Ephemerality

Ever since William Henry Fox Talbot used his plaster replica of the Bust of Patroclus (from 1842) as a model for the photographic invention he was developing, photography has had a long and entwined relationship with sculpture. It was not seen as a mortal threat (in the way that it occasioned proclamations of the death of painting), but rather a field of possibilities where the perception and meaning of sculpture could be explored. Whilst, in the 1960’s, sculpture experienced an expansion of its terms, photography was consigned to a predominantly visual and scopic functionary of documentation; capturing representations of fixed moments in time.

This fine-art and practice-based research enquiry considers the relationships between photography: of sculpture, into sculpture and as sculpture, proposing that there may exist a preposition of ‘photography with sculpture’. As photography continues to develop its own expansion of terms, with a movement away from the digital and representational toward a materialist and phenomenological expression, this research explores if there may exist a conjoining of these expanded fields.

With a specific focus on ephemeral sculpture and camera-less photography, the problematised question of time and the expression of the temporal are brought into sharp relief. Here a sculpture may transpose itself from a 3-dimensional to 2-dimensional form (where the “photograph” may yet retain an object status), and where the sculpture may change over time, its representation may follow, tethered, continually inviting us – after Robert Morris – into a “present-tense” of photography. In this manner new readings may become possible with implications for our understanding of both disciplines.

With rigorous documentation and reflection in the form of research diaries, a number of artefacts have been developed combining ephemeral salt sculptures with salt photography, reducing photography to the elemental nature of light sensitised surfaces, more or less fixed, with salt, to create unstable images.

The following thesis represents two recent strands of musical interest: ephemerality and the role of notation. Throughout this thesis I explicate the various ways I have engaged with these concerns and their application in my work. Additionally, I aim to situate my work within the context of contemporary compositional practices as a way of showing both origins of influence and ways in which my own work extends/expands on these influences. This thesis will address issues regarding the materiality impermanency of scores, documentation, interpersonal relationships, performative situations, and the performer/notation interface.

Despite growing interest, there is a shortage of research about the methods and challenges that concern researching ephemeral digital content. To fill this gap, the article discusses two research strategies to study Instagram Stories. These allow users to share moments of their everyday lives in a documentary and narrative style; their peculiar feature is ephemerality, as each Story lasts for 24 hours. The article (a) explores how to bypass the Instagram API closure and (b) engages in an attempt at ‘circumventing the object of study’, taking advantage of how individual users archive Instagram Stories on other platforms (here, YouTube). In so doing, we contribute to the debate that seeks to innovate and ‘repurpose’ digital methods in a post-API environment. Besides the methodological utility, we show the tension between ephemeral content and archive cultures, and raise epistemological and ethical concerns about the collection, analysis and archival of ephemeral content.

La definición de sitio eriazo ha sido discutida en ámbitos urbanos y
arquitectónicos, vistos como remanentes que pertenecen a la trama urbana, pero
a su vez, son tangenciales a esa dinámica, el tiempo de desarrollo proyectual
en estos vacíos urbanos –forma y programa–, pueden ser indefinidos para su
concreción. A su vez, el sitio eriazo –sin uso ni construcción–, suele ser un
espacio clausurado en su perímetro que convive con la cotidiana y constante
mutación de la ciudad, por lo cual ha sido objeto de variadas intervenciones
que buscan integrarlos urbanamente para el goce de la ciudadanía. El presente
texto se centrará en discutir intervenciones en sitios eriazos desde su carácter
permanente, efímero y temporal en contraste con los actuales proyectos políticos
de plazas de bolsillo en la ciudad de Santiago de Chile. De esta manera, el rol
del sitio eriazo se entiende como una oportunidad de espacio público desde
su afectación multiescalar –local a metropolitana–, las posibilidades para su
implementación podrían reducir la desigualdad en la distribución de los espacios
públicos en ciudades consolidadas.

