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1
Davis, Rosemary K. J. "Ephemeral/Material". Camera Obscura: Feminism, Culture, and Media Studies 36, n.º 3 (1 de diciembre de 2021): 141–43. http://dx.doi.org/10.1215/02705346-9349469.
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Abstract This piece examines the transfer of Barbara Hammer's archive to the Beinecke Rare Book and Manuscript Library at Yale University. The archivist working with the collection highlights the complex emotions involved with this process and reflects on how her own archival work was influenced by Hammer.
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Jung, Sandro. "Ephemeral Spenser". Eighteenth-Century Life 44, n.º 2 (1 de abril de 2020): 78–110. http://dx.doi.org/10.1215/00982601-8218613.
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This essay approaches Edmund Spenser’s Renaissance masterpiece, The Faerie Queene, through a hitherto unknown series of twenty-four vignette illustrations that the eighteenth-century painter and book illustrator, Thomas Stothard, contributed to the nowadays little-known annual, The Royal Engagement Pocket Atlas, in 1794. Apart from making sense of Stothard’s visual interpretation of Spenser’s romance, the article will pay attention to how the painter creates an anthological miniature gallery of moments with which the users of the pocket diary may have been familiar. In other words, these vignettes may have conveyed mnemonically a prior reading experience of The Faerie Queene or have stimulated recall of other engagements with the moments represented. Understanding Stothard’s illustrations as iconic interventions in the reception history of Spenser’s work that, by being included in a disposable, annual pocket diary, were significantly more ephemeral than illustrations issued as part of an edition, I shall investigate how Stothard mediates the text by providing textual excerpts and how these one-line cues evoke a particular allusive experience of the text that affects the reading experience.
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Chamarette, Jenny. "The Disappearing Work: Chantal Akerman and Phenomenologies of the Ephemeral". Contemporary French and Francophone Studies 17, n.º 3 (junio de 2013): 347–56. http://dx.doi.org/10.1080/17409292.2013.790631.
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Hindmarsh, Jon y Alison Pilnick. "Knowing Bodies at Work: Embodiment and Ephemeral Teamwork in Anaesthesia". Organization Studies 28, n.º 9 (septiembre de 2007): 1395–416. http://dx.doi.org/10.1177/0170840607068258.
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Demps, Kathryn y Susan M. Glover Klemetti. "Ephemeral work group formation of Jenu Kuruba honey collectors and late 19th Century Colorado silver prospectors". Behaviour 151, n.º 10 (2014): 1413–32. http://dx.doi.org/10.1163/1568539x-00003192.
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Humans frequently form short-lived cooperative groups to accomplish subsistence and economic tasks. We explore the ecological and cultural factors behind ephemeral work-group formation in two disparate cultural contexts: groups foraging for wild honey in present day South India and groups prospecting for silver ore in the Elk Mountain Mining District of Colorado in the late 19th century. Contrary to traditional economic foraging predictions, we find little evidence that per capita yields are the most important factor in determining size and composition of ephemeral work groups. We explore factors in each of these cultures that may be of importance for group formation such as kinship, reputation, and pleasure. Models that only incorporate economic parameters will make poor predictions of how humans interact with their environments.
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Hills, Matt. "‘Live’ anniversary event TV as public service ephemera". Critical Studies in Television: The International Journal of Television Studies 12, n.º 3 (septiembre de 2017): 226–42. http://dx.doi.org/10.1177/1749602017716577.
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Considering a range of recent BBC TV programme anniversaries, this article analyses how the BBC has utilised different modes or zones of ‘liveness’ to promote the value of public service television via ‘event’ TV. Such anniversary events strategically collapse together the ‘hyper-ephemeral’ (having to be there) with the ‘anti-ephemeral’ (commemorating TV history), as longer term audience memories of public service television’s trustworthiness and durability are evoked. Contra scholarly debates which have positioned media anniversaries simply as a matter of (hyper-)commodification, I address Doctor Who’s 50th, Casualty’s 30th, Match of the Day’s 50th and EastEnders’ 30th anniversary as each shaping a sense of remembered ‘public service ephemera’. Through this process, audiences’ recollections of past programmes, and their integration with memories of everyday life, are articulated with emotional attachments to the BBC, thus making an affective case for the British Broadcasting Corporation’s cultural legitimation. Very different types of TV that we might not usually think to analyse side-by-side – flagship, returning, and soap dramas, along with sports coverage – can all work coherently as programme brands to defend the BBC’s cultural standing, without surrendering to what’s been termed ‘BBC nostalgia’, and while simultaneously bidding to colonise second-screen ‘digital flows’ circulating around TV premieres.
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Baker, Camille C. "MINDtouch: Embodied Mobile Media Ephemeral Transference". Leonardo 46, n.º 3 (junio de 2013): 221–25. http://dx.doi.org/10.1162/leon_a_00560.
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This article reviews discoveries that emerged from the author's MINDtouch media research project, in which a mobile device was repurposed for visual and non-verbal communication through gestural and visual mobile expressivity. The work revealed new insights from emerging mobile media and participatory performance practices. The author contextualizes her media research on mobile video and networked performance alongside relevant discourse on presence and the embodiment of technology. From the research, an intimate, phenomenological and visual form of mobile expression has emerged. This form has reconfigured the communication device from voice and text/SMS only to a visual and synesthetic mode for deeper expression.
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Chowdhury, Farhan Asif, Yozen Liu, Koustuv Saha, Nicholas Vincent, Leonardo Neves, Neil Shah y Maarten W. Bos. "CEAM: The Effectiveness of Cyclic and Ephemeral Attention Models of User Behavior on Social Platforms". Proceedings of the International AAAI Conference on Web and Social Media 15 (22 de mayo de 2021): 117–28. http://dx.doi.org/10.1609/icwsm.v15i1.18046.
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To improve the user experience as well as business outcomes, social platforms aim to predict user behavior. To this end, recurrent models are often used to predict a user's next behavior based on their most recent behavior. However, people have habits and routines, making it plausible to predict their behavior from more than just their most recent activity. Our work focuses on the interplay between ephemeral and cyclical components of user behaviors. By utilizing user activity data from social platform Snapchat, we uncover cyclic and ephemeral usage patterns on a per user level. Based on our findings, we imbued recurrent models with awareness: we augment an RNN with a cyclic module to complement traditional RNNs that model ephemeral behaviors and allow a flexible weighting of the two for the prediction task. We conducted extensive experiments to evaluate our model's performance on four user behavior prediction tasks on the Snapchat platform. We achieve improved results on each task compared against existing methods, using this simple, but important insight in user behavior: Both cyclical and ephemeral components matter. We show that in some situations and for some people, ephemeral components may be more helpful for predicting behavior, while for others and in other situations, cyclical components may carry more weight.
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Yermolayev, Oleg, Evgeniya Platoncheva y Benedict Essuman-Quainoo. "Spatial-Temporal Dynamics of the Ephemeral Gully Belt on the Plowed Slopes of River Basins in Natural and Anthropogenic Landscapes of the East of the Russian Plain". Geosciences 10, n.º 5 (6 de mayo de 2020): 167. http://dx.doi.org/10.3390/geosciences10050167.
