710 Résultats
Classification:
photographies
photographies
Actions:
Numéro de référence:
PH1997:0062
Description:
- The series "Running Fence 1997" focuses "on the first 14 miles of the border fence that separates the United States and Mexico, beginning at the Pacific Ocean and ending in the Otay Mountains.... [It] analyzes the "idea" of the border and explores its iconography, the border being a subject that is of extreme importance to the public as the world proceeds towards greater globalization. [Geoffrey] James has written of the project: "[The border fence] was built by the US Army Corps of Engineers in 1994, out of recycled metal landing strip - the most visible symbol of what is known as Operation Gatekeeper. Because the steel sheets are placed in the ground so that their ridges run horizontally, a man can hop over the fence with ease; and no Mexican child ever seems to be impeded from retrieving a soccer ball from US territory. The real barrier to illegal immigration from Mexico into the USA is less visible: hundreds of buried sensors linked to a central computer, nightscopes, helicopters and Border Patrol Agents in white Broncos."" (Evans).
PH1997:0062
Description:
- The series "Running Fence 1997" focuses "on the first 14 miles of the border fence that separates the United States and Mexico, beginning at the Pacific Ocean and ending in the Otay Mountains.... [It] analyzes the "idea" of the border and explores its iconography, the border being a subject that is of extreme importance to the public as the world proceeds towards greater globalization. [Geoffrey] James has written of the project: "[The border fence] was built by the US Army Corps of Engineers in 1994, out of recycled metal landing strip - the most visible symbol of what is known as Operation Gatekeeper. Because the steel sheets are placed in the ground so that their ridges run horizontally, a man can hop over the fence with ease; and no Mexican child ever seems to be impeded from retrieving a soccer ball from US territory. The real barrier to illegal immigration from Mexico into the USA is less visible: hundreds of buried sensors linked to a central computer, nightscopes, helicopters and Border Patrol Agents in white Broncos."" (Evans).
Personnes et institutions:
Sujet:
architecture, ingénierie
architecture, ingénierie
Date:
1997
1997
Titre:
Partial night view of the United States-Mexico border fence from the United States side, San Diego County, California, United States, and Tijuana, Baja California, Mexico
Actions:
PH1997:0062
Description:
- The series "Running Fence 1997" focuses "on the first 14 miles of the border fence that separates the United States and Mexico, beginning at the Pacific Ocean and ending in the Otay Mountains.... [It] analyzes the "idea" of the border and explores its iconography, the border being a subject that is of extreme importance to the public as the world proceeds towards greater globalization. [Geoffrey] James has written of the project: "[The border fence] was built by the US Army Corps of Engineers in 1994, out of recycled metal landing strip - the most visible symbol of what is known as Operation Gatekeeper. Because the steel sheets are placed in the ground so that their ridges run horizontally, a man can hop over the fence with ease; and no Mexican child ever seems to be impeded from retrieving a soccer ball from US territory. The real barrier to illegal immigration from Mexico into the USA is less visible: hundreds of buried sensors linked to a central computer, nightscopes, helicopters and Border Patrol Agents in white Broncos."" (Evans).
Partial night view of the United States-Mexico border fence from the United States side, San Diego County, California, United States, and Tijuana, Baja California, Mexico
Actions:
PH1997:0062
Description:
- The series "Running Fence 1997" focuses "on the first 14 miles of the border fence that separates the United States and Mexico, beginning at the Pacific Ocean and ending in the Otay Mountains.... [It] analyzes the "idea" of the border and explores its iconography, the border being a subject that is of extreme importance to the public as the world proceeds towards greater globalization. [Geoffrey] James has written of the project: "[The border fence] was built by the US Army Corps of Engineers in 1994, out of recycled metal landing strip - the most visible symbol of what is known as Operation Gatekeeper. Because the steel sheets are placed in the ground so that their ridges run horizontally, a man can hop over the fence with ease; and no Mexican child ever seems to be impeded from retrieving a soccer ball from US territory. The real barrier to illegal immigration from Mexico into the USA is less visible: hundreds of buried sensors linked to a central computer, nightscopes, helicopters and Border Patrol Agents in white Broncos."" (Evans).