The definition of vacant land has been discussed in urban and architectural
spheres, seen as remnants that belong to the urban fabric and at the same time,
tangential to this dynamic, the development time in these urban voids –form and
program–, can be undefined for its concretion. In turn, the vacant land –without
use or construction–, usually is a space closed on its perimeter that coexists
with the daily and constant mutation of the city, therefore it has been the subject
of various interventions that aim to integrate them urbanly to the enjoyment of
citizenship. The discussion will focus on interventions in vacant land from their
permanent, ephemeral, and temporary nature in contrast to the current political
projects of pocket parks in the city of Santiago de Chile. Finally, the role of
the vacant land is understood as a public space opportunity in its multiscale
affectation –local to metropolitan–, the possibilities to its implementation could
reduce the inequality distribution of public spaces in consolidated cities.

Der Beitrag gibt einen historischen Überblick über die unterschiedlichen Möglichkeiten, die Flüchtigkeit von Tanzbewegung mit der Transitorik von Blumen zu verschränken. So wird im Bühnentanz das Auf- und Verblühen von Blumen verkörpert, etwa im Romantischen Ballett (»Théa, ou La Fée aux Fleurs«, 1847) oder in diversen Blumenchoreographien des Ausdruckstanzes. Umgekehrt erfahren Blumen trotz ihrer Sessilität eine kulturelle Zuschreibung von Tanzbewegungen, etwa bei William Wordsworth (»I wandered lonely as a cloud«, 1807) oder Hans Christian Andersen (»Die Blumen der kleinen Ida«, 1835), und fast immer wird auch hier die besondere Vergänglichkeit von Blumen mithilfe der Metapher des flüchtigen Tanzes reflektiert.

This research explores the conflicts that emerge when applying recording and registration practices to performance art. Although the ephemerality of the actions is perceived as essential for this art genre, museum professionals and artists are often not in favor of the disappearance of all aspects of these artworks. The case studies in this article demonstrate that the ephemerality of the original performance artwork becomes even more considered when the performativity of the action is preserved through specific forms of fragmented documentation. This enables the survival and continuation of a performance artwork’s activating character, the embodied experience evoked, the work’s contingent meanings, and its continuous reinterpretations, such as through re-enactments. Keywords: Performance art. Documentation. Ephemerality. Performativity. Re-enactment.

Cette publication évoque le travail de Gustav Metzger et ses réflexions théoriques autour de l'ADA (auto-destructive art). À partir de la fin des années 1950, Metzger définit en plusieurs manifestes successifs sa vision d’un art auto-destructif (ADA). L'ADA, aux visées révolutionnaires, est intimement lié aux méthodes de destructions massives contemporaines : Metzger a par exemple pris appui sur l’ouvrage de Tom Stonier,
Nuclear Disaster (1963), une dystopie imaginant les
effets de l’explosion d’une arme thermonucléaire de 20 mégatonnes sur l’île de Manhattan.
Sont ici développés les rapports que Metzger, qui lança en 1966 un « Destruction in Art Symposium » visant à rassembler les artistes de la destruction, entretient avec ces visions catastrophistes héritières de la Seconde Guerre mondiale et tournées vers les problématiques contemporaines d’annihilation nucléaire et de désastre annoncé.

This paper discusses my recent and ongoing interest in ephemerality. I will primarily discuss my project, S[h/c]attered Shards of  Experience: Ephemera 1-n, a series of one-of-a-kind scores (henceforth interchangeable with Ephemera) sent to friends through the postal service. The ephemera-project explores a number of artistic questions including the role of impermanency, materiality, interpersonal relationships, dissemination, the commodification of art, and the social and political efficacy of an artwork. Throughout this paper I will a) briefly provide a framework for understanding ephemerality, b) posit a number of questions related to the project’s artistic concerns, and c) propose some tentative answers to the questions raised, with brief interludes of models found in other artistic practices important in shaping the direction of this project.

Presented at the Time Stands Still: Notation in Musical Practice conference. Wesleyan University. |April 5-6, 2013|

Email me at michaelbaldwin21[at]gmail.com if interested in photographic documentation of Ephemera.

The article analyzes the media logic of urban acts of communication in early modern German cities. As is demonstrated by Cologne and Hamburg in the late seventeenth and early eighteenth centuries, the growing use of print (particularly pamphlets) moved local conflict away from face-to-face confrontation into progressively more multifaceted modes of communication, increasingly expressed in both manuscript and print. In highlighting the mediality of early modern urban culture, the changing relationship between the urban community, public opinion, and forms of communication is addressed. The resulting effect from the interplay and complementation of oral, written, and printed means of communication is described as echoes that formed an urban resonating box—a constant polyphonic state including both the literate and illiterate.

