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Książki na temat „Ephemeral work”

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Autor: Grafiati

Data publikacji: 25 maja 2024

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1

Bennett, Andrew. Preserving the ephemeral: Selected works. San Antonio, Tex: Finesilver Gallery, 1998.

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2

Press, Kat Ran. Ephemera, job work, odds & ends & misc. ... Florence, Massachusetts: Kat Ran Press, 1997.

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3

Andrew, Bennett. Preserving the ephemeral: Selected works by Andrew Bennett. San Antonio, Tex: Finesilver Gallery, 1998.

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4

Ephemeron: Poems. Baton Rouge: Louisiana State University, 2011.

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5

Company, Royal Shakespeare, red. Shakespeare: His life and work in paintings, prints and ephemera. London: Studio Editions, 1990.

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6

Klanten, Robert. Playful type: Ephemeral lettering and illustrative fonts. Berlin: Die Gestalten Verlag, 2008.

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7

The world of jazz: In printed ephemera and collectibles. London: Studio Editions, 1990.

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8

Opie, Robert. Edwardian scrapbook. London: New Cavendish, 2002.

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9

Town, Harold Barling. Works of art and eclectic ephemera from the studio of the late Harold Town. Toronto: Ritchies, 2003.

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10

Joachim Schmid: Books, editions, and ephemera published 1982-2015. Berlin: Joachim Schmid, 2015.

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11

Rāẏa, Amita. Calcutta ephemera: Visual imagery of a colonial city (1775-1925). Kolkata: Parul, 2016.

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12

Ephemera catholiques: L'imprimé au service de la religion (XVIe-XXIe siècles). Paris: Beauchesne, 2012.

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13

Hart, Cynthia. Parlor cats: A Victorian celebration. New York: Workman Pub., 1991.

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14

The 1960s scrapbook. London: New Cavendish, 2000.

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15

Musée de l'imprimerie et de la banque, red. L'imagerie de la Guillotière, 1825-1897. Paris]: Mémoire active, 2011.

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16

Jammes, Marie-Thérèse. Images populaires: Amiens, Beauvais, Belfort, Bordeaux, Caen, Cambrai, Chartres, Dijon, Épinal, Lille, Le Mans, Montbéliard, Nancy, Nantes, Orléans, Rennes, Paris, Toulouse (1500-1840). [Paris]: Éditions des Cendres, 2017.

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17

English anxieties. Brighton, England: Photoworks, 2009.

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18

Eisenman, Sara. Building design portfolios: Innovative concepts for presenting your work. Gloucester, Mass: Rockport, 2006.

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19

Building design portfolios: Innovative concepts for presenting your work. Gloucester, Mass: Rockport, 2006.

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20

Kurtz, Robert. Personal groupings, award documents and ephemera of Rommel's Afrikakorps: Army, Luftwaffe, Kriegsmarine. Atglen, PA: Schiffer Military History, 2004.

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21

Schnitzspahn, Karen L. An album of animal companions: A collection of turn-of-the-century photographs and ephemera. Red Bank, N.J: Coast and Pines Press, 1995.

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22

Library, Thomas J. Watson, red. Pochoir by painters: An exhibition of books, folios, prints and ephemera, 1918-1938, from the collection of Charles Rahn Fry. New York: Metropolitan Museum of Art, 1988.

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23

1961-, Nericcio William Anthony, red. The hurt business: Oliver Mayer's early works [+] plus a portfolio of plays, essays, interviews, souvenirs, ephemera, and photography. San Diego, Calif: Hyperbole Books, 2008.

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24

Mahabir, Noor Kumar. East Indian women of Trinidad and Tobago: An annotated bibliography with photographs and ephemera. San Juan, Trinidad, West Indies: Chakra Pub. House, 1992.

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25

The 1930s scrapbook. London: New Cavendish Books, 1997.

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26

Opie, Robert. The 1950s scrapbook. London: New Cavendish Books, 1998.