Classification:
photographies
photographies
Date:
1997
1997
Personnes et institutions:
Sujet:
architecture, ingénierie
architecture, ingénierie
Classification:
photographies
photographies
Actions:
Numéro de référence:
PH1997:0063
Description:
- The series "Running Fence 1997" focuses "on the first 14 miles of the border fence that separates the United States and Mexico, beginning at the Pacific Ocean and ending in the Otay Mountains.... [It] analyzes the "idea" of the border and explores its iconography, the border being a subject that is of extreme importance to the public as the world proceeds towards greater globalization. [Geoffrey] James has written of the project: "[The border fence] was built by the US Army Corps of Engineers in 1994, out of recycled metal landing strip - the most visible symbol of what is known as Operation Gatekeeper. Because the steel sheets are placed in the ground so that their ridges run horizontally, a man can hop over the fence with ease; and no Mexican child ever seems to be impeded from retrieving a soccer ball from US territory. The real barrier to illegal immigration from Mexico into the USA is less visible: hundreds of buried sensors linked to a central computer, nightscopes, helicopters and Border Patrol Agents in white Broncos."" (Evans).
PH1997:0063
Description:
- The series "Running Fence 1997" focuses "on the first 14 miles of the border fence that separates the United States and Mexico, beginning at the Pacific Ocean and ending in the Otay Mountains.... [It] analyzes the "idea" of the border and explores its iconography, the border being a subject that is of extreme importance to the public as the world proceeds towards greater globalization. [Geoffrey] James has written of the project: "[The border fence] was built by the US Army Corps of Engineers in 1994, out of recycled metal landing strip - the most visible symbol of what is known as Operation Gatekeeper. Because the steel sheets are placed in the ground so that their ridges run horizontally, a man can hop over the fence with ease; and no Mexican child ever seems to be impeded from retrieving a soccer ball from US territory. The real barrier to illegal immigration from Mexico into the USA is less visible: hundreds of buried sensors linked to a central computer, nightscopes, helicopters and Border Patrol Agents in white Broncos."" (Evans).
Personnes et institutions:
Sujet:
architecture, ingénierie
architecture, ingénierie
Date:
1997
1997
Titre:
View along a highway leading to the airport in Tijuana, Baja California, Mexico, showing a partial view of the United States-Mexico border fence
Actions:
PH1997:0063
Description:
- The series "Running Fence 1997" focuses "on the first 14 miles of the border fence that separates the United States and Mexico, beginning at the Pacific Ocean and ending in the Otay Mountains.... [It] analyzes the "idea" of the border and explores its iconography, the border being a subject that is of extreme importance to the public as the world proceeds towards greater globalization. [Geoffrey] James has written of the project: "[The border fence] was built by the US Army Corps of Engineers in 1994, out of recycled metal landing strip - the most visible symbol of what is known as Operation Gatekeeper. Because the steel sheets are placed in the ground so that their ridges run horizontally, a man can hop over the fence with ease; and no Mexican child ever seems to be impeded from retrieving a soccer ball from US territory. The real barrier to illegal immigration from Mexico into the USA is less visible: hundreds of buried sensors linked to a central computer, nightscopes, helicopters and Border Patrol Agents in white Broncos."" (Evans).
View along a highway leading to the airport in Tijuana, Baja California, Mexico, showing a partial view of the United States-Mexico border fence
Actions:
PH1997:0063
Description:
- The series "Running Fence 1997" focuses "on the first 14 miles of the border fence that separates the United States and Mexico, beginning at the Pacific Ocean and ending in the Otay Mountains.... [It] analyzes the "idea" of the border and explores its iconography, the border being a subject that is of extreme importance to the public as the world proceeds towards greater globalization. [Geoffrey] James has written of the project: "[The border fence] was built by the US Army Corps of Engineers in 1994, out of recycled metal landing strip - the most visible symbol of what is known as Operation Gatekeeper. Because the steel sheets are placed in the ground so that their ridges run horizontally, a man can hop over the fence with ease; and no Mexican child ever seems to be impeded from retrieving a soccer ball from US territory. The real barrier to illegal immigration from Mexico into the USA is less visible: hundreds of buried sensors linked to a central computer, nightscopes, helicopters and Border Patrol Agents in white Broncos."" (Evans).