Through a close reading and reconstruction of technical recipes for ephemeral artworks in a manuscript compiled in Toulouse ca. 1580 (BnF MS Fr. 640), we question whether ephemeral art should be treated as a distinct category of art. The illusion and artifice underpinning ephemeral spectacles shared the aims and, frequently, the materials and techniques of art more generally. Our analysis of the manuscript also calls attention to other aspects of art making that reframe consideration of the ephemeral, such as intermediary processes, durability, the theatrical and transformative potential of materials, and the imitation and preservation of lifelikeness.

This article explores how across the island of New Guinea, barkcloth has functioned as a mediator between humans, their existence, and their environment. Revisiting origin myths and various uses and meanings of barkcloth in New Guinea, it is shown how barkcloth is intimately connected with human ontology, and in particular with human reproduction and death. Focusing on barkcloth as permeable and perishable substance, the paper elucidates how barkcloth effectively shapes, contains and alters human beings. Highlighting the intimate relationship between barkcloth and people’s existence, the paper also discusses some of the changes brought about by colonialism, logging and climate change, and how this might affect both the significance and future of barkcloth.

Although Japanese art influenced many Australian artists in 1960s, Rosalie Gascoigne is regarded as one of a few artists for whom Japanese art was “the gateway” to her own art. Gascoigne studied Ikebana from 1962 to 1972 but became frustrated with its limitations, and started making assemblages. This paper proposes that the order of composition in her assemblages is something she inherited form Ikebana, revealing a possible connection between Ikebana and contemporary art. It also regards her work as a case study of cultural transformation across borders, arguing that Ikebana was more than the gateway for her work.

How does a curatorial art project dealing with the ephemeral nature of performance address the social dynamics associated with the original events? How can documents be perceived not only as mnemonic vehicles of the past, but also as agents nurturing our present times? Two exhibitions will form the groundwork to deal with this question: À la vie délibérée — Une histoire de la performance sur la Côte d’Azur de 1951 à 2011 (Nice, 2011), which gives us an unusual social and artistic view of the French Riviera, and Perder la forma humana. Una imagen sísmica de los años ochenta en América Latina (Madrid, 2012), which addresses the way performative actions expressed ways of living together that were alternative to those imposed by the political situation in which they were produced. I will take account of the uses of documentation in the exhibition context as the materialization of the threshold that remains between art and a wider social domain.
KEYWORDS: DOCUMENTATION | PERFORMANCE | SOCIAL RELATIONSHIPS | EPHEMERAL | EXHIBITION

In De Arquitectura, Vitruvius lists three interrelated Latin terms – firmitas (strength or structural stability), utilitas (functionality or appropriate spatial accommodation), and venustas (beauty or attractive appearance), as being the basis of good architecture. Regarding firmitas, he implies that a good architect needs to choose the best and most solid materials, regardless of their cost. Yet, perhaps dismissing Vitruvius's advice, in the late 1970s and early 1980s, most Postmodern architects went on to erect buildings that often looked more like stage sets than anything strong and durable.

Postmodern designers applied colour, pattern, and ornament to buildings, transferring ordinary and everyday popular imagery, forms, and material into high culture. By rejecting modern design and aesthetics, they also dismissed the building techniques and materials used by their predecessors. As explained by experts from the Portland-based architecture firm Peter Meijer Architect, PC (PMA), ‘there is an inherent impermanence of the original materials based on a default decision making process that limited a building's longevity to a twenty-five year life-cycle’ for Postmodern architecture. In other words, Postmodern buildings were often built as ephemeral constructions, for which longevity was not an absolute value.