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27

The 1920s scrapbook. London: New Cavendish, 2003.

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28

Graphic workshop, innovative promotions at work: A quick guide to the essentials of effective design. Gloucester, MA: Rockport Publishers, 2006.

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29

Opie, Robert. The Victorian scrapbook. London: New Cavendish Books, 1999.

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30

A, McAlpine Duncan, red. The Comic book price guide for Great Britain. London: Price Guide Productions, 1994.

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31

Jacobsen, Therese Høeg. Alle tiders tryk: Småtrykssamlingen i Det Kongelige Bibliotek. Redaktorzy Kongelige Bibliotek (Denmark) i Forening for boghaandværk (Denmark). [Copenhagen]: Det Kongelige Bibliotek, 2010.

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32

Niewyk, Ellen Buie. Jerry Bywaters, Lone Star printmaker: A study of his print notebook, with a catalogue of his prints and a checklist of his illustrations and ephemeral works. Dallas: Southern Methodist University Press, 2007.

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33

Grandee African wildlife: A collection of picture cards depicting big game and other wildlife likely to be seen while traveling in southern and eastern Africa. Nottingham?]: Grandee Cigars, 1990.

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34

1452-1519, Leonardo da Vinci, Santa Maria delle Grazie (Church : Milan, Italy) i Biblioteca ambrosiana, red. L'architettura, le feste e gli apparati: Disegni di Leonardo dal Codice atlantico = Architecture, festivities, and ephemeral displays : drawings by Leonardo from the Codex Atlanticus. Novara: De Agostini, 2010.

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35

The Velvet Underground: New York art. New York: Rizzoli, 2009.

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36

Bayani, Manijeh. The decorated word: Qur'ans of the 17th to 19th centuries. London: Nour Foundation in association with Azimuth Editions and Oxford University Press, 1999.

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37

Schwingshackl, Andreas, Stephania A. Cormier i Kanwaljeet J. S. Anand, red. Work-Life Balance: Essential or Ephemeral? Frontiers Media SA, 2017. http://dx.doi.org/10.3389/978-2-88945-254-5.

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38

Matthen, Mohan. Ephemeral Vision. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198722304.003.0015.

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Vision is organized around material objects; they are most of what we see. But we also see beams of light, depictions, shadows, reflections, etc. These things look like material objects in many ways, but it is still visually obvious that they are not material objects. This chapter articulates some principles that allow us to understand how we see these ‘ephemera’. H.P. Grice’s definition of seeing is standard in many discussions; here I clarify and augment it with a criterion drawn from Fred Dretske. This enables me to re-analyse certain ephemera that have received counter-intuitive treatments in the work of Kendall Walton (photographs), Brian O’Shaughnessy (light), and Roy Sorenson (occlusions).

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39

Kim, Christine. Ephemeral Publics and Roy Kiyooka’s StoneDGloves. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040139.003.0006.

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This concluding chapter outlines a form of ephemeral intimacy that emerges within racialized publics and that might also potentially be extended to include dominant publics by examining the work of poet and visual artist Roy Kiyooka and his influence on Asian Canadian creative and critical work. Kiyooka's work operates as an Asian Canadian archive for how it historicizes racialized logics that are often at odds with racialized representations. The chapter then focuses on Kiyooka's StoneDGloves (1997), which, as an experimental piece of visual art and poetry, explores the limits of aesthetic and social representation—a concern that is also at the heart of Asian Canadian publics.

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40

Alfredo, Ollero Ojeda, Conesa García Carmelo i Vidal-Abarca Gutiérrez María Rosario, red. A GUIDE TO GOOD PRACTICES FOR THE MANAGEMENT AND RESTORATION OF MEDITERRANEAN EPHEMERAL STREAMS:RESILIENCE AND ADAPTATION TO CLIMATE CHANGE. Editum. Ediciones de la Universidad de Murcia, 2022. http://dx.doi.org/10.6018/editum.2912.

