Academic literature on the topic 'Ephemeral art'
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Journal articles on the topic "Ephemeral art"
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Lawes, Elizabeth, and Vicky Webb. "Ephemera in the art library." Art Libraries Journal 28, no. 2 (2003): 35–39. http://dx.doi.org/10.1017/s0307472200013109.
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Art libraries acquire a large amount of ephemeral material which creates a unique resource on the history of contemporary art. Librarians have to decide what should be retained, how it should be stored, and how the material can best be accessed. Increasingly there is pressure to digitise in order to promote collections, but how effective this process is in terms of ephemeral material remains a real question. A survey of prominent collections in London and New York has helped to inform future plans for the ephemera held by the library at Chelsea College of Art & Design.
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Smith, Pamela H., Tianna Helena Uchacz, Sophie Pitman, Tillmann Taape, and Colin Debuiche. "The Matter of Ephemeral Art: Craft, Spectacle, and Power in Early Modern Europe." Renaissance Quarterly 73, no. 1 (2020): 78–131. http://dx.doi.org/10.1017/rqx.2019.496.
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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.
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Purpura, Allyson. "On the Verge: Ephemeral Art Part II." African Arts 43, no. 1 (March 2010): 12–13. http://dx.doi.org/10.1162/afar.2010.43.1.12.
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Teti, Emanuele, Tecla Carlotta Galli, and Pier Luigi Sacco. "Ephemeral Estimation of the Value of Art." Empirical Studies of the Arts 32, no. 1 (November 11, 2013): 75–92. http://dx.doi.org/10.2190/em.32.1.eov.3.
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Kayzar, Brenda. "Ephemeral Conciliation: Community-Based Art and Redevelopment." Yearbook of the Association of Pacific Coast Geographers 78, no. 1 (2016): 28–46. http://dx.doi.org/10.1353/pcg.2016.0003.
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Lira Carmona, José Alejandro. "Alfombrismo: Ephimeral Art Utopia." Journal of Public Space, Vol. 5 n. 4 (December 1, 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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Sansão Fontes, Adriana, Fernando Espósito, and Sergi Arbusà. "Ar-quiteturas. Os infláveis como estratégia de reinterpretação do lugar." Revista Prumo 4, no. 7 (November 15, 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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Jørgensen. "Illuminating Ephemeral Medieval Agricultural History through Manuscript Art." Agricultural History 89, no. 2 (2015): 186. http://dx.doi.org/10.3098/ah.2015.089.2.186.
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McConchie, Jack, and Melanie Rolfe. "Ephemeral Monuments: History and Conservation of Installation Art." Journal of the Institute of Conservation 39, no. 1 (January 2, 2016): 70–72. http://dx.doi.org/10.1080/19455224.2015.1104142.
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Hornbeck, Stephanie E. "A Conservation Conundrum: Ephemeral Art at the National Museum of African Art." African Arts 42, no. 3 (September 2009): 52–61. http://dx.doi.org/10.1162/afar.2009.42.3.52.
Full textDissertations / Theses on the topic "Ephemeral art"
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O'Neill, Mary. "Ephemeral art : mourning and loss." Thesis, Loughborough University, 2007. https://dspace.lboro.ac.uk/2134/8012.
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Ephemeral art is usually understood as reflecting a desire to dematerialize the art object in order to evade the demands of the market, or to democratize or challenge art museums. However, in many ephemeral artworks something much more fundamental is involved. In this thesis I explore the hypothesis that the use of ephemerality by some artists is best understood, not solely in terms of art world issues but of the relationship between ephemerality, mourning and loss. I will begin with a refinement of the definition of ephemeral art, which is often confused with temporary works. This definition identifies four characteristics of ephemeral art: time, communicative act, inherent vice and directive intent. Ephemeral art often involves works that do not exist in a steady state, but change or decay slowly. This temporal aspect is examined through a discussion of the boredom they consciously evoke, which can be seen not only as an acute awareness of time but also a form of mouming for lost desire. The different physical state of ephemeral works represents a shift from the art object to communicative act. This shift is exemplified by artists working in the 1960s, particularly those influenced by John Cage. Cage's engagement with Buddhism and the subsequent work he produced demonstrates that the appreciation of transience is a reflection of wider cultural values. The growing interest in Buddhist philosophy and the engagement with transience at that period are discussed, not as cause and effect, but as both stemming from the same desire to find alternative forms of meaning and expression at a time when traditional structures of meaning were in decline. The use of non-traditional, non-durable materials and the incorporation of chance and ephemerality mean that the resulting worlds possess an 'inherent vice' which results in the demise or disappearance of the work. This is a key feature of ephemeral art, which distinguishes it from temporary works. The latter are designed to function for a fixed period, after which they are discarded or destroyed. The conclusions drawn have implications that reach beyond artworld concerns with durable or at least preservable commodities. These works offer insights into the mourning process which are powerful and profound reflections on the human condition. These works can act as a means of engaging with bereavement, disenfranchised grief and ambiguous loss. In a world where many societies may be deemed post-religious traditional myths and rituals that once served to alleviate fear or mortality and the pain of bereavement are no longer viable or effective, this is of immense significance.
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Cooke, Jacqueline. "Art ephemera, aka "Ephemeral traces of 'alternative space' : the documentation of art events in London 1995-2005, in an art library"." Thesis, Goldsmiths College (University of London), 2007. http://research.gold.ac.uk/3475/.