Trisha Brown’s early choreographic work deals intrinsically with the relationship between dance and urban space. Performed on rooftops, park benches or exterior house walls, some of her most famous pieces of Postmodern Dance investigate how choreography can interact with the topography of a city. Dance here does not merely react to the city as a stage, but rather creates and transforms its own surrounding space by leaving ephemeral inscriptions within the network of urban structures.
But how does a dance piece performed outside the walls of a theatre or gymnasium read and even change the social structure of a city? To which ways of urban cartography – such as street maps and traffic signs – can choreography refer by copying systems of city-communication and developing them into an undecipherable form of body calligraphy? And finally: when dancing is far more than an ornamental addition to an urban landscape, to what extent can it be described as a form of architecture in itself?
I will address these questions in regard to Trisha Brown’s „Roof and Fire Piece” originally performed on rooftops in SoHo in 1973 and recreated on the High-Line in Chelsea in 2011. By focusing in particular on the figuration and de-figuration of the bodily shapes of the dancers – who are dressed in scarlet-red costumes – I will argue that their movements, blended with an urban topography, create a synesthetic and kinesthetic vision of dance as an embodied form of fluid architecture and semaphore-like writing in the city.

Burning Man is an artistic community event that has been dis/assembled
in Nevada’s Black Rock Desert every summer since 1990. The location of
this event in this desert has had a shaping impact on Burning Man as a
gathering, a city, an organization, and a transnational cultural movement.
A unique facet of what is known as Black Rock City is not simply that it is
dis/assembled in a desert region, but that it recurs on a playa, the ne plus
ultra of deserts. The Black Rock playa has obtained a special signi􀁬cance
for participants (i.e. burners), for whom this liminal space is recognized,
paradoxically, as ‘home’. This uniquely sublime no-place contextualizes a
familial encounter experience shaping on-playa identity over three decades
of event-going. Informed by Emily Brady’s study of paradox in natural
sublimity, the writings of poet-geographer of the ‘Big Empty’ William L.
Fox, and the author’s experience of Black Rock City in seven cycles from
2003, three qualities of playaspace (otherworldly, ephemeral, limitless) are
addressed, each implicated in its unique potential for a transformational
community that has fashioned a homeland on the frontiers of the sublime.

This article takes as its point of departure what Bataille calls the “nauseating banality” that flowers are both symbolic of everlasting love and comically short-lived. The comparison of women to flowers in early modern lyric, already by the sixteenth century veering into the territory of cliché, often explicitly thematized—rather than trying to gloss over—the proximity of flowering to withering, a proximity highlighted by the French equivalents of those words, fleuri and flétri. In both Petrarchan and carpe diem traditions, female figures were both essential and essentially expendable. Even the most conventional love poems failed to stay on this side of garbage, as wispy images of women became disfigured into decaying organic material in the space of a single sonnet. Focusing on poems by Pierre de Ronsard and Robert Herrick, I show how these very different poets were engaged in the same misogynist cultural project, a project that takes as a premise that the smooth transition of women from vibrant matter to rotting trash is remarkable in its unremarkableness. These poets, I argue, approached the woman-flower trope with a desire and disdain comparable to their sentiments for the women their poems represented. Viewing women as neither invitingly immediate nor ethereally inaccessible, treating their bodies as dead weight or garbage rather than as property of any value, these poets used the timeless ephemerality of both women and cliché to negotiate their own ambivalence to poetry and immortality.

Entender como o portal UOL tem se apropriado do Snapchat para fazer cobertura jornalística é a proposta deste artigo. Para a análise empírica, nos inspiramos no processo metodológico desenvolvido por Fonseca (2015), que consiste na formulação de quadro metodológico, em que descrevemos os principais parâmetros de análise e os agrupamos em conceitos e categorias. Para auxiliar na aplicação desse quadro, desenvolvemos um questionário composto por perguntas a serem feitas ao corpus. O método foi aplicado em uma amostra formada por três Stories produzidas pelo perfil do UOL no Snapchat durante os Jogos Olímpicos de 2016, no Rio de Janeiro. Ao final, identificamos quais elementos são consensuais, quase-consensuais, raramente utilizados e potencialidades. Este estudo-piloto faz parte do projeto de mestrado em curso, portanto, ainda está sendo aprimorado e ampliado.

A Németh Lajos hatvanadik születésnapjára készített emlékkönyvben nem véletlenül kerülhetett egymás mögé Egry Margit írása Ország Lili Labirintus sorozatáról és Kovalovszky Márta tanulmánya Schaár Erzsébet Utca című kompozíciójáról. Többen felismerték, hogy a két művész, a két mű között szoros a kapcsolat,  amelynek mibenlétét azonban eddig nem fejtették ki részletesen, ezért az alábbiakban erre teszek kísérletet.