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Erosion is the leading process of soil degradation on agricultural land. In the spectrum of erosion processes, the most unfavorable for soil degradation are the processes of linear (ephemeral and gully) erosion. An assessment of the dynamics of linear erosion in the intensive farming zone of the European part of Russia (EPR) is relevant due to the lack of generalized data on the development of this type of erosion in the post-Soviet period and also, due to the highest intensity of soil erosion in the ephemeral gully erosion. The development of information technologies and the availability of high-resolution and ultra-high-resolution satellite images make it possible to solve the problems of ephemeral gully erosion belts identification, and also makes it possible to trace the dynamics of development of stream erosion on arable lands over a period characterized by the greatest changes in the climate system and economic conditions in the post-Soviet period (1980s–2010s). The study was conducted on the eastern wing of the boreal ecotone of the Russian Plain within the southern border of these zones of mixed and broad-leaved forests, forest-steppe, and steppe landscapes using the basin approach. For the initial material, satellite images of medium (30 m) and high resolution (0.5–1.5 m) were used in the work. The study used methods of image interpretation such as remote sensing of the earth and geoinformation mapping. For 70 key areas (interfluve spaces of river basins), the study developed a method of geoinformation mapping of the ephemeral gully erosion belt dynamics on arable lands. In the same way, the research developed a system of quantitative indicators characterizing its development on arable slopes. The dynamics of ephemeral gully erosion was evaluated over three-time intervals: the 1980s, 2000s, and 2010s by determining the horizontal dissection (density) and density of ephemeral gully erosion. Over the past 30 years, in the direction from the south of the forest sub-zone to the forest-steppe and steppe landscapes, there was a sharp increase in the horizontal dissection and density of the ephemeral gully network: an average of 4.6 and 10 times, respectively. The ephemeral gully erosion belt advances toward the watershed because of the formation of new erosion in the upper parts of the ephemeral gully networks and its extension, while there is a noticeable reduction in the width of the erosion-weakly active belt-sheet and rill erosion.
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Reece, David A., John A. Lory, Timothy L. Haithcoat, Brian K. Gelder y Richard Cruse. "Using Google Earth Imagery to Target Assessments of Ephemeral Gully Erosion". Journal of the ASABE 66, n.º 1 (2023): 155–66. http://dx.doi.org/10.13031/ja.15254.
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Highlights Tested the utility of Google Earth and other imagery to target the location of ephemeral gullies. Developed a targeting methodology and tested it based on a ground truth obtained using a UAV. Quantified the overlap of targeted areas with observed ephemeral gullies. These publicly available sources of imagery had a high degree of success in identifying where ephemeral gullies form. Abstract. Sustaining civilizations requires preventing the loss of agricultural topsoil through processes such as water and wind erosion. Ephemeral gully erosion contributes an estimated 40% of the total water-erosion soil loss from row-crop fields. The identification and tracking of gullies require monitoring fields over time; Google Earth provides high-quality imagery that can potentially meet both the temporal and spatial criteria for ephemeral gully monitoring. Our primary objective was to determine the probability that an ephemeral gully erosion feature could be reliably identified as an area of concern based on Google Earth imagery and/or other publicly available remotely sensed imagery. To develop the ground truth, we visited 72 fields in seven Missouri counties between mid-April and mid-June in 2018 (n = 26), 2019 (n = 21), and 2020 (n = 25) to verify the presence of erosion features. An unmanned aerial vehicle (UAV) was used to collect aerial imagery with an estimated ground sampling distance of 2.1 to 2.7 cm pixel-1 from all locations. From this imagery, ephemeral gullies were observed in 24 of the fields, and all ephemeral gullies in those fields were delineated. We then reviewed all imagery available in Google Earth from 2010 to 2020 for the 24 fields where ephemeral gullies were observed, delineating ephemeral gully features using a “definitive” and a “less stringent” criterion; we also evaluated 2008 and 2015 imagery from a second public source. In the first analysis, one random erosion feature was chosen from each field, and the percentage overlap of lines derived from publicly available information with the ground truth was determined. Combining all imagery sources, using the less stringent method of delineation, and applying a 15-m buffer resulted in a mean overlap rate of 91%. These results were superior to the definitive approach, as well as using a 3-m buffer. In a second analysis, we tested definitive and less stringent criteria in the field for simple intersection with the ground truth. The less stringent strategy, coupled with using a 15-m buffer, had a true positive rate of 81% and identified 100% of the ephemeral gullies at 63% of the locations. There were false positives in 38% of the fields, with a mean rate across locations of 15%. Adding public data from other sources improved the true positive rate while also increasing the false negative rate. At one location, all publicly available image sources failed to identify the single ephemeral gully in the field. This research represents a proof of concept that Google Earth and other publicly available imagery of sufficient quality can be used to target in-field ephemeral gully assessment in row crop fields in the humid regions of the US. Validation work is needed before this approach can be broadly adopted with confidence, given the many uncontrollable factors that can affect the efficacy of this approach. Keywords: Aerial imagery, Conservation compliance, Ephemeral gully, Remote sensing, Soil erosion.
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Pelzer, Birgit. "The Paradigm of Deduction". October 149 (julio de 2014): 199–201. http://dx.doi.org/10.1162/octo_a_00191.
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If called upon to define Michael Asher's work here, I would have trouble succinctly describing the singularity of his place in the art scene of his time. His work, both ephemeral and without commercial production, rigorously resists standard formulas and recognizable labels.
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Woodward, Robin. "People, Place, Public: The Public Art of Nic Moon". Back Story Journal of New Zealand Art, Media & Design History, n.º 4 (19 de septiembre de 2018): 19–37. http://dx.doi.org/10.24135/backstory.vi4.3.
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In the realm of public art, New Zealand artist Nic Moon’s practice extends from permanent outdoor sculpture to ephemeral, site-responsive installations and staged public events. Such a range spans the trajectory of contemporary public art, a genre which theorists struggle to define categorically: historical precedents for public art offer no template for the present or for the future. Working in conjunction with mana whenua iwi, local government agencies, art institutions, museums, architects and the community¸ Moon creates large-scale object art as well as temporary and relocatable works, circumstantial installations, public artworks as utilities, and ephemeral art with a short life span. Her public art encompasses a broad spectrum of forms while speaking constantly of human ecology - the interdisciplinary study of relationships between people, our social systems and our environments. It is these relationships that underpin the work of Moon who, in common with new genre public artists internationally, is prepared to work outside the historical framework of public art to engage her audience in socially conscious, political art.
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Ivanchuk, Y., Y. Horobets y K. Koval. "Method for increasing the degree of protection of message encryption based on an algorithm for a constant component in time". System technologies 2, n.º 139 (30 de marzo de 2022): 3–13. http://dx.doi.org/10.34185/1562-9945-2-139-2022-01.