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This research is based on reflexive practice as a subject librarian for visual art, concerned with representation (of artists) and context (of art practice and its representation) in the academic library, as a heterotopia. My thesis is that the aim to create an ‘alternative’ art space remained operative in London between 1995 and 2005, although the term was decried. The research addresses the problem of documentation of transient contemporary art practices, by collecting and analysing ephemera and developing a resource based upon them. Art ephemera are by-products of institutions, galleries, exhibitions, and curatorialactivities that may be significant in terms of criticality but which are often not recorded adequately and remain un-archived. The strategies of representation that ephemera mobilise take place at an interface of art aims and social structures, an area that has been a vital site of contemporary practice. I review major issues in contemporary criticism of the ‘avant-garde’ and ‘alternative’,showing the discourse of the alternative to be an ethical discourse about practice. Identifying citation as means of interpretation, I draw my account from a reading ofephemera in the chapters: “Citation, marginalia, mockery, fakes and tailpieces” where I identify visual and textual qualities of ephemera, “Artists, spaces and institutions,”where I present the themes of mapping London and self-institutionalisation, and “Counter to ?” where I report a distancing from counter-cultural aims and development of complex alternatives. I evaluate existing collections of art ephemera in libraries, projects to facilitate access to them, and cataloguing and collecting policies. I advocate use of catalogues to recontextualise ephemera. In conclusion, I present a complex notion of ‘alternative space’ in art practice as a space for dialogue with, rather than opposition to established institutions and circuits of contemporary art and I endorse collection of ephemera as a source for diverse histories.
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Schanding, Desireé Rose. "The ephemeral form and objects of inspection /." Online version of thesis, 2008. http://hdl.handle.net/1850/10828.
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Martinon, Jean-Paul. "The ephemeral event in modern and contemporary art : words from ashes." Thesis, University of Reading, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.269658.
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Tillotson, Zoe. "Ephemeral art : a philosophical proposition about the nature of time and being." Thesis, University of the Arts London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.650331.
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Klos, Allison Elaine Sheriff Mary D. "An invitation to the exotic ephemeral art in Joseph Gilliers's Le cannaméliste français /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2009. http://dc.lib.unc.edu/u?/etd,2200.
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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2009.Title from electronic title page (viewed Jun. 26, 2009). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Art Art History." Discipline: Art; Department/School: Art.
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Fries, Katherine. "Touching Impermanence: Experiential Embodied Engagements with Materiality in Contemporary Art Practice." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17880.
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Touching impermanence describes the experiential moment in an art encounter when one senses the enchanted reality of one’s interconnections within the sentient matterflow of existence. All matter in existence is constantly vibrating, changing, assembling and evolving into forms and organisms, cycling through decay and disintegration, then reforming again with diversity and difference; this is the impermanence of sentient matter-flow. Humans are just one form of these reciprocal assemblages; we are within and part of sentient matter-flow. We also co-create with sentient matter-flow, changing these cycles on micro and macro levels, just as they change us. On a macro level human actions have impacted and changed the Earth’s biosphere, altering and polluting sentient matter-flows to the extent that our present time period is becoming known as the Anthropocene, the human age of destruction and disconnection. There are many efforts to readdress our anthropocentric feelings of apathetic disconnection from the Earth; one is found in the arts and correlates with my practice-led research. This doctoral study of sensate experiences of materiality and haptic thinking, which provide both maker and audience with direct palpable experience of time, forms a specific understanding of touching impermanence. My art processes involve working with tactile materials such as beeswax; tree branches, stumps and bark; paper; ash; rocks; ice; snow; charcoal; light and fungi. Engaging with these materials cocreatively involves a methodology of touch, multisensorily following materialities’ sentient matter-flow. Acting with the material, I am present to the material’s own sense of time, interactions, agency, histories, layers of interbeing and interconnections with surrounding matter. This requires being open to the mysteriousness of materials, inviting moments of enchantment within art encounters and the realisation of touching impermanence. This thesis investigates my studio practice and works produced, alongside related practices of Australian and international artists, by drawing on the intersections between New Materialism discourses and Buddhist philosophy to address aspects of phenomenology and eco-philosophy in the complexities of these art practices and artwork encounters.
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Griffin, Sylvia Clare. "Inscribing Memory: Art and the Place of Personal Expressions of Grief in Memorial Culture." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16138.
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Expressing grief and engaging in mourning are vital healing processes for those who have experienced loss, trauma or violence. Regardless of whether in the distant past or as an ongoing condition, evidence suggests that the mourning process and the partaking of commemorative rituals are essential to the psychological and emotional wellbeing of the individual. This thesis considers artistic alternatives to the role that monuments and memorials have traditionally played in assisting this process. A range of theorists and philosophers including those in the fields of art criticism, history, and trauma studies are referred to in ascertaining not only how monuments and memorials work, but the role that contemporary art can play in imparting meaningful remembrance and solace. This project tests the proposition that contemporary art, through both public and personal expression, can offer an open- ended re-evaluation of the past, instead of the static nature of traditional commemoration. I contend that this can be realised in the form of actions and ephemeral, temporary and materially challenging artistic means in engaging the viewer empathically. I will advance arguments to challenge fixing memory in place and time while also arguing for the place of smaller, more personal expressions of remembrance. My studio practice incorporates pertinent psychological aspects such as postmemory and trauma-induced forgetting in the form of absence, and considers the work of key artists. This studio work investigates materiality – as both traditionally employed in memorial culture, such as metal and stone - and other forms including textiles and more fugitive examples such as hair and the use of fire. The relevance of time, memory and ritual are also evident in this work as well as in the thesis. Although informed by personal, familial experience – often conveyed through my use of family possessions - my works appeal to broader aspects of memorial culture, engaging in customs and rituals and universal themes of loss and grief.
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SALVANESCHI, CAMILLA. "Legitimising the Ephemeral: The Exhibition Magazine as Epitome of the Contemporary." Doctoral thesis, Università IUAV di Venezia, 2021. http://hdl.handle.net/11578/302416.
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The dissertation focuses on the magazines published by biennial exhibitions, herein called
exhibition magazines. Departing from the analysis of the periodic relationship between
magazines and biennials, I look at the two formats in tandem, as temporal constructions—
whose existence extends between the past and the future, whilst existing in the present—in a
continuous tension between becoming (ephemerality) and unbecoming (institutionalisation),
which is, I argue, the very feature that allows them to engage with contemporary art and
contemporaneity’s own becoming.