Since the advent of European explorers, missionaries, traders and subsequent colonialism, Melanesian material culture has lived a double life (Thomas 2013: xi). On the one hand, indigenous material culture remained significant in local lives, despite many objects being abandoned, replaced by Western products, or destroyed by colonial agents. On the other hand, Melanesian objects were systematically collected by these same colonial agents, who included colonial officers, missionaries, traders and
anthropologists. However, Melanesians have always had a complex relationship with things, which calls into question Western dichotomies between objects and subjects, keeping and giving, creating and destroying. Melanesian persons, it has been argued, are constituted out of things that are transacted as gifts (Strathern 1988, 1991; Wagner 1991). These ‘things’ may be objects such as pearl shells, beads, pigs or barkcloth, but also human blood, semen or nurture. The intimate relations between people and
things are reworked in life- cycle rituals, such as initiations and mortuary rites, where objects are not only exchanged and given away, but also destroyed.

Drawing on John Durham Peters' theory of (mis)communication and other studies of precarious infrastructure (Hicks, 2020; Star, 1999; Pow, 2021; Tsing, 2015), in this article, I consider mortality or finitude as a site of communication breakdown, focusing on the problem of using digital platforms to achieve posterity. Providing an overview of my long-term ethnographic, historical, and web-based research on digital death care practices, I highlight some of the techniques that constitute breakdown as a method of scholarly inquiry. I present screenshots as mourning objects and breakdown research tools. The screenshot represents and captures a distinct point of view and provides material evidence for slippery, ephemeral communications even as the screenshot, as a media object, is subject to decay. Drawing on temporally-oriented or ethnographic approaches to studying dynamic social media cultures (Bonilla, 2015; Christin, 2020; Karpf, 2012; Seaver, 2017) in addition to the work of John Durham Peters, I position breakdown as a method befitting fragile digital social worlds. I argue that death, through the practice of screenshotting, provides a framework for grasping the transcendent capacities and material limits of technologies.

The aim of the research is to discuss, within the framework of the Architectural Utopias of the 60s, the concept of Space colonization, declining it in the ephemeral use of megastructures. The main role given by the study to the English group Archigram wants to highlight how their experimental proposals are not so far from our reality and how their conceptual framework perfectly matches with the requirements.

The rising of the idea of space colonization got a reserved spot in the scientific research since 1969, when the first human footprints were left on the lunar soil, and analyzing the current project proposals we can define some common points that we can highlight and confront with Archigram.

The English group is given a role of absolute European centrality in the field of Utopian Megastructuralism, as their main concept ideas, were to break from the past in order to “invent and develop an ex-novo modern city, as huge tumultuous, agile and dynamic construction site in each of his part” and not less important, a vision of the city made of components, interchangeable and updatable where the dimension of time plays an important role given the indetermination and fluency in scientific and social evolution. The name itself is a representation of immediacy, as the group wanted an architecture that was important, urgent and rapid at the same time, like a telegram, from which the payoff “Archi(tecture...tele)gram”.

One of Archigram’s accomplishments had been to reorient architecture toward changing social and ideological patterns. The innovation of Archigram stands also in reconsidering the urban fabric and the city from the inhabitants point of view and their conditions: the surrounding environment usually characterized by buildings in their physical mass (hardware) should be imagined as something flexible and upgradable, non-static (software) according to the users’ needs. And so is the un-explored field of living on new planets.

The final question should be, Can Archigram proposals be the solutions for the colonization of new planets?


Keywords: megastructures, space, ephemeral, colonization, temporary
Topic: 1. THE MISSION: new needs for new settlements for new planets, 2. THE VISION: Characteristics and utopias of Archigram, 3. ARCHIGRAM 2.0: over the horizon

The constant improvement of electronic equipment and their ultra-fast commercialization leads to a consequent proliferation of outdated material that is often abandoned without any consideration of their toxicity or their effect on the environment and the population. This phenomenon is commonly called “e-waste”. The rag-pickers that collect the discarded used electronic products must constantly adapt. Gabriele Oropallo, a design historian particularly interested in the durability of objects, considers that Brazilian e-waste rag-pickers distinguish themselves from their African and Asian colleagues: they are organized into movements and co-ops and demand respect for their attempts to recycle outdated electronic materials. The pushcarts they drive down the streets have become a strong symbol.