Classification:
photographies
photographies
Date:
1997
1997
Personnes et institutions:
Sujet:
architecture, ingénierie
architecture, ingénierie
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP207.S1.1989.PR01
Description:
The project series documents "Tappeto “Sprofondo”", a rug design by Pettena and produced by the Galleria Speciale in Bari, in 1989, for the "I tappeti della meditazione" project that aimed to "underline the importance of an object that [...] can stimulate other uses and behaviors apart from its simple decorative function." [1] Pettena designed a rug with a pattern creating a sinking illusion, to put emphasis on the feeling of dizziness and imbalance that could come with meditation, rather than serenity and contemplation. The project series contains various design studies for the pattern of the "Sprofondo" rug, a transparency of the final design, and photographs and a video of the rug. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/design-sinking-1989/ (last accessed 11 December 2019).
AP207.S1.1989.PR01
Description:
The project series documents "Tappeto “Sprofondo”", a rug design by Pettena and produced by the Galleria Speciale in Bari, in 1989, for the "I tappeti della meditazione" project that aimed to "underline the importance of an object that [...] can stimulate other uses and behaviors apart from its simple decorative function." [1] Pettena designed a rug with a pattern creating a sinking illusion, to put emphasis on the feeling of dizziness and imbalance that could come with meditation, rather than serenity and contemplation. The project series contains various design studies for the pattern of the "Sprofondo" rug, a transparency of the final design, and photographs and a video of the rug. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/design-sinking-1989/ (last accessed 11 December 2019).
Personnes et institutions:
Date:
circa 1989-2015
circa 1989-2015
Titre:
Tappeto “Sprofondo” [“Sinking” Carpet] (1989)
Actions:
AP207.S1.1989.PR01
Description:
The project series documents "Tappeto “Sprofondo”", a rug design by Pettena and produced by the Galleria Speciale in Bari, in 1989, for the "I tappeti della meditazione" project that aimed to "underline the importance of an object that [...] can stimulate other uses and behaviors apart from its simple decorative function." [1] Pettena designed a rug with a pattern creating a sinking illusion, to put emphasis on the feeling of dizziness and imbalance that could come with meditation, rather than serenity and contemplation. The project series contains various design studies for the pattern of the "Sprofondo" rug, a transparency of the final design, and photographs and a video of the rug. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/design-sinking-1989/ (last accessed 11 December 2019).
Tappeto “Sprofondo” [“Sinking” Carpet] (1989)
Actions:
AP207.S1.1989.PR01
Description:
The project series documents "Tappeto “Sprofondo”", a rug design by Pettena and produced by the Galleria Speciale in Bari, in 1989, for the "I tappeti della meditazione" project that aimed to "underline the importance of an object that [...] can stimulate other uses and behaviors apart from its simple decorative function." [1] Pettena designed a rug with a pattern creating a sinking illusion, to put emphasis on the feeling of dizziness and imbalance that could come with meditation, rather than serenity and contemplation. The project series contains various design studies for the pattern of the "Sprofondo" rug, a transparency of the final design, and photographs and a video of the rug. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/design-sinking-1989/ (last accessed 11 December 2019).
Niveau de description archivistique:
Project
Project
Date:
circa 1989-2015
circa 1989-2015
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP207.S1.1985.PR03
Description:
The project series documents "Buon Compleanno", an installation that consists of a bed made up of a set of palanquins assembled together to "acquire significance only when assembled, when united according to an elementary scheme that could in theory be continued ad infinitum, creating a “place” of greater and greater intensity." [1] The installation was designed by Pettena at the invitation of the Galleria Special, in Bari, in 1985. The bed was produced by the gallery to present an interpretation of household furniture as ceremonial places. The project series contains sketches and photographs of the installation, a promotional card by the Galleria Special, and a gallery press release with a handwritten note by Pettena on the installation. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-happy-birthday-1985/ (last accessed 11 December 2019).