Representing the dual drive between becoming and unbecoming, the exhibition magazine
serves to disseminate the biennial through space and time, acting not only as a promotional
tool, but as a vehicle through which the exhibition’s temporality is narrowed and transformed
to engage with contemporaneity and audience.
I depart from an historical-chronological perspective to consider the first three exhibition
magazines: la biennale published by the Venice Biennale between 1950 and 1971, the
documenta journals which have been revived with different formats at every new iteration of
the show since 1997, and the Manifesta Journal published by Manifesta between 2003 and
2014.
Building on the case studies, alongside a practice-based approach comprising of the
development of an art periodical database and the launch of a journal devoted to the study of
art’s ostensivity and exhibitions, titled OBOE (On Biennals and Other Exhibitions), I have
been able to demonstrate the intricate—at times submissive, at others mutinous—relationship
between magazines and biennials and how they both come to define contemporary art and
engage with contemporaneity’s demands. Indeed, I argue that while these magazines are a
niche within the niche of art periodical studies, they have become exemplary in representing
the relation of mutual servitude between magazines and the art system at large.
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Hindman, Julie Lynn. "Shadow of a Memory." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1317.
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I have gained control over a whole space through the use of video projections, soundscaping and various other materials including some interactive media, enabling me to give the audience a fuller sensual experience. Multiâ€media has made it possible for artists such as myself to create artworks that require more than a visual conversation with the viewer. The manipulation of memory by time became a physical manifestation in the environments that I create with the use of multiâ€media installations.
Books on the topic "Ephemeral art"
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Tom, Fitzgerald, Project Arts Centre, and Limerick City Gallery of Art., eds. Tom Fitzgerald: Ephemeral lexicon. Kinsale: Gandon Editions, 1995.
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Akbari, Angela. Ephemeral space: The Lenikus collection. Vienna: Verlag für Moderne Kunst, 2018.
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Helena, Erkila, and Valtion taidemuseo museojulkaiso, eds. Katoava taide = Förgänglig konst = Ephemeral art. Helsinki: Valtion taidemuseon museojulkaisu, 1999.
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Bowen, Siân. Siân Bowen and Nova Zembla: Suspending the ephemeral. Sheffield: RGAP (Research Group for Artists), 2012.
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Roberta, Panzanelli, and Schlosser, Julius, Ritter von, 1866-1938., eds. Ephemeral bodies: Wax sculpture and the human figure. Los Angeles, Calif: Getty Research Institute, 2008.
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Laib, Wolfgang. Wolfgang Laib: Das Vergängliche ist das Ewige = The ephemeral is eternal. Edited by Ciuha Delia, Bouvier Raphaël, and Fondation Beyeler. Ostfildern-Ruit: Hatje Cantz, 2005.
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Laib, Wolfgang. Wolfgang Laib: Zwei Orte : [im Rahmen von Licht auf Weimar--die ephemeren Medien = a project for Light on Weimar--the ephemeral media. Ostfildern-Ruit: Hatje Cantz, 2000.
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Capestro, Antonio. Il progetto del temporaneo: Tra ricerca e formazione : dispositivi per l'arte, la cultura, il patrimonio. Firenze: Didapress, 2018.
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Klanten, Robert. Playful type: Ephemeral lettering and illustrative fonts. Berlin: Die Gestalten Verlag, 2008.
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Germany), Kunstraum Kreuzberg/Bethanien (Berlin, ed. Open monument: Research into ephemeral, commemorative architecture and modernist patrimony. Berlin: Revolver, 2013.
Find full textBook chapters on the topic "Ephemeral art"
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López-Bertran, Mireia. "Ephemeral Art." In Encyclopedia of Global Archaeology, 3779–87. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30018-0_2825.
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López-Bertran, Mireia. "Ephemeral Art." In Encyclopedia of Global Archaeology, 1–10. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-51726-1_2825-1.
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Gurney, Kim. "Curating the Ephemeral City." In The Art of Public Space, 17–40. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137436900_2.
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Richardson, Nathan. "Co-Creation and Ephemeral Value." In The Art of Enterprise, 124–32. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003031406-13.
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Pentcheva, Bissera V. "Entwining Ephemeral with the Eternal." In The Routledge Companion to Literature and Art, 276–301. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003273356-26.
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Wilton, Jayne. "Visualising the Ephemeral." In The Life of Breath in Literature, Culture and Medicine, 485–506. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74443-4_23.
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AbstractThis essay investigates breath as a fundamental unit of exchange between people and their environment as shown in two collections of Jayne Wilton’s work. The first is a series of technologically empowered portrayals of the breath using innovative scientific techniques to translate universal breathing gestures (the sigh, the laugh, the gasp) into images and objects which allow viewers to re-experience the often-overlooked breath in visual forms. The second, created through participatory workshops with patients and staff in a London hospital, explores the visualisation of breath to highlight ways in which meeting the breath visually can enhance breath awareness and help to articulate the experience of breathlessness. As context and background for this work the essay also discusses a range of depictions of breath in art from the images of the Cueva de las manos (ca. 7300 BCE) to Philippe Rahm’s ‘Pulmonary Space’ (2009).
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Odone, Ginevra. "The Ephemeral Façade of Cardinal de Solis's Palace." In Displaying Art in the Early Modern Period, 153–68. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003268550-13.
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García-Montón González, Patricia. "1956. Old Masters and the Ephemeral Borders 1." In State Construction and Art in East Central Europe, 1918–2018, 174–84. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003265818-19.
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Rockwell, Alethea. "‘We Are Gathering Experience’." In Cultural Inquiry, 255–60. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_25.
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In recent years, critics and art historians have pointed to an ‘educational turn’, a rise in participatory pedagogical art projects and artist-led experimental schools. This essay considers artist-led projects and museum programmes that restage or reenact educational experiments from the past, analysing their limits and possibilities in the study and presentation of modern art history. Much like performance art, pedagogy is ephemeral and contingent, and yet it differs in that it does not establish a fixed spectatorial role. To be understood it must be participated in, for, as Josef Albers described his teaching, ‘we are gathering experience’.