The talk was part of the 2012 Eternal Tour festival in São Paulo.

The aim of this paper is to encourage understanding and preservation of twentieth and twenty-first century fashion. It considers the use of plastics by three influential designers of modern and contemporary Western fashion and the challenge of preserving both the plastics and the designers’ intent. Focussing on pieces from The Costume
Institute (The Metropolitan Museum, New York) by three influential fashion designers, Elsa Schiaparelli, Beth Levine and Rei Kawakubo, the paper explores the challenges of conserving their work in its design, material and construction. Each designer responded differently
to the then newly available plastic polymeric materials used to create their visionary designs. Instrumental analysis, using micro-FTIR, Py-GC/MS and EGA-MS, helped to identify the plastics and to predict longer-term changes. Concerns about ephemerality and temporality are shared by both innovative fashion and conservation.
Disconnection between preserving the designs, in the form of museum artefacts, and each designer’s intent, as manifested in the original relationships and processes used to materialise that intent, is examined to understand whether and how ‘designer intent’ can be preserved or represented. The works of Schiaparelli, Levine and
Kawakubo provide comparative case studies to explore the challenges of conservation and representation and to inform the development of a theory of ‘fashion conservation’.

The " theory of permanence " , formulated by Aldo Rossi drawing on the thinking of French proto-urban planners Marcel Poëte and Pierre Lavedan, has designated, in Italy as in the rest of the European continent, a period in which a founding value has been attributed to the concept of " persistence " and taken up as a essential axiom of western urbanist thinking. In this contribution, the intention is to start off from the deep groove made by research into urban morphology, and set out the construction of a view on the city that from this highlights the multiplicity of the structures in evolution and the multiplication of the cycles of change. According to this different perspective, the value of transformation, gripped between the diverging demands for conservation and innovation, seems to take on a new allure, especially concerning urban renewal processes. Rossi's theory, reassessed through the filter of the culture of the ephemeral and " non-conventional " , thus constitutes a matrix from which to reconsider the creative process of the architectonic and urban project, in relation to the dynamics of today's society and to the " régimes sensibles " pertaining to them. The theme proposed in this contribution is part of a broader study and represents an extension of that work. The investigation was prompted by a series of reflections on the alternative practices of intervention in the delicate urban and the suburban maillage. 1. Between analogy and permanence " Le temps ne sort pas du prèsent, mais le présent ne cesse pas de se mouvoir, par bonds qui empiètent les uns sur les autres. Tel est le paradoxe du présent: constituer le temps, mais passer dans ce temps constitué. " Gilles Deleuze The " theory of permanence " (Teoria delle permanenze), formulated by Aldo Rossi [1] drawing on the thinking of French proto-urban planners Marcel Poëte and Pierre Lavedan, has designated, in Italy as in the rest of the European continent, a period in which a founding value has been attributed to the concept of " persistence " and taken up as a essential axiom of western urbanist thinking. In this contribution, the intention is to start off from the deep groove made by research into urban morphology, and set out the construction of a view on the city that from this highlights the multiplicity of the structures in evolution and the multiplication of the cycles of change. According to this different perspective, the value of transformation, gripped between the diverging demands for conservation and innovation, seems to take on a new allure, especially concerning urban renewal processes. In Rossi's theoretical evolution, the idea that the city is structured around " hinges " , understood as stable and predominant elements or as consolidated urban connections, underwent a change when the notion of analogy began to make headway. The concept of persistence still remains in some way in "La città analoga" (The Analogous City), the celebrated table-considered the emblematic critical

