Add this copy of The Rsvp Cycles: Creative Processes in the Human to cart. $29.00, good condition, Sold by Big Star Books & Music rated 5.0 out of 5 stars, ships from santa Fe, NM, UNITED STATES, published 1970 by George Braziller.
Add this copy of The RSVP Cycles: Creative Processes in the Human to cart. $34.00, good condition, Sold by Friends Fort Bragg Library rated 5.0 out of 5 stars, ships from fort bragg, CA, UNITED STATES, published 1970 by George Braziller.
Choose your shipping method in Checkout. Costs may vary based on destination.
Seller's Description:
Good. 207 p. Spine slightly rolled. Covers worn and yellowing with small creases and faded spine. Price in pencil on half title page. Book otherwise clean and unmarked with tight binding.
Add this copy of The Rsvp Cycles: Creative Processes in the Human to cart. $40.00, good condition, Sold by ThriftBooks-Dallas rated 5.0 out of 5 stars, ships from Dallas, TX, UNITED STATES, published 1970 by George Braziller.
Choose your shipping method in Checkout. Costs may vary based on destination.
Seller's Description:
Good. Dust jacket missing. Shelf and handling wear to cover and binding, with general signs of previous use. Boards show foxing, interior pages clean and unmarked. Secure packaging for safe delivery.
Add this copy of The Rsvp Cycles: Creative Processes in the Human to cart. $58.00, good condition, Sold by Found Books rated 5.0 out of 5 stars, ships from AUSTIN, TX, UNITED STATES, published 1970 by George Braziller.
Add this copy of The Rsvp Cycles: Creative Processes in the Human to cart. $106.00, good condition, Sold by Found Books rated 5.0 out of 5 stars, ships from AUSTIN, TX, UNITED STATES, published 1970 by George Braziller.
Add this copy of Rsvp Cycles Creative Processes in the Human Environment to cart. $200.20, very good condition, Sold by Lisa Van Munster rated 5.0 out of 5 stars, ships from Oshawa, ON, CANADA, published 1976 by George Braziller, Inc..
Choose your shipping method in Checkout. Costs may vary based on destination.
Seller's Description:
Lawrence Halprin, unless otherwise credited. Very Good. 8vo-over 7¾"-9¾" tall. Light Creasing on Front Cover; Front, Rear Covers, Spine Lightly Chipped. SELLER'S NOTE TO INTERNATIONAL (NON CANADA OR USA) BUYERS: Additional shipping charges will be required and requested during the purchase process of this title. EXCERPT: This book started as an exploration of "scores" and the interrelationships between scoring in the various fields of art. Scores are symbolizations of processes which extend over time. The most familiar kind of "score" is a musical one, but I have extended this meaning to include "scores" in all fields of human endeavour. Even a grocery list or a calendar, for example, are scores. I have been interested in the idea of scoring not any one particular system of scoring, but scoring generally-for many years. This interest grew, quite clearly, from two different sources: first, because I am professionally an environmental designer and planner involved in the broad landscape where human beings and nature interface; and, second, because of my close relationship to dance and theatre due largely to my wife, the dancer and choreographer Ann Halprin, who is Director of the Dancers' Workshop in San Francisco. Both sources-the new theatre-dance and the environment as Ann and I have been practicing them are nonstatic, very closely related in that they are process-oriented, rather than simply result-oriented. Both derive their strengths and fundaments from a deep involvement in activity. In both fields, the process is like an iceberg-9/10 invisible but nonetheless vital to achievement. Both deal with subtleties and nuance, intuition, and fantasy, and go to the root-source of human needs and desires-atavistic ones at that. In both, values, though there, are not really demonstrable. At all events, I have been searching for years (and still am) for means to describe and evoke processes on other than a simply random basis. I thought that this would have meaning not only for my field of the environmental arts and dance-theatre, but also for all the other arts where the elements of time and activity over time (particularly of numbers of people) would have meaning and usefulness. I saw scores as a way of describing all such processes in all the arts, of making process visible and thereby designing with process through scores. I saw scores also as a way of communicating these processes over time and space to other people in other places at other moments and as a vehicle to allow many people to enter into the act of creation together, allowing for participation, feedback, and communications.