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Cangiano, Serena, Davide Fornari, and Azalea Seratoni. "Re-search, Re-enactment, Re-design, Re-programmed Art." In Cultural Inquiry, 141–50. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_15.
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Kinetic and programmed art has been a trend of contemporary arts that flourished in the 1950s and 1960s. Kinetic artworks often incorporated technology, at that time still immature, and involved the audience in the production of visual, sound, and somatic effects. Gruppo T was the pioneering group at the forefront of this groundbreaking vision of art as reproducible, participatory, and interactive. Through an action research project and the methodological tool of reenactment, a group of researchers, designers, and artists has proposed an alternative way to conserve Gruppo T artworks. The project ‘Re-programmed Art: An Open Manifesto’ originated from the ephemeral and experimental features, as well as fragility, of the works by Gruppo T — that is, from the difficulties of practice, conservation, technology, and market that have confined them for far too long to the margins of mainstream art history. We conceive reenactment not just a mere restaging but as re-designing, re-thinking, updating, and re-programming a series of works by Gruppo T.
Conference papers on the topic "Ephemeral art"
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Lombeyda, Santiago V. "Art from Ephemeral." In ACM SIGGRAPH 2004 Art gallery. New York, New York, USA: ACM Press, 2004. http://dx.doi.org/10.1145/1185884.1185943.
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Garančs, Jānis. "Sensoriums for the Ephemeral — gamification of values." In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-9-short-garancs-sensoriums-for-the-ephemeral.
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SHORT PAPER. This paper introduces the author’s current practical investigations, during the creation of a series of audio-visual installations and VR environments, ‘gamifying’ time-sequenced changes of multiple values, e.g., from financial data feeds. The work series critically reflect upon gambling tendencies in the global trading of various, increasingly immaterial assets. Algorithms and emotions of greed, euphoria, and despair meet in virtual scenery, where almost everything can be offered as a fungible and non-fungible token for exchange and trade. The project proposes speculative variations of dystopian “hybrid organisms” representing macroeconomic value exchange as a symbiotic relationship that competes for humanity’s attention and involvement.
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Cadena, Renata. "Ephemeral graphic language: from the blackboard to the students’ repertoire." In 2nd International Conference of Art, Illustration and Visual Culture in Infant and Primary Education. São Paulo: Editora Edgard Blücher, 2012. http://dx.doi.org/10.5151/edupro-aivcipe-47.
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Vivanco, Elvert Durán, Carlota Durán Vivanco, and Jimena Alarcon Castro. "ICO-Cymatic Backstage Design Process: Applying Vernacular Techniques and New Media Into Ephemeral Spaces for Art Installation in South America." In – The European Conference on Arts, Design and Education 2022. The International Academic Forum(IAFOR), 2022. http://dx.doi.org/10.22492/issn.2758-0989.2022.20.
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dos Santos, Camila, and Andreia Machado Oliveira. "Communication Action Zones in Art and Technology - ZACAT." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.101.
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Communication Action Zones in Art and Technology, in portuguese Zonas de Ações Comunicacionais em Arte e Tecnologia – ZACAT – is a master's research developed in Brazil, made before and during the SARS-CoV-2 virus pandemic, which causes the New Coronavirus disease. This artistic and academic work includes a set of sound and visual poetics based on an investigation of artistic communicational practices of an activist character, with the mediation of several questions about the current Brazilian history. Firstly, through diversified strategies and proposals for different interlocutors, with experiments in 2019, in different spaces in the city of Santa Maria, state of Rio Grande do Sul - streets, museums, art galleries, university, school, social networks, radio wave space. Subsequently, as a result of the world scenario presented from 2020, with the COVID-19 pandemic, the poetic undergoes significant transformations. In addition to the artistic and communicational strategies undergoing changes in approach, the Santa Maria space moves to that of the Clube Naturista Colina do Sol (CNCS), a naturist community located in the municipality of Taquara, also in Rio Grande do Sul. Not urbanized and immersed with the wild environment the least interfered by human action, which provides other forms of listening and connection, in addition to the relationship with the body, communication and technology, such as the use of online virtual reality platforms to share the work carried out. To approach the construction of this research, studies on methodology by the researcher and artist Sandra Rey (1953) are used. As a theoretical foundation, reference is made to the idea of micropolitics, a concept that refers to philosophers Michel Foucault (1926-1984) and Gilles Deleuze (1925-1995) and to art critic Suely Rolnik (1948). Activist artistic practices are based on the experiences of Brazilian collectives from the 1990’s to the present, as seen under the historiography of Art Activism from the 1950’s, with Italian autonomist philosophers such as Giorgio Agamben (1942) and Franco Berardi (1949). To support the notion of Art and Communication, authors such as Mario Costa (1936), Fred Forest (1933), Mônica Tavares, Priscila Arantes, Christine Mello and Giselle Beiguelman are based on. The concept of device emerges from theoretical research and mediates artistic practices, having as reference Agamben, Foucault, Vilém Flusser (1920-1991) and Gilbert Simondon (1924-1989). From performances, through installations, through audio, video and face-to-face interactivity experiments or via virtual networks, this research seeks to give visibility to everyday micropolitics, with their memories, affections, formalized or ephemeral life impulses in moments of encounters. And how the artistic works can unfold in different contexts, in front of different audiences and under challenging conditions in terms of a larger historical context.
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Baquero Masats, Paloma, and Juan Antonio Serrano García. "Taller Amereida: encuentros entre Arquitectura, Arte y Poesía." In Jornadas sobre Innovación Docente en Arquitectura. Grup per a la Innovació i la Logística Docent en l'Arquitectura (GILDA), 2023. http://dx.doi.org/10.5821/jida.2023.12336.