Esta pesquisa propõe-se a estudar a apropriação do aplicativo Snapchat pelo Portal UOL para produção de conteúdo jornalístico. O foco está em observar as stories, que são narrativas criadas a partir de fragmentos de até 10 segundos que desaparecem após 24 horas, produzidas pelo perfil do UOL. Para isso, selecionamos as stories que foram produzidas sobre política e republicados no site TV UOL, totalizando 28 vídeos com 657 fragmentos, chamados de snaps. A análise empírica foi dividida em duas etapas: uma de caráter quantitativo, que busca observar a ocorrência de elementos previamente mapeados nos snaps; e outra qualitativa, cujo olhar recai sobre como esses snaps são estruturados para criar as stories. Como resultados, apontamos elementos frequentes, como o uso de snaps nativos e a preferência por vídeos frente a outros formatos multimídia, como fotos, textos e áudios. Também observamos que as stories não seguem um padrão e aliam formatos narrativos diferentes, como cobertura do local dos fatos, entrevistas e bastidores.

Este artículo expone las semejanzas y diferencias entre el séptimo arte y la gastronomía de vanguardia a partir de la formulación de la siguiente hipótesis: si el cine es el arte por excelencia del tiempo y del espacio, mientras la gastronomía lo es de lo efímero: ¿en qué medida esta última puede ser un arte sin contar con la ayuda de los medios audiovisuales? Tras un capítulo introductorio en el que se definen y describen a grosso modo ambas disciplinas, el artículo señala, primero, los caminos paralelos que han seguido ambas desde la aparición del cinematógrafo para detenerse después en mostrar su imbricación con la sociedad de su tiempo y su entrada, casi simultánea, en los museos y, en el caso de la gastronomía, en los festivales a la par que hace hincapié en sus fuentes de inspiración, referencias y canales de exhibición y de divulgación. Por último, se detiene en analizar los puntos comunes de sus métodos de trabajo para, al igual que se ha venido haciendo en los apartados anteriores, señalar las concomitancias y diferencias existentes entre ambos.

In this thesis, I've found the opportunity to observe the body oriented and ephemeral nature of my own art practices which adopt the interdisciplinary approach of two intertwined fields: performance and contemporary dance. The inevitable annihilation that follows creation made me contemplate about the relationship between life and art. I've recognized the fact that life, beginning with birth, slowly approaches death particularly observed in my works concerning food. The ephemeral, gradually rotting and perishing nature of food, just like that of a body and artwork has led me to elaborate on the the relationship between food and performance. While the interaction of the body with space constituted the basis of my creations, the creation of a potential performance space has emerged as the core element in my art practice. With the intent to create a potential performance space, I've pondered on the basis of body, benefited from fields such as video and photography and displayed these works in my exhibition titled Human Animal.

Art events in the modern world takes place in a number of stages ranging from exhibition centers, trade fairs, vanity galleries, temporal venues or as travelling exhibitions (e.g. Body Worlds, California). Variety in frequency and occurrences gave rise to the newest of expositions, the Biennale. Emerged as a pilot, Biennale of Venice set a trend that got itself absorbed in the urban fabric causing wavelets of transformations in course of time.
The true nature of urban impacts of Biennale cannot be generalized under one title since the type and origin, the nature of changes the event propagates while it travel across countries and time varies to some extent. Regardless of what happens within the walls of museums and venues, larger effects are evident in the way how the urban realm responses to the event. What can be borrowed from these events that affect the realm outside the walls of exposition is the area of interest here for an urban designer.

There's a 'NOBEL' for this one-Alzheimer's Therapy; Elemental Laser Nature

Alzheimer's is an enabled cultural neurological disorder. It's derived on the mass emphasis of focusing on the present and dispensing with the distant past and maintaining the present-based repetitive and functional short-term memory. One immediate exception would be those whose vocations require them to use their memory for simple listings and systems of algorithms. Other than that, anything less than an acutely, traumatic experience that would generate an automatic post-traumatic-stress-disorder (PTSD) or sentiment is dispensed with since it would get in the way of being cognitively obsessed with and in 'the present'. The following text explains what is neurologically occurring with brains in a cognitive present focus short-term, whose effect last no further than transient stimulation.
Image link-
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That cultural imperative for 'presentness' amputates the chronological phenomenology of past memories and their historical context. With out that depth of memory for the hippocampus a whole dimension of neural interaction is lacking. The shallow depth of near-term transient and ephemeral memories are replaced with their equivalents. In contrast to the loss of transient ephemeral memories, the long-term context of personal meaning and significance exist as the purposeful raison d'etre for one's ongoing actions. The structural shallowness and triviality of what is crowded in the short term erodes more exponentially than the more emotionally connected and meaningful memories of one's own past and their associative origins.