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Currently, asymmetric cryptosystems are used everywhere, in document management for cryptocurrencies, providing a high level of protection to end users, relying on the mathematical complexity of calculating a discrete algorithm. But, it is possible to make a cryptocurrency attack on the so-called ephemeral key, which is an auxiliary key when creating a signature. Recent works have shown examples of cryptocurrencies on the random number generator, processor cache, timing attacks. However, these attacks do not work when the numerical value of the bits is unknown. Also, recent work shows the main vulnerability in the case signature, namely the inverse module calculation algorithm that is vulnerable to timing attacks. The article considers the damage of cryptosystems such as DSA and ECDSA before the attack based on the analysis of the variable time of signing the message. A mathematical model has been developed to test this type of lesion, based on lattice attacks. It is shown that if there are enough signatures with the same signing time, it is possible to identify the presence of common bits of ephemeral keys, which will restore the sender's private key. It is proved that the cause of the lesion is the lack of execution of the operation of calculating the inverse module of the time variable, which provides ephemeral key data to the attacker. To solve this problem, an extended Euclidean algorithm for calculating the inverse module for a fixed time is proposed. In this paper, the advanced Euclidean algorithm for calculating the inverse module is improved, namely, its constant time execution is achieved, which prevents timed attacks.
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Sobutsky, Mykhailo y Oksana Ozarchuk. "Ephemeral Sentimentality in Gaspar Noé’s Creative World". NaUKMA Research Papers. History and Theory of Culture 6 (21 de junio de 2023): 51–56. http://dx.doi.org/10.18523/2617-8907.2023.6.51-56.
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The article focuses on the imaginary, yet somewhat real world created by one of the most contradictory filmmakers of our time, Gaspar Noé. Noé is a French director of Argentinean origin, born in 1963. His works received both admiration and criticism over the past decades. He is criticized for the brutality of any episodes and motifs, yet adored by those who can appreciate the hidden sentimental overtone of his films. The emotional impact of his works is ephemeral and difficult to grasp at once, yet it lingers on. The initial episodes of the “Irreversible” can cause nausea, but the latter ones (edited in an inverted chronological sequence) possess an inevitable hint of vain hopes of happiness. Gaspar Noé labeled his next film, “Enter the Void,” a “psychedelic melodrama.”We traced this ephemeral sentimental mood from the earliest short “Carne” (1991) to the director’s releases of 2018–2019. All the forbidden topics (not so much forbidden in the contemporary cinema) appear in Gaspar Noé’s films: excessive violence depicted too realistically, drugs of various kinds, soft porn, even hardcore (in “Love”). One can see the incest taboo, regarded by anthropologists to be the core of culture, suspended here (not for the first time in the contemporary cinema as well). Nevertheless, the sentimental aura dissolves it all.The world of Gaspar Noé’s creative work is dangerous and unpredictable. You can take a wrong turn in the city, be raped and cruelly murdered. You can enter “The Void” (a bar named so) and be accidentally shot. And then you wonder if the Tibetan Book of Dead gives you a chance of return, in the womb of your own sister, as a child of your friend.A fantastic world, but much too keen to the real one. In a true fantasy, “Game of Thrones” for example, we find as much violence, rape, incest, burning a witch alive (compare the latest Noé’s production, Lux Aeterna). But you do not feel it. Fantasy is a safe medium of releasing our primitive fears and drives in a suspended mode: it never was so, the fake medieval world of George Martin does not exist. The world of Gaspar Noé exists, it is crammed into modern cities and waits around the corner.Here we need the aid of Lacanian psychoanalysis. To interpret the difference, one must take into account Jacques Lacan’s concept of “the Real”. If the Real (not the outer reality, but Real inside the human being) comes too close to us, we feel fear and anxiety. If the Real crosses the Imaginary (vain hopes for happiness, for example), such an intersection provokes hatred. If the Real crosses the Symbolic, it provokes a vigorous desire not to know. Those who blame Gaspar Noé feel this desire. Those who appreciate him try to encompass the polarity of abomination and sentimentalism in the real world.
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Casalí, J., R. Giménez y M. A. Campo-Bescós. "Gully geometry: what are we measuring?" SOIL Discussions 2, n.º 1 (31 de marzo de 2015): 323–35. http://dx.doi.org/10.5194/soild-2-323-2015.
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Abstract. Many of the researches on (ephemeral) gully erosion comprise the determination of the geometry of these eroded channels specially width and depth. This is not a simple task due to uncertainty generated by the wide range of variability of gully cross-section shape found in the field. However in the literature this uncertainty is not recognized and then no criteria in the measurement procedure is indicated. The aim of this work is to make the researchers aware of the ambiguity that arises when characterizing the geometry of an ephemeral gully and similar eroded channels. Besides, a measurement protocol is proposed with the ultimate goal of pooling criteria in future works. It is suggested to characterize the geometry of a gully through its effective width and effective depth, which, together with its length, define an "equivalent prismatic gully" (EPG). The latter would facilitate the comparison between each other of different gullies.
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Sidorenko-Bautista, Pavel, José María Herranz de la Casa y Juan Ignacio Cantero de Julián. "Use of New Narratives for COVID-19 Reporting: From 360º Videos to Ephemeral TikTok Videos in Online Media". Tripodos 1, n.º 47 (5 de febrero de 2021): 105–22. http://dx.doi.org/10.51698/tripodos.2020.47p105-122.
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The disruptive evolution of technology has impacted on all aspects of communication. Consequently, various alternatives are being developed for storytelling, delivering messages, and connecting to people. The evolution of social media and multimedia technologies is evident. Since 2014, we have witnessed changes both in the concept of immersion over the 360º format and virtual reality. Such changes aim at much closer proximity between user and content, strengthening possible empathic bonds. Even so, emerging audiences, especially Generation Z, spend time in digital environments that do not support this type of content. As a consequence, their interactions and multimedia behavior focus on vertical, ephemeral content, rendering TikTok as an innovative alternative with a significant growth trend. This study proposes a review of media outlets and journalists’ work reporting on the COVID-19 pandemic using 360º multimedia narratives and TikTok. Research shows evidence of the limited use of the immersive multimedia format and the increase of productions in the ephemeral vertical format of TikTok —whose audience reach has grown significantly. Keywords: COVID-19, 360 video, ephemeral video, journalism, Generation Z.
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Sporton, Gregory y Natalie Álvarez. "Artistic research: Methods that work". Scene 11, n.º 1 (1 de diciembre de 2023): 3–6. http://dx.doi.org/10.1386/scene_00062_2.
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This volume has emerged from discussions about the status of arts practice and its legitimacy as research. Art-making as a means of research enquiry remains ambiguous and ephemeral, but increasingly acknowledged as an important way to model our knowledge and experience of the world. In the past two decades there have been great strides in its identification within the academy, with phrases like ‘practice-based’, ‘practice-led’ research or ‘artistic research’ being acknowledged as legitimate pursuits, if slippery to identify. What always seems to come along with this is some kind of exploration of the new. This isn’t like innovation in other fields, but has properties and perspectives that are specific to it as methods of enquiry. These methods are uncontroversial within creative practice and represent a challenge to thinking about research as textual or text-based outcomes that can be easily assessed. This volume collects a number of different perspectives on the status and practice of art as a method or research enquiry. Together they represent a conversation about how we work in this field and what methods work.
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Casalí, J., R. Giménez y M. A. Campo-Bescós. "Gully geometry: what are we measuring?" SOIL 1, n.º 2 (10 de julio de 2015): 509–13. http://dx.doi.org/10.5194/soil-1-509-2015.