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Taller Amereida embodies a space of multidisciplinary convergence between architecture, art, and poetry. Grounded in a scientific methodology, it has become a forum where the intersections between these disciplines are explored through lectures, workshops, walks, artistic interventions, and field projects that promote experimentation and reflection. The creation of ephemeral architectural works is one of its most significant pedagogical tools, fostering an understanding of architectural concepts and their interaction with the natural environment. El Taller Amereida representa un espacio de convergencia multidisciplinaria entre arquitectura, arte y poesía. Fundamentado en una metodología científica, se ha convertido en un foro en el que se exploran las intersecciones entre estas disciplinas a través de charlas, talleres, caminatas, intervenciones artísticas y proyectos de campo que promueven la experimentación y la reflexión. La creación de obras arquitectónicas efímeras es una de sus más relevantes herramientas pedagógicas, promoviendo la comprensión de conceptos arquitectónicos y su interacción con el entorno natural.
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Sareen, Harpreet, Yibo Fu, and Yasuaki Kakehi. "Ephemera: Bubble Representations as Metaphors for Endangered Species." In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-26-short-sareen-et-al-ephemera.
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SHORT PAPER. The effects of a hierarchical relationship of humans with non-humans are now more pronounced than ever. Anthropogenic ecological stressors, including high levels of carbon dioxide, water scarcity, habitat fragmentation have led to disruption of climate systems, in turn endangering many local and global species. ephemera is an installation composed of glass vessels that show bubble images representing animals from all continents and ecologies currently under threat as per the IUCN Red list. These self-assembling bubble pictures, formed by nucleation of CO2 bubbles in water, are in a homeostasis at the beginning of the installation and shrink each hour to eventually disappear in a few days. The tension between the present endangerment and the urgency of the future action, manifests in the shrinking of these bubbles, invoking unnatural ephemerality due to the human effect. The fauna pictures in this installation, composed of carbon dioxide bubbles, symbolize the transitoriness of now threatened species.
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Sung Choi and David Zage. "Ephemeral Biometrics: What are they and what do they solve?" In 2013 International Carnahan Conference on Security Technology (ICCST). IEEE, 2013. http://dx.doi.org/10.1109/ccst.2013.6922044.
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Seymour, Kate, María Vicente, Betlem Alapont, and Christa Molenaar. "INNOVATIVE APPROACHES FOR THE RE-INTEGRATION OF FIFTEENTH-CENTURY SPANISH PANEL PAINTINGS." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13516.
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The Suermondt-Ludwig Museum (Aachen) holds five Spanish fifteenth-century panel paintings in their collection. The five panels are all fragments, likely removed from their original settings at the turn of the nineteenth century during the upheaval of the Napoleonic Wars and sold on the art market after extensive restoration. Three of these five panels have been already treated at SRAL. The additional two will undergo a full conservation campaign in the coming year carried out in collaboration with conservation students from the University of Amsterdam and conservation training programmes in Spain. A treatment protocol was devised to ensure a systematic and sympathetic treatment, including reintegration. This provided key skill development for the trainee conservators. The removal of non-original surface materials revealed overcleaned and severely damaged surfaces. The integration of these surfaces required an innovative approach to return a sense of authenticity to the artworks, individually and as a disparate group. The subtle shift in gloss and texture between areas of paint and gilding, between different pigments bound in animal glue, egg tempera, and oleo-resinous glazes had been lost. The selection of conservation materials for infilling and retouching aimed to return this ephemeral play on light to the surfaces. This paper will discuss this innovative approach using the reintegration of one of the set of five panel paintings: the “Adoration of the Kings” (Inventory number: GK 243) as a case study. The materials were carefully chosen so as not to be mistaken for original materials in the future. The approach entailed thinking out of the box and approaching the filling and retouching stages simultaneously rather than as independent actions. This allowed a more holistic strategy to reintegration than if all losses were filled first prior to retouching. The filling materials utilised are based on a studio formulation consisting of a novel combination: Arbocel 500 (cellulose fibres) bound in a mixture of Aquazol 500 (poly(2-ethyl-2-oxazoline)) and Methocel A4M (methylcellulose) bound in water. This mixture was used to fill deeper losses and modified with aluminium hydroxide powder to create a surface fill. The protocol used began with testing of the materials to find the right formulation; adaptations for the typology of fill were incorporated into this design. The filler formulation is modified to best adapt to the specific losses in each area of each panel. The decision not to re-varnish the panels allowed filling and retouching to be carried out simultaneously and the different gloss surfaces of individual paint areas to be imitated by modifying the amount of retouching binding media (Aquazol 200 dissolved in ethanol/water). The resulting appearance allows different colour and surface finishes to retain their independent characteristics and returns a more authentic surface finish to the fifteenth-century artworks.
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Erthal, Claudia. "Notions of Shock and Attention in Tik Tok videos." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.102.
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This work seeks to understand how and if the entertainment experience obtained by watching videos on the Tik Tok social platform that uses editing and design tools, such as distortion filters for physical appearance and voice, is also an immersive experience that causes a shock to the user as understood by Walter Benjamin (2010) when this communicational subject is crossed by a sensation of the modern and that has, as a consequence, the disintegration of the aura in the experience of shock. According to Rouanet (1990) "the psychic instance in charge of capturing and absorbing the shock starts to dominate over the instances in charge of storing memory impressions”. In this case awareness has the function of "serving as protection against stimuli, sublimating impacts, maturing the fright into anguish or fun, so as not to succumb to amazement" (PEIXOTO, 1983) and can be linked to the production of content of fast circulation and absorption, made exclusively for social networks and platforms such as Tik Tok. Platforms that work with such design are also guided by the hands of users with content creation to shock an audience immersed in what is called Snack Culture (SCOLARI, 2020). As for a culture that develops a sensorial audiovisual content format, these contents provoke a sensory effect, a brief and ephemeral experience within a project that can be understood as artistic and created in a dynamic between playful and entertainment. The sensorial effect of these contents offers a unique and unprecedented experience, typical of an avant-garde work of art. In the 'contemporary arcades' of the Internet, videos from both Tik Tok and other platforms – with similar features - have similar tools created daily increasing the number of accesses, seeking to retain the media user and seem to attempt to lead the user to an immersive experience in an Attention Economy system as described by Jonathan Crary (2015) as something that “dissolve the separation between the personal and the professional, between entertainment and information, displaced by a compulsory functionality of communication inherently and inescapably 24/7.” Altogether with these ideas is the view of Simon Reynolds (2010) that popular culture has become a remix or rereading of something done before, based on any type of information available. Therefore, from this point of view, the reappropriation becomes infinite – something you see in Tik Tok videos. This text is built applied to the communicational practice of the use of platforms and is an attempt to understand the contemporary media paths that are outlined with the platform of culture. The platforms, a communication event in itself, raise questions about a new circulation of goods and gestures by communicational subjects who act on this frequency. It is a work that positions itself in the face of the contemporary urgency of the online life, its fast transformations and society's pursuits in a time that requires critical thinking about the moment we live in. to account for the moment in which we live.