AP207.S1.1985.PR03
Description:
The project series documents "Buon Compleanno", an installation that consists of a bed made up of a set of palanquins assembled together to "acquire significance only when assembled, when united according to an elementary scheme that could in theory be continued ad infinitum, creating a “place” of greater and greater intensity." [1] The installation was designed by Pettena at the invitation of the Galleria Special, in Bari, in 1985. The bed was produced by the gallery to present an interpretation of household furniture as ceremonial places. The project series contains sketches and photographs of the installation, a promotional card by the Galleria Special, and a gallery press release with a handwritten note by Pettena on the installation. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-happy-birthday-1985/ (last accessed 11 December 2019).
Personnes et institutions:
Date:
circa 1985-2016
circa 1985-2016
Titre:
Buon Compleanno ["Happy Birthday” Bed] (1985)
Actions:
AP207.S1.1985.PR03
Description:
The project series documents "Buon Compleanno", an installation that consists of a bed made up of a set of palanquins assembled together to "acquire significance only when assembled, when united according to an elementary scheme that could in theory be continued ad infinitum, creating a “place” of greater and greater intensity." [1] The installation was designed by Pettena at the invitation of the Galleria Special, in Bari, in 1985. The bed was produced by the gallery to present an interpretation of household furniture as ceremonial places. The project series contains sketches and photographs of the installation, a promotional card by the Galleria Special, and a gallery press release with a handwritten note by Pettena on the installation. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-happy-birthday-1985/ (last accessed 11 December 2019).
Buon Compleanno ["Happy Birthday” Bed] (1985)
Actions:
AP207.S1.1985.PR03
Description:
The project series documents "Buon Compleanno", an installation that consists of a bed made up of a set of palanquins assembled together to "acquire significance only when assembled, when united according to an elementary scheme that could in theory be continued ad infinitum, creating a “place” of greater and greater intensity." [1] The installation was designed by Pettena at the invitation of the Galleria Special, in Bari, in 1985. The bed was produced by the gallery to present an interpretation of household furniture as ceremonial places. The project series contains sketches and photographs of the installation, a promotional card by the Galleria Special, and a gallery press release with a handwritten note by Pettena on the installation. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-happy-birthday-1985/ (last accessed 11 December 2019).
Niveau de description archivistique:
Project
Project
Date:
circa 1985-2016
circa 1985-2016
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP207.S1.1985.PR01
Description:
The project series documents "Integrazioni" an installation by Pettena for the Expo Arte at the Galleria Megapoli in Bari in 1985. The installation consisted of a framed three dimensional 'picture' in which is placed two benches and a table, and perspective is added in with paint to give the impression of depth. "A picture that, for once, has a depth (so that you can enter it) is in fact a place, the place where names change, the place where natures change, the location of a shift between real and imaginary, a door opening onto a reality that is certainly imagined, but that you can pass through." [1] The project series contains sketches and photographs of the installation, and a leaflet from the Galleria Megapoli on the exhibition and the installations presented. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-integrations-1984/ (last accessed 11 December 2019).
AP207.S1.1985.PR01
Description:
The project series documents "Integrazioni" an installation by Pettena for the Expo Arte at the Galleria Megapoli in Bari in 1985. The installation consisted of a framed three dimensional 'picture' in which is placed two benches and a table, and perspective is added in with paint to give the impression of depth. "A picture that, for once, has a depth (so that you can enter it) is in fact a place, the place where names change, the place where natures change, the location of a shift between real and imaginary, a door opening onto a reality that is certainly imagined, but that you can pass through." [1] The project series contains sketches and photographs of the installation, and a leaflet from the Galleria Megapoli on the exhibition and the installations presented. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-integrations-1984/ (last accessed 11 December 2019).