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Abstract. Much of the research on (ephemeral) gully erosion comprises the determination of the geometry of these eroded channels, especially their width and depth. This is not a simple task due to uncertainty generated by the wide range of variability in gully cross section shapes found in the field. However, in the literature, this uncertainty is not recognized so that no criteria for their measurement are indicated. The aim of this work is to make researchers aware of the ambiguity that arises when characterizing the geometry of an ephemeral gully and similar eroded channels. In addition, a measurement protocol is proposed with the ultimate goal of pooling criteria in future works. It is suggested that the geometry of a gully could be characterized through its mean equivalent width and mean equivalent depth, which, together with its length, define an "equivalent prismatic gully" (EPG). The latter would facilitate the comparison between different gullies.
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Sansão Fontes, Adriana, Fernando Espósito y Sergi Arbusà. "Ar-quiteturas. Os infláveis como estratégia de reinterpretação do lugar". Revista Prumo 4, n.º 7 (15 de noviembre de 2019): 138–51. http://dx.doi.org/10.24168/revistaprumo.v4i7.1131.
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Architecture, a discipline called to design the living places, usually operates within a logic that has as main objective welcoming human acts. Its status as a built object requires an adequate response not only material, structural, spatial and environmental, but also in meeting the most vital demands of these acts. Art, on the other hand, can respond with almost absolute freedom, uncompromising with the proper habits of living, in which the act of dwelling can be questioned, freeing itself from its responsibilities related to life. This paper presents a clipping of the work of the artistic collective Penique Productios - the inflatables - their references and methodology, highlighting two interventions in Rio de Janeiro, carried out in a partnership between Penique, DAU PUC-Rio and FAU/UFRJ. The common denominator is to establish a connection between architecture, city and art, through large, ephemeral and habitable collective works that dialogue with the existing place, stimulating its reinterpretation. Key-Words: Inflatables, ephemeral interventions, site-specific interventions, contemporary art
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Abas, Naeem, Farhat Naseem, Ali Raza Kalair y Muhammad Shoaib Saleem. "Protecting Children in Pakistani Cyberspace: Technology-Religion Education Safety Approach". Proceedings 2, n.º 21 (29 de octubre de 2018): 1366. http://dx.doi.org/10.3390/proceedings2211366.
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Internet, mobile phones, computer games and electronic media are seriously affecting minor as well as younger children worldwide. This work describes the fundamental reasons for children protection in cyberspace and suggests critically essential recommendations to Pakistani Anti-Cyber Crime Law to take necessary initiatives to protect children in no man’s land—the cyberspace. This work incorporates technological support to protect young ones in ephemeral space.
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Shah, Chirag. "Mining Contextual Information for Ephemeral Digital Video Preservation". International Journal of Digital Curation 4, n.º 1 (29 de junio de 2009): 175–92. http://dx.doi.org/10.2218/ijdc.v4i1.87.
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For centuries the archival community has understood and practiced the art of adding contextual information while preserving an artifact. The question now is how these practices can be transferred to the digital domain. With the growing expansion of production and consumption of digital objects (documents, audio, video, etc.) it has become essential to identify and study issues related to their representation. A curator in the digital realm may be said to have the same responsibilities as one in a traditional archival domain. However, with the mass production and spread of digital objects, it may be difficult to do all the work manually. In the present article this problem is considered in the area of digital video preservation. We show how this problem can be formulated and propose a framework for capturing contextual information for ephemeral digital video preservation. This proposal is realized in a system called ContextMiner, which allows us to cater to a digital curator's needs with its four components: digital video curation, collection visualization, browsing interfaces, and video harvesting and monitoring. While the issues and systems described here are geared toward digital videos, they can easily be applied to other kinds of digital objects.
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Lancaster, Sydney A. y John W. F. Waldron. "Boundary|Time|Surface: assessing a meeting of art and geology through an ephemeral sculptural work". Geoscience Communication 3, n.º 2 (4 de septiembre de 2020): 249–62. http://dx.doi.org/10.5194/gc-3-249-2020.
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Abstract. Boundary|Time|Surface was an ephemeral, site-specific sculpture created to draw attention to the construction of social, political, scientific, and aesthetic boundaries that divide the Earth; one such practice is the scientific subdivision of geologic time. The sculpture comprised a 150 m fence along the international stratotype separating Ordovician from Cambrian strata in Gros Morne National Park, Canada. The fence was constructed by hand within 1 d, on a falling tide, from materials found on site, with minimal environmental impact. During the following tidal cycles, it was dismantled by wave and tide action. This cycle of construction and destruction was documented with time-lapse photography and video and brought to the public through exhibitions, public talks, and a book. Exhibitions derived from the documentation of ephemeral works function as translations of the original experience. In this case, they provided opportunities for public interaction with media that served both as aesthetic objects and as sources of information about the site's geological and sociopolitical history. We assess the role of the installation, and its documentation, in drawing public attention to boundaries, and examine responses including attendance records and written visitor comments as indications of the viewers' engagement with the concepts presented. Of several thousand visitors to exhibitions, 418 written comments reflected the viewers' engagement with both the location and the underlying concepts. Both the original installation and the subsequent work allowed audiences to explore human understanding and acquisition of knowledge about the Earth and how world-views inform the process of scientific inquiry.
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Varma, Supriya, Jaya Menon y Deepak Nair. "Ephemeral Traces: Archaeology of a Medieval Rural Settlement". Medieval History Journal 24, n.º 1-2 (mayo de 2021): 281–319. http://dx.doi.org/10.1177/09719458211052719.
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For a considerable span of human history, following the adoption of agricultural economies but prior to the emergence of settlements that we label as ‘urban’, small permanent communities or ‘villages’ were the main types of settlements, as also were places intermittently occupied by mobile, nomadic groups. The context of these, however, differed from those small or rural settlements that existed within an integrated network of centres in urban and state societies. A third scenario is the case of small-scale rural settlements that may exist at the margins of complex societies and, hence, outside state/political control but could still be socially and economically networked with other centres. Thus, the concept of ‘rural’ needs to be situated and interrogated within specific political, social and economic contexts. While archaeological research has addressed village settlements in pre-urban periods, once urbanism and the state societies emerged, urban settlements became the focus of attention. Even though surveys have shown the distribution of settlements of varying sizes, we do not seem to know much about early historic and medieval villages, in terms of settlement layouts, domestic spaces, crafts, if any, or even subsistence practices. It is this lacuna that we are trying to address through our work at a small, rural settlement in the Upper Ganga-Yamuna Doab. Some of the questions that we raise in this article deal with terms like ‘urban’, or ‘rural’, whether these should be viewed as binaries, or whether it may be more fruitful, as others have suggested, to see settlements in a continuum.
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Lira Carmona, José Alejandro. "Alfombrismo: Ephimeral Art Utopia". Journal of Public Space, Vol. 5 n. 4 (1 de diciembre de 2020): 245–58. http://dx.doi.org/10.32891/jps.v5i4.1386.
