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Amsterdam: Hack-Tic, 1989. 8vo, each issue saddle-stapled in wraps. With 2 posters. 23 issues in 15 fascicules [of 16 published]. A nearly complete run, lacking only the last double number, of the first hacker zine published in Amsterdam. It includes the very rare first number, distributed in an edition of about 50 copies. The zine was inspired by the 1988 visit of several members of Hamburg's Chaos Computer Club to the Paradiso in Amsterdam. The first issue was published early in 1989, and that year Gonggrijp, Caroline Nevejan and Patrice Riemans hosted the Galactic Hacker Party at the Paradiso. Hack-tic continued until 1993, when it hosted the Hacking at the End of the Universe happening. For four years and 25 numbers, the zine became one of the most influential hacking zines in Europe. The zine would eventually lead to the formation of the Hacktic Network, which became the ISP XSFALL. Though the zine ceased in 1993, the Hack-Tic group still organizes prominent hacker conventions. Rare and…
Read More Search Results: Titles starting with H from Division Leap, ABAA
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Hack-Tic. Tijdschrift voor Techno-Anarchisten Nos. 1-23 [With Ephemera]
by Gonggrijp, Rop et al, eds
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Haiku
by Valoch, Jiri
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London, Ontario: Underwhich Editions, 1983. First edition. Square 12mo, [16] pp, saddle-stapled wraps. One of a limited edition of 300 copies. A series of minimal, numbered poems, beautifully designed. An early title by the important experimental press that was launched at the 11th International Festival of Sound Poetry in Toronto, and continued into the late 1990's. Fine.
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Hanegal: Gallisk Poesialbum [with] Exhibition Tickets
by Nash, Jørgen and J. V. Martin
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Paris: Edition Internationale Situationniste, 1961. 4to, [64] pp, bound in illustrated yellow boards, and all housed in a slipcase with the title stenciled to front panel, and enclosed in chicken wire. Lacking the unprinted inner card chemise, as often. One of limited edition of 750 numbered copies signed by both. Illustrated throughout with color lithographs by Martin, including one die-cut page. Laid in is an unprinted card to which is affixed three small tickets to three 1989 exhibitions related to the Situationists, one of which is rubberstamped. Provenance: pictorial bookplate of Stig Enhörning laid in (having become detached from ffep; bookplate of E. Manhof T. pasted down onto ffep. One of the high points of Situationist book design. Nash's texts are matched by bold graphics in his "New Irrealism" style, and the choice of chicken wire is a much more potent material than the bourgeois implications of sandpaper as a binding. Very good, with a small abrasin to front board and a couple faint…
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The Happy Meadow: Cantata for Speaker, Children's Voices, Recorder Consort, Glockenspiel, Xylophone & Percussion : To Poems by Robert Duncan and Yvor Winters
by Mellers, Wilfrid and Robert Duncan, Yvor Winters
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London: Novello, 1964. First edition. 4to, 36 pp, saddle-stapled wraps. Signed by Robert Duncan at the title page. The opening phrase of the prologue to the piece is based upon Robert Duncan's line "Often I am permitted to return to a meadow," taken from The Opening of the Field. A scarce Duncan-related publication, especially signed. Very good with a short closed tear to foot of front wrap and some fading to spine.
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Hides Ugly Blemishes
by Zephyrus Image
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[San Francisco]: Zephyrous Image [Zephyrus Image], 1972. First edition. 8 x 11" broadside, letterpress and linocut on newsprint. One of the earliest broadsides from the press, illustrated with a distinctive linocut of before and after pictures of an arm and track marks. One of the most striking and ephemeral productions of the press, the image was also utilized in a 1972 issue of Open Hand, the magazine published by David Bromige's Cal State Sonoma Class. [Johnston p. 185, 227] Paper toned, as usual, with chipping and nicks to margins and a chunk missing from the upper left hand corner.
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Histoire Médicale du Tatouage
by Berchon, Ernest, D.M.P.
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Paris: J.-B. Baillière et Fils, 1869. First edition. 8vo, viii, 184 pp, printed wrappers. With 8 pp. publisher's catalog laid in at rear. Inscribed by the author at the title page, with a faint, almost imperceptible rubberstamp beneath the signature. Text in French. A rare inscribed copy of the first edition of one of the most influential 19th century scientific studies of tattoos and tattooing, which also had an influence on modern medicine and the study of infection by microorganisms. Berchon was a navy doctor, who based his research on the increasing numbers of tattooed sailors in the French navy. In 1861 Berchon observed the transmission of syphilis from one soldier to another, who claimed to be a virgin. Berchon decided that the disease had been transmitted through spit in the act of tattooing, and as a result the French navy begin to discourage or prohibit tattooing - one element in the driving of the art underground. It also helped to develop ideas of the transmission of disease through…
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Historia do Fado
by Carvalho, Pinto de
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Lisboa: Livraria Guimaraes, 1903. First edition. 8vo, 270 pp, rebound at a contemporary or early date in marbled boards backed in red leatherette titled and banded in gilt. Original wraps not present. Illustrated with 13 photographs and drawings. Text in Portuguese. Previous owner's early and tasteful typographic bookplate to fep, as well as a small bookseller ticket (from Encadernador Alfredo David in Lisboa). Light smudging, toning and foxing within; boards well-rubbed and battered, with snags at the crown. A battered, worn, good only example, but complete aside from the original wraps, and scarce in any condition. The first edition of the first published book length study of Fado, "still a valuable source for fado historiography, especially when addressing the relationship between popular music and national character and how the vernacular was appropriated." - [Silva, p. 166]. Key to Carvalho's project was an examination of the career of A Severa, and of the taverns and underworld of the…
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Homage to the New World
by Harper, Michael S.
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San Francisco: Hermes Free Press, nd. 5 3/4 x 11 1/2 broadside, letterpress printed in Linotype Aldus with ornamental rule on recycled paper. A powerful poem by the African American poet. This is the variant on light green paper. Fine. [Johnston p. 182].
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