Alzheimer is the waste from the destruction of superfluous short-term memories of trivial consequence that like our present waste management problem of no place to place the disposable from our pedestrian consumption. This has been enabled by having the cognitive focus on the transient self-centering 'sui generis present' than the contextual past of significant ontological and meaningful/purpose-directing past.

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From watching too many 'James Bond' and 'To catch a Thief' programs
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Ya know when Bond or a thief had to navigate themselves through a laser field such as this to get from point A to point B? Thinking about those beams that are essentially the same but coming from a multitude of different origins headed to different destinations.

That's how I see people. We share common qualities, but our origins determine our direction. Though we see ourselves in the present moment, we are actually time-effected versions of the past that have us encountering each other like those beams of light criss-crossing that 'space' and time..

https://speculativedrfrankenstein.blogspot.com/2022/04/theres-nobel-for-this-one.html

Little has been written about the impact of ephemeral messaging technologies such as Snapchat, Wickr and iDelete on learner identities. The authors explore how disappearing social media may enable young people to take up a range of discourses and demonstrate discursive agency in ways that support social mobility through shifting relationships with their peers. Much of this unfolds through the transmission of digital images that promote social flexibility. The visibility, of seeing and being seen, demonstrates a Foucauldian ‘gaze’ where power plays out through the capacity to be visible and recognisable to others and specific practices (e.g. selfies) become normalised. Social media technologies furnish emergent spaces for underlife activity that foster this gaze. Taking up the Foucault’s concept of subjectivities as discursively constituted identity categories, the authors explore the relationship between disappearing media and youth identities.

This paper proposes to review the current concept of paratext, taking into account how the techno-cultural peculiarities of digital media force us to consider new aspects of textuality, particularly the relationship between space and time. Three factors of change are examined: the opposition between deep structure and surface structure; the modularity of digital texts; the mobile/locative paradigm. The relationship between ephemerality and resilience is also briefly considered, as it is closely connected to the logical organization of contemporary textuality in digital media.

Este artigo visa a discutir sobre como o consumo de conteúdo noticioso de forma não intencional, chamado de consumo incidental (BOCZKOWSKI; MITCHELSTEIN; MATASSI, 2016) ou de exposição incidental (TEWKSBURY; WEAVER; MADDEX, 2001), impacta no fazer jornalístico. Após uma discussão teórica sobre o assunto, vamos defender que a disciplina da verificação (KOVACH; ROSENSTIEL, 2012) continua sendo um diferencial dos produtos jornalísticos frente à possibilidade de publicação de informações por qualquer indivíduo e de uma concorrência com os mais diferentes conteúdos em sites de rede social. Como objeto empírico, utilizamos o aplicativo Snapchat, cuja principal característica é o limite de duração dos conteúdos publicados, para discutir justamente de que forma o tempo implica a checagem das informações.

At the fin-de-siècle, the use of pastels underwent something of a revival and many young British artists adopted the medium as a new means of expression.  This surge in popularity was marked by three large-scale pastel exhibitions held at the Grosvenor Gallery in London between 1888 and 1890.  These shows culminated in the formation of the Society of British Pastelists which included amongst its eminent members William Stott of Oldham, James Guthrie and George Clausen.  Despite its auspicious beginnings this initiative failed to sustain the support of its members and the buying public.  Contemporary press reviews suggest that this was caused by the perceived ephemerality of the pastel medium and fears that this would affect its market value.  Indeed, the status of pastel works was called into question by the criticism of influential writers such as Charles Blanc who pronounced that, ‘the grace of pastel is also its defect – to be friable and to fall into dust.’  Such outright condemnation still has a resonance today because scholarship continues to neglect the study of pastels from this period. This is exacerbated by the mutually incompatible demands of long-term conservation and permanent display in the gallery space.  By reprioritising these largely forgotten works by the original founders of the Society of British Pastelists, I hope to demonstrate that the inherent properties of pastels, so denigrated by the critics, were vital in enabling artists to explore their technical possibilities towards a modernist aesthetic.