Personnes et institutions:
Date:
circa 1985-2015
circa 1985-2015
Titre:
Integrazioni [Integrations] (1985)
Actions:
AP207.S1.1985.PR01
Description:
The project series documents "Integrazioni" an installation by Pettena for the Expo Arte at the Galleria Megapoli in Bari in 1985. The installation consisted of a framed three dimensional 'picture' in which is placed two benches and a table, and perspective is added in with paint to give the impression of depth. "A picture that, for once, has a depth (so that you can enter it) is in fact a place, the place where names change, the place where natures change, the location of a shift between real and imaginary, a door opening onto a reality that is certainly imagined, but that you can pass through." [1] The project series contains sketches and photographs of the installation, and a leaflet from the Galleria Megapoli on the exhibition and the installations presented. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-integrations-1984/ (last accessed 11 December 2019).
Integrazioni [Integrations] (1985)
Actions:
AP207.S1.1985.PR01
Description:
The project series documents "Integrazioni" an installation by Pettena for the Expo Arte at the Galleria Megapoli in Bari in 1985. The installation consisted of a framed three dimensional 'picture' in which is placed two benches and a table, and perspective is added in with paint to give the impression of depth. "A picture that, for once, has a depth (so that you can enter it) is in fact a place, the place where names change, the place where natures change, the location of a shift between real and imaginary, a door opening onto a reality that is certainly imagined, but that you can pass through." [1] The project series contains sketches and photographs of the installation, and a leaflet from the Galleria Megapoli on the exhibition and the installations presented. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-integrations-1984/ (last accessed 11 December 2019).
Niveau de description archivistique:
Project
Project
Date:
circa 1985-2015
circa 1985-2015
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP207.S1.1986.PR01
Description:
The project series documents "Ombra", an installation presented for the first time at the Expo Arte of Galleria Speciale, in Bari, in 1986. It consists of an overcoat with flexible elements inserted in the lining of the fabric that form a structure to either create a seat for the wearer to sit on it or to stand on its own, if not worn. "So the multiplicity of roles, functions and subjects gives rise to an ambiguity, and a source of anxiety for he who, having conceived, made and “inhabited” it, perceives its more disquieting implications, those of an anomalous shadow, of another self that exists even in our absence." [1] The project series contains a sketch, photographs of the installation at the Galleria Speciale in 1986, a montage of film stills from Pettena's video explaining the installation, and digital versions of the installation film. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-armchair-1986/ (last accessed 11 December 2019).
AP207.S1.1986.PR01
Description:
The project series documents "Ombra", an installation presented for the first time at the Expo Arte of Galleria Speciale, in Bari, in 1986. It consists of an overcoat with flexible elements inserted in the lining of the fabric that form a structure to either create a seat for the wearer to sit on it or to stand on its own, if not worn. "So the multiplicity of roles, functions and subjects gives rise to an ambiguity, and a source of anxiety for he who, having conceived, made and “inhabited” it, perceives its more disquieting implications, those of an anomalous shadow, of another self that exists even in our absence." [1] The project series contains a sketch, photographs of the installation at the Galleria Speciale in 1986, a montage of film stills from Pettena's video explaining the installation, and digital versions of the installation film. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-armchair-1986/ (last accessed 11 December 2019).
Personnes et institutions:
Date:
circa 1985-2015
circa 1985-2015
Titre:
Ombra ["Shadow" Armchair] (1986)
Actions:
AP207.S1.1986.PR01
Description:
The project series documents "Ombra", an installation presented for the first time at the Expo Arte of Galleria Speciale, in Bari, in 1986. It consists of an overcoat with flexible elements inserted in the lining of the fabric that form a structure to either create a seat for the wearer to sit on it or to stand on its own, if not worn. "So the multiplicity of roles, functions and subjects gives rise to an ambiguity, and a source of anxiety for he who, having conceived, made and “inhabited” it, perceives its more disquieting implications, those of an anomalous shadow, of another self that exists even in our absence." [1] The project series contains a sketch, photographs of the installation at the Galleria Speciale in 1986, a montage of film stills from Pettena's video explaining the installation, and digital versions of the installation film. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-armchair-1986/ (last accessed 11 December 2019).