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The way in which we experience public space is closely related to the sociocultural and environmental conditions of the context. Similar to the garden – in the strict philosophical sense- Traditional Tapestry ephemeral art represents a utopia; it stands for an aesthetic theory of beauty and a vision of happiness. Traditional ephemeral art is conceptualized as a utopian space where diverse elements, people, as well as a wide variety of activities converge; those are the ones who transform reality through cultural expression, exploring habits and values which pursue a common goal in a livingly way, and improve social coexistence. Tapestry ephemeral art temporarily and actively transforms their surroundings. It is in that public space where it is embraced that a dialogue is modelled; a dialogue where not only formal appearance but also designing constructive one converge, as an artistic, philosophical, and spiritual expression of its community itself. Such artistic intervention allows physical proximity; in a whole overview vision of urban context, design displays Mexican art values and transforms public space. The greater the proximity, the greater the change in the scale of the work, therefore, it is possible to feel immersed in the piece and identify the natural material, which in its arrangement and place, reveals the garden utopia –symbol of harmony between itself and the atmosphere portrayed in a living work of art. Nowadays, the isolated streets in many different parts of the world reflect a universal reality which urges a re-connection with the natural environment to which we belong, as well as a transformation of the sociocultural interactions that emerge from responsibility, equality and the common good.
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Menuhin, Eva. "Connections: Time, Landscape, and the Art of Andy Goldsworthy". Architectural Design 93, n.º 5 (30 de agosto de 2023): 60–69. http://dx.doi.org/10.1002/ad.2975.
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AbstractThe oeuvre of artist Andy Goldsworthy utilises ‘found’ natural objects like leaves, rocks, ice and sticks to create captivating, often ephemeral interventions into the natural landscape that remind us of the power of natural beauty and the continuously changing seasons. Architectural writer Eva Menuhin discusses some of the traits in his work, which has recently become more monolithic yet is still concerned with movement, natural materiality and time, as seen in his work in progress ‘Hanging Stones’.
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Gaddis, Elijah. "Work, Play, and Performance in the Southern Tobacco Warehouse". Special Issue - Storied Spaces: Renewing Folkloristic Perspectives on Vernacular Architecture 90-91 (29 de abril de 2021): 10–23. http://dx.doi.org/10.7202/1076795ar.
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This paper examines tobacco warehouses in the southern United States as sites of both work and play. Using a performative approach in the study of architecture that is rooted in folklife methodology, the essay claims these quotidian working structures as places of celebratory potential amid the strictures of Jim Crow spatial segregation. In particular, it focuses on a series of massive dances held in the elaborately decorated warehouses during the early-to-mid-20th century. During these dances, Black celebrants turned the restrictive social and economic working spaces of the tobacco warehouse into places of radical potential and pleasure. The claims of this essay are supported by both conventional architectural documentation and the oral testimonies of a variety of tobacco workers, musicians, and dancers, who made use of the warehouses for a variety of often conflicting purposes. Told together, their narratives emphasize both spatialized resistance to segregation, and the importance of the ephemeral archives of individual stories and memories to the study of vernacular architectural history.
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Neal, C., T. Hill, S. Hill y B. Reynolds. "Acid neutralization capacity measurements in surface and ground waters in the Upper River Severn, Plynlimon: from hydrograph splitting to water flow pathways". Hydrology and Earth System Sciences 1, n.º 3 (30 de septiembre de 1997): 687–96. http://dx.doi.org/10.5194/hess-1-687-1997.
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Abstract. Acid Neutralization Capacity (ANC) data for ephemeral stream and shallow groundwater for the catchments of the upper River Severn show a highly heterogeneous system of within-catchment water flow pathways and chemical weathering on scales of less than 100m. Ephemeral streams draining permeable soils seem to be supplied mainly from shallow groundwater sources. For these streams, large systematic differences in pH and alkalinity occur due to the variability of the groundwater sources and variability in water residence times. However, the variability cannot be gauged on the basis of broad based physical information collected in the field as geology, catchment gradients and forest structure are very similar. In contrast, ephemeral streams draining impermeable soils are of more uniform chemistry as surface runoff is mainly supplied from the soil zone. Groundwater ANC varies considerably over space and time. In general, the groundwaters have higher ANCs than the ephemeral streams. This is due to increased chemical weathering from the inorganic materials in the lower soils and groundwater areas and possibly longer residence times. However, during the winter months the groundwater ANCs tend to be at their lowest due to additional event driven acidic soil water contributions and intermediate groundwater residence times. The results indicate the inappropriateness of a blanket approach to classifying stream vulnerability to acidification simply on the basis of soil sensitivity. However, the results may well indicate good news for the environmental management of acidic and acid sensitive systems. For example, they clearly indicate a large potential supply of weathering components within the groundwater zone to reduce or mitigate the acidifying effects of land use change and acidic deposition without the environmental needs for Aiming. Furthermore, the high variability of ephemeral stream runoff means that certain areas of catchments where there are specific problems associated with acidification can be identified for focused remediation work for the situation where liming is required. The case for focused field campaigns and caution against over reliance on blanket modelling approaches is suggested. The results negate the conventional generalizations within hydrology of how water moves through catchments to generate streamflow events (from Hortonian overland flow to catchment contributing areas).
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Pettegree, Andrew y Arthur der Weduwen. "Forms, Handbills and Affixed Posters". Quaerendo 50, n.º 1-2 (4 de junio de 2020): 15–40. http://dx.doi.org/10.1163/15700690-12341464.
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Abstract In 2018, we published an article that provided a first attempt to survey the whole output of the seventeenth-century Dutch Republic. Our estimate was a minimum of 357,500 editions. This calculation did not yet include the world of ephemeral forms, handbills and posters. The survival of such commercial or private notices is microscopically small, compared to what must have been produced. It is nevertheless vital for our understanding of the print trade that we attempt to capture the complexities of this lost world: this was work that sustained printshops. It was also the form which most acutely influenced commerce, government and social life. Here we wish to offer an introduction to this most elusive genre of the early modern print world, document the myriad ways in which print infiltrated the daily life of people, and offer some hypotheses on the likely total output of certain forms of ephemeral print.
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Marcus, George E. y Erkan Saka. "Assemblage". Theory, Culture & Society 23, n.º 2-3 (mayo de 2006): 101–6. http://dx.doi.org/10.1177/0263276406062573.
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This article shows how, in recent works of cultural analysis, the concept of ‘assemblage’ has been been derived from key sources of theory and put to work to provide a structure-like surrogate to express certain prominent values of a modernist sensibility in the discourse of description and analysis. Assemblage is a sort of anti-structural concept that permits the researcher to speak of emergence, heterogeneity, the decentred and the ephemeral in nonetheless ordered social life. There are other related concepts, like collage, which have been used to give these values substance in research, but currently assemblage is enjoying a popularity perhaps because of the continuing fascination of the work of Deleuze and Guattari.
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Lima, Elton Cristovão da Silva, Cristina Matsunaga y Leticia Teixeira Mendes. "Exploring bio-parametric solution-based design process for an ephemeral pavilion". Gestão & Tecnologia de Projetos 17, n.º 1 (12 de noviembre de 2021): 65–79. http://dx.doi.org/10.11606/gtp.v17i1.183658.
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This research proposes an experimental design approach to design an ephemeral pavilion located at the Serpentine Gallery in London. The Serpentine Pavilions Programme functions as an experimentation laboratory and, at the same time, public and event spaces, enabling architects to expose their projects and work methodologies. Thus, the methods of Biomimicry and Parametric Design were combined to develop the pavilion. While the first one was used to create an ephemeral pavilion based on the Sartorius muscle, the second was responsible for generating the parametric model from a fast and intuitive manipulation code capable of exploring shape variations. This work explores the solution-based method approached by Badarnah (2012) based on a predefined problem (the pavilion project) and only after that seek some natural inspiration. Firstly, it was investigated the anatomy of the Sartorius muscle. Subsequently, with the domain of the solution, the parametric insertion of the shape was computationally performed. The anatomical study of the sartorius muscle revealed functions such as flexion, abduction, lateral rotation of the thigh, and medial rotation of the knee. Thus, the architectural choices reflect both its narrow and elongated morphology of the muscle and flexibility and rotation aspects. The pavilion also considered the previous Serpentine Pavilions regarding attributes such as area, height, and materials, which with other parameters may be changed using the code implemented in Grasshopper.
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Frost, Corey. "From Wax to Bits: Spoken-Word Recordings in Canada". Canadian Theatre Review 130 (marzo de 2007): 52–57. http://dx.doi.org/10.3138/ctr.130.009.
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In trying to define the boundaries of spoken word as a genre, it would be tempting to invoke the “you had to be there” argument and to emphasize the live, ephemeral nature of the form, but spoken word is not purely a live phenomenon. Increasingly, writer-performers in Canada are making their work available through recordings. In the last few years, especially, there has been a flurry — not a blizzard, mind you, but a flurry — of CDs produced by both experienced and new spoken-word artists. The causes, ramifications, and results of this trend, and the way performers feel about recordings, all speak volumes about the nature of the genre itself.
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Trowell, Ian. "‘Anything off the bottom shelf’: Ephemeral fairgrounds and material swag". Journal of Material Culture 24, n.º 3 (13 de marzo de 2019): 313–33. http://dx.doi.org/10.1177/1359183519836142.
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Travelling fairgrounds embody the ephemeral. They arrive from elsewhere to occupy an everyday space, momentarily wrenching it from regular purpose and bringing in a bombardment of shimmering surfaces, magical spaces, affects, illusions, fleeting peaks of sensory excess. Utilizing historical resources, interviews with showpeople and gathered testimony, this article examines the material encounter of the British fairground through the prize, what might be considered as a making material of the ephemeral. The prize provides material reminders of the fairground when it has departed, to counterintuitively persist through time as meaningful keepsakes and souvenirs. The fairground prize is tracked as both object and concept, utilizing detailed ‘back-stage’ and ‘front-stage’ flows, Dant’s work around ‘objects in time’, spatial practices and complex crossovers to other cultural trends. Taking his research to the contemporary period, the author proposes a significant shift in the fairground prize that has a wider impact on the aesthetic engagement with the fair.
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UMATHUM, SANDRA. "Given the Tino Sehgal Case: How to Save the Future of a Work of Art that Materializes Only Temporarily". Theatre Research International 34, n.º 2 (julio de 2009): 194–99. http://dx.doi.org/10.1017/s0307883309004556.
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This article focuses on German artist Tino Sehgal (born in 1976), whose works of art materialize only temporarily, while they fulfill, at the same time, all the requirements that any work of the visual arts must fulfill if it is to have a lasting existence. In this regard Sehgal's artistic approach not only takes a unique position within the history of art; it also departs fundamentally from the tradition of performance art. This article deals with the way Sehgal tries to save the future of the ephemeral situations his art puts forth, and shows, furthermore, how he thereby confronts questions and problems that performance art has neglected or even generated.
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Dias, Emerson Gonçalves, Flávio José da Silva, Joécio Santos Sousa y Ednilza Maranhão dos Santos. "REGISTRO DE NECROFAGIA POR GIRINOS DA FAMÍLIA HYLIDAE (AMPHIBIA, ANURA) EM FRAGMENTO DE FLORESTA ATLÂNTICA, NORDESTE, BRASIL". Oecologia Australis 25, n.º 01 (15 de marzo de 2021): 174–78. http://dx.doi.org/10.4257/oeco.2021.2501.17.
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Necrophagy performed by anuran amphibian tadpoles are incidental and incipient events. In this work, tadpoles of the species Boana albomarginata, Boana crepitans, and Dendropsophus minutus were recorded for the first time, feeding on the corpses of Physalaemus cuvieri and Rhinella crucifer in an area of Atlantic forest in northeastern Brazil. We can consider that although the record is occasional in a ephemeral environment, this behavior can occur more frequently in nature.
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Duță, Gabriela-Raluca. "Poetica Divinităţii În Volumul Poemele Luminii". Lucian Blaga Yearbook 22, n.º 1-2 (1 de octubre de 2021): 34–41. http://dx.doi.org/10.2478/clb-2021-0004.
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Abstract The purpose of this work is to analyze, both in terms of interpretation and occurrence, the religious elements of Lucian Blaga’s volume “Poems of Light” (“Poemele Luminii”), namely the links between the figures of divinity and the individual, the latter being seen in its inferior, ephemeral condition, which in fact prevents him from identifying with the deity in question, but which does not stop him from aspiring to the absolute.
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Nguyen, Hung, Trang Hoang y Linh Tran. "Efficient Hardware Implementation of Elliptic-Curve Diffie–Hellman Ephemeral on Curve25519". Electronics 12, n.º 21 (31 de octubre de 2023): 4480. http://dx.doi.org/10.3390/electronics12214480.
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Hardware architecture optimized for implementing the elliptic-curve Diffie–Hellman ephemeral (ECDHE) on 256-bit Montgomery elliptic curves presents unique challenges, particularly for resource-constrained IoT and mobile devices. This work aims to provide an efficient hardware implementation of ECDHE on Curve25519, including a dedicated finite state machine (FSM) designed to handle point multiplication and ECDHE operations, utilizing constant-time algorithms and a unified memory block for resource management. Additionally, we introduce an optimized modular computation unit that covers modular addition, subtraction, multiplication, and inversion. Our proposed hardware architecture enhances the efficiency of ECDHE operations while maintaining low resource utilization, considerably reduced latency, and low power consumption. Synthesized on the Xilinx Artix-7 platform, our design boasts 64,000 Slices and a clock speed of 102 MHz, and it computes an ECDHE scalar multiplication operation in 1.1 ms, consuming 117 mW. The proposed hardware design can be applied to various platforms, including mobile devices and IoT systems.
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Beller, Anne-Marie. "“THE FASHIONS OF THE CURRENT SEASON”: RECENT CRITICAL WORK ON VICTORIAN SENSATION FICTION". Victorian Literature and Culture 45, n.º 2 (5 de mayo de 2017): 461–73. http://dx.doi.org/10.1017/s1060150316000723.
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Henry Mansel, writing in 1863, was confident in his prediction that the current popular vogue for sensation novels was an ephemeral phase, soon to pass into a deserved oblivion. Yet by the end of a decade marked by extensive and frequently hysterical debates over the genre, the future Poet Laureate, Alfred Austin, was still bemoaning the ubiquity of sensation fiction: “the world may congratulate itself when the last sensational novel has been written and forgotten” (424). Mansel and Austin would doubtless have been astounded (and appalled) at the current status of mid-Victorian sensation fiction in the realm of academic scholarship. Far from being a long-forgotten, inconsequential moment in literary history, the sensation novels of authors such as Wilkie Collins, Mary Elizabeth Braddon, Ellen Wood, and Ouida have prompted a plethora of critical studies, which have impacted on our wider understanding of the dynamics and influences of mid-Victorian literary and publishing practices.
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Bull, Martin J. "The PDS, the Progressive Alliance and the Crisis". Modern Italy 1, n.º 1 (1995): 30–39. http://dx.doi.org/10.1080/13532949508454756.
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From the perspective of the Democratic Party of the Left (PDS) and the left generally, the 1989-1994 period can be viewed as a political failure in as far as there was a right-wing outcome (albeit ephemeral) to Italy's transition. Yet, it is a failure which has to be viewed in the context of the deep undercurrents of change at work in Italy in this period and the constraints within which the PDS and its leader, Achille Occhetto, were operating
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Jáger-Péter, Mónika. "Az önmagát feltáró műalkotás". Erdélyi Múzeum 83, n.º 4 (2021): 147–55. http://dx.doi.org/10.36373/em-2021-4-14.
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In this study I would like to point out that the work of art is never a passing thing, ephemeral, but more like a constantly self-renewing intellectual mediator, which somehow hides its own meaning, but meanwhile it’s able to reveal it anytime in the process of collaboration with the work of art. The truth of work of art doesn’t neccessarily have to be in correlation with reality. The picture is not the representation of ordinary things, but the showing of things from a different perspective, in a truer way. The privilege of the work of art stands in being able to always go beyond itself. In the artistic game the external reality itself ceases to exist, and everything that shows up in front of us is true and veritable in the same time.
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Concilio, Carmen. "Landscape/mindscape/langscape: The ephemerality of the digital and of the real in Marlene Creates’s video-poems for ice and snow". Neohelicon 48, n.º 1 (junio de 2021): 113–25. http://dx.doi.org/10.1007/s11059-021-00584-z.
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AbstractThe present essay aims at illustrating Marlene Creates’s web project Brickle, nish, and knobbly (2015), as a key example of Eco-Digital Humanities. First of all, it is a digital work of art made of ice images. Besides, it is also a digital archive meant to salvage a linguistic treasury of local idioms that both name and describe all types of snow and ice formations in Newfoundland, Canada. Therefore, the present analysis proves the special quality and inevitable ephemeral status of this project, for it constitutes a multimodal and multimedia web-archive, subject to possible erasure, or obsolescence in the face of new computer programmes and platforms developments. The archive is also an open instrument for everybody’s use: a digital audio-visual (poetic) dictionary, that ultimately functions as a challenge to climate change effects, that might dissolve both the ice formations and the language that accompanies them. Since the real world is no less ephemeral than the world of the web, this contribution also proves how Marlene Creates’s artwork envisions and embraces an ecological salvaging of our present and future landscape, mindscape, and langscape.
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Barbosa, Taciano Moura, Jessica Teixeira Jales, Jucélia Rossana Medeiros y Renata Antonaci Gama. "Sarcosaprophagous dipterans associated with differentially-decomposed substrates in Atlantic Forest environments". Acta Brasiliensis 7, n.º 1 (6 de junio de 2023): 14. http://dx.doi.org/10.22571/2526-4338599.
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Sarcosaprophagous flies may show temporal variations in terms of their location and colonization in ephemeral resources, in addition to their richness and abundance changing according to the substrate age. The present study examined the influence of decomposition time on the: (i) composition of the sarcosaprophagous dipterofauna; (ii) sexual proportion of the collected specimens; and (iii) the stage of sexual maturity of female flies (Calliphoridae and Sarcophagidae). For this, we used chicken liver with different decomposition times (0h, 24h, 48h, and 76h) for the collection of adult flies. The results showed that: i) the assemblages were most diverse and abundant in more decomposed baits; ii) Calliphoridae was the most abundant taxa in all treatments; iii) the reproductive stage varied according to the age of the substrate, with high rates of mature or pregnant females in the older substrates; and iv) the number of males blowflies was higher in older baits, but it did not vary for flesh flies. Thus, this work demonstrates experimentally that the substrate age is an influencing factor in the composition of sarcosaprophagous flies’ assemblage, and it indication of the dipterans potential as primary or secondary colonizers throughout colonization of ephemeral resources.
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Gutiérrez-Monroy, Tania. "Bodies, Shawls, and Train Cars: Women and the Traveling Homes of the Mexican Revolution". Buildings & Landscapes: Journal of the Vernacular Architecture Forum 30, n.º 1-2 (septiembre de 2023): 36–58. http://dx.doi.org/10.1353/bdl.2023.a911883.
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abstract: This article examines the ephemeral architectures and the place-making practices of the women in charge of building the mobile dwellings of military columns during the early twentieth-century Mexican Revolution. During this decade-long civil war, federal and rebel armies mobilized throughout Mexico and were heavily dependent on the services provided by the crowds of working-class women who traveled with them. Better known as soldaderas , these camp followers cared for the daily necessities of cooking, laundry, and health care for soldiers, while also creating ephemeral dwellings for the military columns. These domestic settings developed cyclically in a process of building, using, dismantling, transporting, and building anew. Two different artifacts remained constant and central to the building and rebuilding work of soldaderas: the train car and the shawl. This article analyzes how they worked in tandem with the bodies of soldaderas to produce a domestic architecture in need of constant rebuilding, a domestic architecture whose contingent transformation meaningfully fused the fabrication process and its material malleability. Losing its unity and fixity, this architecture unfolded in a series of domestic and material practices that were no longer contained in a single site and moment.
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Bench, Harmony. "Screendance: Inscribing the Ephemeral ImagebyDouglas Rosenberg; Dancefilm: Choreography and the Moving ImagebyErin Brannigan". Dance Research Journal 45, n.º 2 (agosto de 2013): 133–37. http://dx.doi.org/10.1017/s0149767713000053.
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Over the years, screendance has generated flurries of interest within the scholarly dance community, only to watch that interest wane again and again with shifting academic trends. The past decade, however, has seen a slow-churning energy that may result in a more sustainable conversation around dance onscreen, much of which has been fueled by screendance artists and programmers themselves. A number of volumes of interest to academia have emerged as screendance artists have made homes for themselves in university settings. For makers of dance onscreen, Katrina McPherson'sMaking Video Dance: A Step-by-Step Guide to Creating Dance for the Screen(2006) and Karen Pearlman'sCutting Rhythms: Shaping the Film Edit(2009) are especially noteworthy. After Sherril Dodds's important historical and analytical bookDance on Screen: Genres and Media from Hollywood to Experimental Art(2001), however, screendance scholarship was not positioned to capitalize and build on Dodds's provocation. Liz Aggiss and Billy Cowie's edited collectionAnarchic Dance(2006) offers a wonderful model for gathering together the creative work of a team of artists and scholarly writing about their work, but likeEnvisioning Dance on Film and Video(2002), a collection that was pulled together under Judy Mitoma's direction, the tone is somewhat self-congratulatory and the analysis is tepid. Finally, two books have come out that will stand alongside Dodds's to re-ignite conversations in the screendance field and in Dance Studies generally, and will do so in a generative and critical way: Douglas Rosenberg'sScreendance: Inscribing the Ephemeral Image(2012) and Erin Brannigan'sDancefilm: Choreography and the Moving Image(2011).
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Čarni, Andraž, Vlado Matevski, Urban Šilc y Renata Ćušterevska. "Early spring ephemeral therophytic non-nitrophilous grasslands as a habitat of various species of romulea in the southern balkans". Acta Botanica Croatica 73, n.º 1 (1 de abril de 2014): 155–77. http://dx.doi.org/10.2478/botcro-2013-0017.
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AbstractThe work deals with habitats of Romulea bulbocodium and Romulea linaresii ssp. graeca in the southern Balkans. Both species appear in early spring ephemeral therophytic non-nitrophilous grasslands in regions under the influence of the Mediterranean climate. These communities are classified within the Romulion alliance, which encompasses such communities from the eastern Mediterranean area. It was established that the main climatic factor causing the diversity of these communities is seasonality in precipitation and temperature. Two associations are presented, as Lagopo-Poetum bulbosae and Romuleo graecae-Poetum bulbosae.
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Kalinsky, Yelena. "Drowning in Documents: Action, Documentation, and Factography in Early Work by the Collective Actions Group". ARTMargins 2, n.º 1 (febrero de 2013): 82–105. http://dx.doi.org/10.1162/artm_a_00034.
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This article traces a provisional history of the early years of the conceptual performance art group Collective Actions through an examination of three critical terms—action, documentation, and factography—that came to figure prominently in the group's definition of its aesthetic project. A close reading of several of the group's actions and key theoretical texts from this period (1976–1981) reveals a dialectic of performance and documentation wherein the photographic and textual recording of actions, first carried out for purely pragmatic purposes, begins to acquire an independent aesthetic dimension that challenges the primacy of the live action. This shifting understanding of action—away from the ephemeral, spatio-temporal event and toward an aesthetics of documentation and factographic discourse—became a form of self-institutionalization that revealed fault lines in the artistic positions and ambitions of the Moscow Conceptualist circle. The article therefore attempts to locate the specific stakes of performance as an artistic practice within Moscow Conceptualism at the turn of the 1980s.
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Hillary, Fiona. "A situated practice". Journal of Public Space, Vol. 3 n. 2 | 2018 | FULL ISSUE (31 de agosto de 2018): 149–66. http://dx.doi.org/10.32891/jps.v3i2.1113.
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A situated practice explores one artist’s approach to navigating the shifts and changes inherent in the public space of the post-industrial city and suburbs of Melbourne, Australia. Collaborative, ephemeral, site-specific, relational works in three specific sites; Station Pier in Port Melbourne, automated pedestrian crossings throughout the city, and at the Western Treatment Plant, the sewerage facility on the western edge of Melbourne’s urban sprawl, explore everyday public sites to stake a claim for the imagination. Engaging with the work of critical theorists including Rosi Braidotti, Franco Bifo Berardi and Donna Haraway I am interested in how the abstraction of ordinary experiences and spaces allow artists and audience to co-constitute the possibility of something other, triggering fleeting transformative acts of imagination. Through this body of work, I am learning how to leave the marks of care for the future and ‘stay with the trouble.’ (Haraway, 2016, p.10).
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Normandin, Cassandra, Philippe Paillou, Sylvia Lopez, Eugene Marais y Klaus Scipal. "Monitoring the Dynamics of Ephemeral Rivers from Space: An Example of the Kuiseb River in Namibia". Water 14, n.º 19 (6 de octubre de 2022): 3142. http://dx.doi.org/10.3390/w14193142.
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Ephemeral rivers are characterized by brief episodic flood events, which recharge subterraean alluvial aquifers that sustain humans, riparian vegetation, and wildlife in the hyper-arid Namib Desert. Yet we only have a poor understanding of the dynamics and feedback mechanisms in these hydrological systems as arid and semi-arid zones are typically poorly equipped with reliable in situ monitoring stations to provide necessary information. The main objective of our study is to show the potential of satellite data to monitor the dynamics of ephemeral rivers, such as the Kuiseb located in Namibia, since remotesensing offers the advantage of adapted spatial and temporal resolutions. For this study, multi-spectral imagery (Sentinel-2), Synthetic Aperture Radar (SAR, Sentinel-1), and SAR interferometry (Sentinel-1) data were used to produce Normalized Difference Vegetation Index (NDVI) maps, backscattering maps (as σ0), and interferograms, respectively. These parameters provide information on the hydrologic and vegetation dynamics of the river. Strong variations in NDVI, σ0, and interferograms are observed during March–April 2017 and June–July 2018 in a tributary of the Kuiseb in the central Namib Desert. In those years, rain events caused the reactivation of the tributary. However, during a major flood in 2021, when no rain occured, no variations in NDVI were detected in this tributary, unlike the σ0 and interferogram anomalies after the flood. Thus, these variations cannot be explained by rains, which were non-existent during this period, but seem to be linked to the dynamics of the aquifer of the Kuiseb River, wherein floods recharge the alluvial aquifers and the rising water table levels produce a signal that is measurable by satellite radar sensors. All these results present a preliminary work that might be used by water resource managers to automate the processing and methods used to create an ephemeral river monitoring tool.
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AQUILINA, STEFAN. "Stanislavski and the Tactical Potential of Everyday Images". Theatre Research International 38, n.º 3 (29 de agosto de 2013): 229–39. http://dx.doi.org/10.1017/s0307883313000321.
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This essay discusses Stanislavski's rehearsal use of images derived from everyday life. This discussion focuses on a relatively obscure chapter of Stanislavski's career, his 1932–3 work on Artists and Admirers, the rehearsal notes of which are unavailable in English translation. The essay contends that everyday images not only facilitated communication between rehearsal participants, but also projected outwards to the highly regulatory political scene of the time. More specifically, the ephemeral nature of everyday images will be identified as a ploy that eluded the Communist Party's appropriation of Stanislavski's work. Michel de Certeau's theories on everyday life, particularly his elaboration on strategies and tactics, will serve as a theoretical framework for such a discussion.
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Ribeiro, Isabele Tavares de Andrade. "The Social Role of Flexible Architecture". International Journal of Advanced Engineering Research and Science 9, n.º 8 (2022): 024–29. http://dx.doi.org/10.22161/ijaers.98.5.
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The present work focused on case studies about flexible architecture. As case studies, trailers and ephemeral structures of different profiles and applications were analyzed. Throughout the study, it is demonstrated that flexible structures can be solutions that are inserted as alternatives to the reality of homeless people and, thus, flexible architecture can have as a focus on shelter, whether for people in a state of vulnerability on the streets or to care for the homeless after natural disasters, which are increasingly frequent in different parts of the world, including Brazil.
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Herter, Terry. "4. Infrared Space Astronomy". Transactions of the International Astronomical Union 20, n.º 01 (1988): 615–19. http://dx.doi.org/10.1017/s0251107x00007434.
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The period from 1984 through 1987 saw no new infrared space missions. Investigations, however, continued with airborne, balloon, and rocket activities, and follow-up analysis of data from the Infrared Astronomical Satellite (IRAS). Two major ephemeral events occurred during this time, the Comet Halley apparition and SN 1987a, the supernova in the Large Magellanic Cloud. With improved analysis on the database and follow-up observations new results have been forthcoming from IRAS. This work may help astronomers understand everything from the origin and evolution of quasars to the composition of material in cometary nuclei.