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Ephemeral channels (ramblas or dry channels - except in sudden occasional flash foods) are prevalent in the Mediterranean, where they make up most of the fluvial network. They are fundamental natural systems in the hydrological cycle for transporting water, sediment and nutrients, and, therefore, are excellent indicators of climate and global change. Their promotion, the recognition of their role, their hydromorphological values and ecosystemic services are all absolutely essential for understanding their level of resilience and contribution to adapting to climate change. And it is urgent for us to work on their management, recovery and conservation, because overall they are subjected to strong pressures and are being greatly damaged. This guide warns the reader about the multiple impacts these channels are subjected to, it informs us about their important Mediterranean heritage, which is so underestimated and ignored; and it proposes 33 good practices for their management and recovery. It is a book that can offer ideas to the people responsible for managing them, but is aimed at the whole of society, because the challenge is very complex: we have to recover ephemeral channels by improving understanding and raising awareness. And we must act quickly, because it is already late and until now practically nothing has been done to respect, protect and recover these vital fluvial systems on our land. This is our challenge.

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41

Pagán, María. Ephemeral. Pagan Light Publishing, LLC, 2021.

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42

Pagán, María. Ephemeral. Pagan Light Publishing, LLC, 2021.

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43

Engelmann, Lukas, Caroline Humphrey i Christos Lynteris, red. Working With Diagrams. Berghahn Books, 2022. http://dx.doi.org/10.3167/9781800735583.

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Arising from the need to go beyond the semiotic, cognitive, epistemic and symbolic reading of diagrams, this book looks at what diagrams are capable of in scholarly work related to the social sciences. Rather than attempting to define what diagrams are, and what their dietic capacity might be, contributions to this volume draw together the work diagrams do in the development of theories. Across a range of disciplines, the chapters introduce the ephemeral dimensions of scientist’s interactions and collaboration with diagrams, consider how diagrams configure cooperation across disciplines, and explore how diagrams have been made to work in ways that point beyond simplification, clarification and formalization.

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44

Andy Goldsworthy: Ephemeral works 2004-2014. 2015.

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45

DeMulder, Sierra. Ephemera. Button Poetry, 2023.

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46

Hewitt. Ephemera. San Francisco Bay Press, 2015.

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47

DeMulder, Sierra. Ephemera. Button Poetry, 2023.

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48

Ephemera. Texas Review Press, 2018.

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49

Hughes, Gillian. Fiction in the Magazines. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199574803.003.0025.

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This chapter focuses on magazine fiction. Magazine fiction before 1820 has been viewed as irredeemably derivative and ephemeral. Notions of the canon, however, are now wider than they were and there is more interest in the typical as well as in the best fiction of the period. Novelists themselves read magazine fiction, which formed part of the cultural context from which their work developed and in which it may be understood: specific strands of eighteenth-century magazine fiction share ground with the writings of Jane Austen, for instance, or anticipate the subject matter of the Brontës. Indeed, the emergence of the professionally written tale in the 1820s can be seen as meeting a growing desire for more sophisticated magazine fiction and as providing for the needs of those who were attempting to produce it.

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50

Janza, Janes. Politics of Fake It! Redaktorzy Rebekah J. Kowal, Gerald Siegmund i Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.32.

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The interview of Janez Janša by Janez Janša elaborates on the economy of culture based on the performance Fake it! from 2007, which is described as a translation of seminal choreographies, in contrast to re-enactments or reconstructions. The re-enactment does not render an inherently ephemeral work present, but it underlines its absence. Thus a re-enactment performs the impossibility of being in another place/time; and that is its basic political impact. The choreographies chosen to be performed in Fake it! function as performatives in the Austian sense: by performing them, the economy of their absence and the cultural policy, which supports their absence, are performed. The choreographies in Fake it! are socialized; they became a public good and strengthen the embedding of dance in culture.

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