Ombra ["Shadow" Armchair] (1986)
Actions:
AP207.S1.1986.PR01
Description:
The project series documents "Ombra", an installation presented for the first time at the Expo Arte of Galleria Speciale, in Bari, in 1986. It consists of an overcoat with flexible elements inserted in the lining of the fabric that form a structure to either create a seat for the wearer to sit on it or to stand on its own, if not worn. "So the multiplicity of roles, functions and subjects gives rise to an ambiguity, and a source of anxiety for he who, having conceived, made and “inhabited” it, perceives its more disquieting implications, those of an anomalous shadow, of another self that exists even in our absence." [1] The project series contains a sketch, photographs of the installation at the Galleria Speciale in 1986, a montage of film stills from Pettena's video explaining the installation, and digital versions of the installation film. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-armchair-1986/ (last accessed 11 December 2019).
Niveau de description archivistique:
Project
Project
Date:
circa 1985-2015
circa 1985-2015
Personnes et institutions:
Classification:
archives
archives
Classification:
archives
archives
Sujet:
Classification:
livres
livres
Actions:
Exemplaires:
Description:
79 pages : illustrations ; 23 cm
Description:
79 pages : illustrations ; 23 cm
Auteur:
Sujet:
Publication:
New York : Whitney Library of Design, 1976.
New York : Whitney Library of Design, 1976.
Titre:
Building without barriers for the disabled / Sarah P. Harkness, James N. Groom, Jr.
Actions:
Exemplaires:
Description:
79 pages : illustrations ; 23 cm
Building without barriers for the disabled / Sarah P. Harkness, James N. Groom, Jr.
Actions:
Exemplaires:
Description:
79 pages : illustrations ; 23 cm
Classification:
livres
livres
Publication:
New York : Whitney Library of Design, 1976.
New York : Whitney Library of Design, 1976.
Auteur:
Sujet:
Classification:
livres
livres
Titre:
Sound barriers for windows.
Sound barriers for windows.
Actions:
Exemplaires:
Description:
11 pages : illustrations, charts, map, plan ; 28 cm.
Description:
11 pages : illustrations, charts, map, plan ; 28 cm.
Auteur:
Sujet:
Publication:
[Ottawa] : Canada Mortgage and Housing Corporation, ©1983.
[Ottawa] : Canada Mortgage and Housing Corporation, ©1983.
Titre:
Sound barriers for windows.
Actions:
Exemplaires:
Description:
11 pages : illustrations, charts, map, plan ; 28 cm.
Sound barriers for windows.
Actions:
Exemplaires:
Description:
11 pages : illustrations, charts, map, plan ; 28 cm.
Classification:
livres
livres
Publication:
[Ottawa] : Canada Mortgage and Housing Corporation, ©1983.
[Ottawa] : Canada Mortgage and Housing Corporation, ©1983.
Auteur:
Sujet:
Classification:
livres
livres
Actions:
Exemplaires:
Description:
11 pages : illustrations, map, plans ; 28 cm.
Description:
11 pages : illustrations, map, plans ; 28 cm.
Auteur:
Sujet:
Publication:
[Ottawa] : Canada Mortgage and Housing Corporation, ©1983.
[Ottawa] : Canada Mortgage and Housing Corporation, ©1983.
Titre:
Walls and floors as sound barriers.
Actions:
Exemplaires:
Description:
11 pages : illustrations, map, plans ; 28 cm.
Walls and floors as sound barriers.
Actions:
Exemplaires:
Description:
11 pages : illustrations, map, plans ; 28 cm.
Classification:
livres
livres
Publication:
[Ottawa] : Canada Mortgage and Housing Corporation, ©1983.
[Ottawa] : Canada Mortgage and Housing Corporation, ©1983.
Auteur:
Sujet:
