Van Buskirk’s music model is object-oriented and not “event-oriented.”< Less
Self-Portrait painting is located on p.45 and flipped horizontally on p.134, a progression repeated on pages 203 and 250 respectively By Todd Van Buskirk
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The elements of a book combine to create consonance, dissonance, tension, resolution, rhythm, mood, and color. The designer controls the relationships between text, images, and the surrounding paper... More > pages that constrains the work. Whether the contents are visually or linguistically based, physically moving through an artwork implicates notions of sequence, repetition, juxtaposition, and duration. The interplay of text and images, as well as considerations of printing process and the design of the book, allows for exciting possibilities within narrative, media, and meaning.< Less
Starting on page 1 (a page with the page number printed on the top-center of the page) found directly after page 219 (a page with the page number printed on the bottom-center of the page) there are 371 scanned pages of Psalmanazar's... By Todd Van Buskirk
Hardcover: $36.00
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Starting on page 1 (a page with the page number printed on the top-center of the page) found directly after page 219 (a page with the page number printed on the bottom-center of the page) there are... More > 371 scanned pages of Psalmanazar's "Description of Formosa," (with page numbers printed on the top-center of the page). 355 out of those 371 pages have images of printed texts on them and pages 1, 82, 83, 106, 115, 122, 143, 144, 147, 148, 149, 152, 153, 158, 194, 201-203, and 371 have images of illustrations on them. Optical Character Recognition is made to interpret and convert the 355 images of printed text into 214 pages of machine-encoded text (printed on pages with page numbers printed on the bottom-center of the page). The converted 214 pages of machine-encoded text contain a total of 100,918 words.< Less
There are two pages that are marked with the number “132” at the bottom center of a page. The second page 132 (or “old” page 132) is located on the verso of the first (or “new”) page 132. At the bottom of the first page 132 (at the center)... By Todd Van Buskirk
Paperback: $21.25
Prints in 3-5 business days
There are two pages that are marked with the number “132” at the bottom center of a page. The second page 132 (or “old” page 132) is located on the verso of the first (or... More > “new”) page 132. At the bottom of the first page 132 (at the center) the word “New” is placed within parentheses to the right of the number 132. At the bottom of the second page 132 (at the center) the word “Old” is placed within parentheses to the right of the number 132.< Less
31 measures of Wolfgang Mozart’s String Quartet No.16 in E-flat major, K.428/421b are on page 125 By Todd Van Buskirk
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We are aware of two important aspects on the construction of the score. The first is that the text announces where the 31 measures are to be found, and second, the 31 measures are found on page 125.... More > The text “31 measures of Wolfgang Mozart’s String Quartet No.16 in E-flat major, K.428/421b is on p.125” is not only the title of the string quartet, but is also printed (as a header) on each page as directions on how to find the 31 measures of music.< Less
"89+4" is a notation that indicates that the location of a Zapf Dingbat character (a drop-shadowed circle about 28 mm in diameter) is at the 4th line from the top... By Todd Van Buskirk
Paperback: $30.00
Prints in 3-5 business days
"89+4" is a notation that indicates that the location of a Zapf Dingbat character (a drop-shadowed circle about 28 mm in diameter) is at the 4th line from the top of page 89.... More > "606-5" indicates that the Zapf Dingbat is at five lines from the bottom of page 606. (A minus sign instead of plus indicates the number of lines counted from the bottom of the indicated page or paragraph.) "138.4+3" indicates that "138" is the page number, "4" is the 4th paragraph which begins on that page and "3" indicates the 3rd line in the 4th paragraph. "428.0-4" indicates that "428" is the page number and "0" means the Zapf Dingbat is located in the paragraph begun on the preceding page (i.e. prior to the first indent on p. 428) and "-4" means the 4th line up from that paragraph. Other locations for the Zapf Dingbat are at 110-2, 213.2-8, 242.1+2, 300.1+10, 343+8, 425-15, 487-2, 520+4 and 555+14.< Less
The printed name "Ahab" with a "less-than" symbol in front of the name... By Todd Van Buskirk
Paperback: $30.00
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A printed name "Ahab" with a "less-than" symbol in front of the name (e.g., "-Ahab") is placed immediately after the 1 mention of the name "Watt" on page 160,... More > e.g., Watt-Ahab. Then the "less-than" symbol-with-name-combination "-Watt" is placed immediately after each of the 512 mentions of the name "Ahab," e.g., "Ahab>Watt." Then the "less-than" symbol-with-name-combination "-Sam" is placed immediately after the 20 mentions of the name "Ishmael," e.g., Ishmael-Sam. Similarly, all 85 occurrences of the name “Moby Dick” have “-Mr.” after each mention of “Moby” and “-Knott” after each mention of “Dick,” e.g., Moby-Mr. Dick-Knott. Finally, the 2 mentions of the name “Herman Melville” have “-Samuel” after each mention of “Herman” and “-Beckett” after each mention of “Melville,” e.g., Herman-Samuel Melville-Beckett. (Note that "Watt-Ahab" now reads as "Watt-Ahab-Watt" on page 136.)< Less
There is an Abstract expressionist painting printed (in black and white) on p.202 By Todd Van Buskirk
Hardcover: $35.00
Prints in 3-5 business days
There is an Abstract expressionist painting printed (in black and white) on p.202

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