Reports on the topic "Ephemeral art"
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Gailani, Joseph, Burton Suedel, Andrew McQueen, Timothy Lauth, Ursula Scheiblechner, and Robert Toegel. Supporting bank and near-bank stabilization and habitat using dredged sediment : documenting best practices. Engineer Research and Development Center (U.S.), August 2022. http://dx.doi.org/10.21079/11681/44946.
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In-water beneficial use of dredged sediment provides the US Army Corps of Engineers (USACE) the opportunity to increase beneficial use while controlling costs. Beneficial use projects in riverine environments include bank and near-bank placement, where sediments can protect against bank erosion and support habitat diversity. While bank and near-bank placement of navigation dredged sediment to support river-bank stabilization and habitat is currently practiced, documented examples are sparse. Documenting successful projects can support advancing the practice across USACE. In addition, documentation identifies data gaps required to develop engineering and ecosystem restoration guidance using navigation-dredged sediment. This report documents five USACE and international case studies that successfully applied these practices: Ephemeral Island Creation on the Upper Mississippi River; Gravel Island Creation on the Danube River; Gravel Bar Creation on the Tombigbee River; Wetland Habitat Restoration on the Sacramento-San Joaquin River Delta; and Island and Wetland Creation on the Lower Columbia River Estuary. Increased bank and near-bank placement can have multiple benefits, including reduced dredge volumes that would otherwise increase as banks erode, improved sustainable dredged sediment management strategies, expanded ecosystem restoration opportunities, and improved flood risk management. Data collected from site monitoring can be applied to support development of USACE engineering and ecosystem restoration guidance.
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Clausen, Jay, Christopher Felt, Michael Musty, Vuong Truong, Susan Frankenstein, Anna Wagner, Rosa Affleck, Steven Peckham, and Christopher Williams. Modernizing environmental signature physics for target detection—Phase 3. Engineer Research and Development Center (U.S.), March 2022. http://dx.doi.org/10.21079/11681/43442.
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The present effort (Phase 3) builds on our previously published prior efforts (Phases 1 and 2), which examined methods of determining the probability of detection and false alarm rates using thermal infrared for buried object detection. Environmental phenomenological effects are often represented in weather forecasts in a relatively coarse, hourly resolution, which introduces concerns such as exclusion or misrepresentation of ephemera or lags in timing when using this data as an input for the Army’s Tactical Assault Kit software system. Additionally, the direct application of observed temperature data with weather model data may not be the best approach because metadata associated with the observations are not included. As a result, there is a need to explore mathematical methods such as Bayesian statistics to incorporate observations into models. To better address this concern, the initial analysis in Phase 2 data is expanded in this report to include (1) multivariate analyses for detecting objects in soil, (2) a moving box analysis of object visibility with alternative methods for converting FLIR radiance values to thermal temperature values, (3) a calibrated thermal model of soil temperature using thermal IR imagery, and (4) a simple classifier method for automating buried object detection.
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Hudgens, Bian, Jene Michaud, Megan Ross, Pamela Scheffler, Anne Brasher, Megan Donahue, Alan Friedlander, et al. Natural resource condition assessment: Puʻuhonua o Hōnaunau National Historical Park. National Park Service, September 2022. http://dx.doi.org/10.36967/2293943.
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Natural Resource Condition Assessments (NRCAs) evaluate current conditions of natural resources and resource indicators in national park units (parks). NRCAs are meant to complement—not replace—traditional issue- and threat-based resource assessments. NRCAs employ a multi-disciplinary, hierarchical framework within which reference conditions for natural resource indicators are developed for comparison against current conditions. NRCAs do not set management targets for study indicators, and reference conditions are not necessarily ideal or target conditions. The goal of a NRCA is to deliver science-based information that will assist park managers in their efforts to describe and quantify a park’s desired resource conditions and management targets, and inform management practices related to natural resource stewardship. The resources and indicators emphasized in a given NRCA depend on the park’s resource setting, status of resource stewardship planning and science in identifying high-priority indicators, and availability of data and expertise to assess current conditions for a variety of potential study resources and indicators. Puʻuhonua o Hōnaunau National Historical Park (hereafter Puʻuhonua o Hōnaunau NHP) encompasses 1.7 km2 (0.7 mi2) at the base of the Mauna Loa Volcano on the Kona coast of the island of Hawaiʻi. The Kona coast of Hawaiʻi Island is characterized by calm winds that increase in the late morning to evening hours, especially in the summer when there is also a high frequency of late afternoon or early evening showers. The climate is mild, with mean high temperature of 26.2° C (79.2° F) and a mean low temperature of 16.6° C (61.9° F) and receiving on average 66 cm (26 in) of rainfall per year. The Kona coast is the only region in Hawaiʻi where more precipitation falls in the summer than in the winter. There is limited surface water runoff or stream development at Puʻuhonua o Hōnaunau NHP due to the relatively recent lava flows (less than 1,500 years old) overlaying much of the park. Kiʻilae Stream is the only watercourse within the park. Kiʻilae Stream is ephemeral, with occasional flows and a poorly characterized channel within the park. A stream gauge was located uphill from the park, but no measurements have been taken since 1982. Floods in Kiʻilae Stream do occur, resulting in transport of fluvial sediment to the ocean, but there are no data documenting this phenomenon. There are a small number of naturally occurring anchialine pools occupying cracks and small depressions in the lava flows, including the Royal Fishponds; an anchialine pool modified for the purpose of holding fish. Although the park’s legal boundaries end at the high tide mark, the sense of place, story, and visitor experience would be completely different without the marine waters adjacent to the park. Six resource elements were chosen for evaluation: air and night sky, water-related processes, terrestrial vegetation, vertebrates, anchialine pools, and marine resources. Resource conditions were determined through reviewing existing literature, meta-analysis, and where appropriate, analysis of unpublished short- and long-term datasets. However, in a number of cases, data were unavailable or insufficient to either establish a quantitative reference condition or conduct a formal statistical comparison of the status of a resource within the park to a quantitative reference condition. In those cases, data gaps are noted, and comparisons were made based on qualitative descriptions. Overall, the condition of natural resources within Puʻuhonua o Hōnaunau NHP reflects the surrounding landscape. The coastal lands immediately surrounding Puʻuhonua o Hōnaunau NHP are zoned for conservation, while adjacent lands away from the coast are agricultural. The condition of most natural resources at Puʻuhonua o Hōnaunau NHP reflect the overall condition of ecological communities on the west Hawai‘i coast. Although little of the park’s vegetation...
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King, E. L., A. Normandeau, T. Carson, P. Fraser, C. Staniforth, A. Limoges, B. MacDonald, F. J. Murrillo-Perez, and N. Van Nieuwenhove. Pockmarks, a paleo fluid efflux event, glacial meltwater channels, sponge colonies, and trawling impacts in Emerald Basin, Scotian Shelf: autonomous underwater vehicle surveys, William Kennedy 2022011 cruise report. Natural Resources Canada/CMSS/Information Management, 2022. http://dx.doi.org/10.4095/331174.
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A short but productive cruise aboard RV William Kennedy tested various new field equipment near Halifax (port of departure and return) but also in areas that could also benefit science understanding. The GSC-A Gavia Autonomous Underwater Vehicle equipped with bathymetric, sidescan and sub-bottom profiler was successfully deployed for the first time on Scotian Shelf science targets. It surveyed three small areas: two across known benthic sponge, Vazella (Russian Hat) within a DFO-directed trawling closure area on the SE flank of Sambro Bank, bordering Emerald Basin, and one across known pockmarks, eroded cone-shaped depression in soft mud due to fluid efflux. The sponge study sites (~ 150 170 m water depth) were known to lie in an area of till (subglacial diamict) exposure at the seabed. The AUV data identified gravel and cobble-rich seabed, registering individual clasts at 35 cm gridded resolution. A subtle variation in seabed texture is recognized in sidescan images, from cobble-rich on ridge crests and flanks, to limited mud-rich sediment in intervening troughs. Correlation between seabed topography and texture with the (previously collected) Vazella distribution along two transects is not straightforward. However there may be a preference for the sponge in the depressions, some of which have a thin but possibly ephemeral sediment cover. Both sponge study sites depict a hereto unknown morphology, carved in glacial deposits, consisting of a series of discontinuous ridges interpreted to be generated by erosion in multiple, continuous, meandering and cross-cutting channels. The morphology is identical to glacial Nye, or mp;lt;"N-mp;lt;"channels, cut by sub-glacial meltwater. However their scale (10 to 100 times mp;lt;"typicalmp;gt;" N-channels) and the unique eroded medium, (till rather than bedrock), presents a rare or unknown size and medium and suggests a continuum in sub-glacial meltwater channels between much larger tunnel valleys, common to the eastward, and the bedrock forms. A comparison is made with coastal Nova Scotia forms in bedrock. The Emerald Basin AUV site, targeting pockmarks was in ~260 to 270 m water depth and imaged eight large and one small pockmark. The main aim was to investigate possible recent or continuous fluid flux activity in light of ocean acidification or greenhouse gas contribution; most accounts to date suggested inactivity. While a lack of common attributes marking activity is confirmed, creep or rotational flank failure is recognized, as is a depletion of buried diffuse methane immediately below the seabed features. Discovery of a second, buried, pockmark horizon, with smaller but more numerous erosive cones and no spatial correlation to the buried diffuse gas or the seabed pockmarks, indicates a paleo-event of fluid or gas efflux; general timing and possible mechanisms are suggested. The basinal survey also registered numerous otter board trawl marks cutting the surficial mud from past fishing activity. The AUV data present a unique dataset for follow-up quantification of the disturbance. Recent realization that this may play a significant role in ocean acidification on a global scale can benefit from such disturbance quantification. The new pole-mounted sub-bottom profiler collected high quality data, enabling correlation of recently recognized till ridges exposed at the seabed as they become buried across the flank and base of the basin. These, along with the Nye channels, will help reconstruct glacial behavior and flow patterns which to date are only vaguely documented. Several cores provide the potential for stratigraphic dating of key horizons and will augment Holocene environmental history investigations by a Dalhousie University student. In summary, several unique features have been identified, providing sufficient field data for further compilation, analysis and follow-up publications.
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Manulis-Sasson, Shulamit, Christine D. Smart, Isaac Barash, Laura Chalupowicz, Guido Sessa, and Thomas J. Burr. Clavibacter michiganensis subsp. michiganensis-tomato interactions: expression and function of virulence factors, plant defense responses and pathogen movement. United States Department of Agriculture, February 2015. http://dx.doi.org/10.32747/2015.7594405.bard.
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Clavibactermichiganensissubsp. michiganensis(Cmm), the causal agent of bacterial wilt and canker of tomato, is the most destructive bacterial disease of tomato causing substantial economic losses in Israel, the U.S.A. and worldwide. The goal of the project was to unravel the molecular strategies that allow Cmm, a Gram-positive bacterium, to develop a successful infection in tomato. The genome of Cmm contains numerous genes encoding for extracellular serine proteases and cell wall degrading enzymes. The first objective was to elucidate the role of secreted serine proteases in Cmm virulence. Mutants of nine genes encoding serine proteases of 3 different families were tested for their ability to induce wilting, when tomato stems were puncture-inoculated, as compared to blisters formation on leaves, when plants were spray-inoculated. All the mutants showed reduction in wilting and blister formation as compared to the wild type. The chpCmutant displayed the highest reduction, implicating its major role in symptom development. Five mutants of cell wall degrading enzymes and additional genes (i.e. perforin and sortase) caused wilting but were impaired in their ability to form blisters on leaves. These results suggest that Cmm differentially expressed virulence genes according to the site of penetration. Furthermore, we isolated and characterized two Cmmtranscriptional activators, Vatr1 and Vatr2 that regulate the expression of virulence factors, membrane and secreted proteins. The second objective was to determine the effect of bacterial virulence genes on movement of Cmm in tomato plants and identify the routes by which the pathogen contaminates seeds. Using a GFP-labeledCmm we could demonstrate that Cmm extensively colonizes the lumen of xylem vessels and preferentially attaches to spiral secondary wall thickening of the protoxylem and formed biofilm-like structures composed of large bacterial aggregates. Our findings suggest that virulence factors located on the chp/tomAPAI or the plasmids are required for effective movement of the pathogen in tomato and for the formation of cellular aggregates. We constructed a transposon plasmid that can be stably integrated into Cmm chromosome and express GFP, in order to follow movement to the seeds. Field strains from New York that were stably transformed with this construct, could not only access seeds systemically through the xylem, but also externally through tomato fruit lesions, which harbored high intra-and intercellular populations. Active movement and expansion of bacteria into the fruit mesocarp and nearby xylem vessels followed, once the fruit began to ripen. These results highlight the ability of Cmm to invade tomato fruit and seed through multiple entry routes. The third objective was to assess correlation between disease severity and expression levels of Cmm virulence genes and tomato defense genes. The effect of plant age on expression of tomato defense related proteins during Cmm infection was analyzed by qRT-PCR. Five genes out of eleven showed high induction at early stages of infection of plants with 19/20 leaves compared to young plants bearing 7/8 leaves. Previous results showed that Cmm virulence genes were expressed at early stages of infection in young plants compared to older plants. Results of this study suggest that Cmm virulence genes may suppress expression of tomato defense-related genes in young plants allowing effective disease development. The possibility that chpCis involved in suppression of tomato defense genes is currently under investigation by measuring the transcript level of several PR proteins, detected previously in our proteomics study. The fourth objective was to define genome location and stability of virulence genes in Cmm strains. New York isolates were compared to Israeli, Serbian, and NCPPB382 strains. The plasmid profiles of New York isolates were diverse and differed from both Israeli and Serbian strains. PCR analysis indicated that the presence of putative pathogenicity genes varied between isolates and highlighted the ephemeral nature of pathogenicity genes in field populations of Cmm. Results of this project significantly contributed to the understanding of Cmm virulence, its movement within tomato xylem or externally into the seeds, the role of serine proteases in disease development and initiated research on global regulation of Cmm virulence. These results form a basis for developing new strategies to combat wilt and canker disease of tomato.
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Saville, Alan, and Caroline Wickham-Jones, eds. Palaeolithic and Mesolithic Scotland : Scottish Archaeological Research Framework Panel Report. Society for Antiquaries of Scotland, June 2012. http://dx.doi.org/10.9750/scarf.06.2012.163.
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Why research Palaeolithic and Mesolithic Scotland? Palaeolithic and Mesolithic archaeology sheds light on the first colonisation and subsequent early inhabitation of Scotland. It is a growing and exciting field where increasing Scottish evidence has been given wider significance in the context of European prehistory. It extends over a long period, which saw great changes, including substantial environmental transformations, and the impact of, and societal response to, climate change. The period as a whole provides the foundation for the human occupation of Scotland and is crucial for understanding prehistoric society, both for Scotland and across North-West Europe. Within the Palaeolithic and Mesolithic periods there are considerable opportunities for pioneering research. Individual projects can still have a substantial impact and there remain opportunities for pioneering discoveries including cemeteries, domestic and other structures, stratified sites, and for exploring the huge evidential potential of water-logged and underwater sites. Palaeolithic and Mesolithic archaeology also stimulates and draws upon exciting multi-disciplinary collaborations. Panel Task and Remit The panel remit was to review critically the current state of knowledge and consider promising areas of future research into the earliest prehistory of Scotland. This was undertaken with a view to improved understanding of all aspects of the colonization and inhabitation of the country by peoples practising a wholly hunter-fisher-gatherer way of life prior to the advent of farming. In so doing, it was recognised as particularly important that both environmental data (including vegetation, fauna, sea level, and landscape work) and cultural change during this period be evaluated. The resultant report, outlines the different areas of research in which archaeologists interested in early prehistory work, and highlights the research topics to which they aspire. The report is structured by theme: history of investigation; reconstruction of the environment; the nature of the archaeological record; methodologies for recreating the past; and finally, the lifestyles of past people – the latter representing both a statement of current knowledge and the ultimate aim for archaeologists; the goal of all the former sections. The document is reinforced by material on-line which provides further detail and resources. The Palaeolithic and Mesolithic panel report of ScARF is intended as a resource to be utilised, built upon, and kept updated, hopefully by those it has helped inspire and inform as well as those who follow in their footsteps. Future Research The main recommendations of the panel report can be summarized under four key headings: Visibility: Due to the considerable length of time over which sites were formed, and the predominant mobility of the population, early prehistoric remains are to be found right across the landscape, although they often survive as ephemeral traces and in low densities. Therefore, all archaeological work should take into account the expectation of Palaeolithic and Mesolithic ScARF Panel Report iv encountering early prehistoric remains. This applies equally to both commercial and research archaeology, and to amateur activity which often makes the initial discovery. This should not be seen as an obstacle, but as a benefit, and not finding such remains should be cause for question. There is no doubt that important evidence of these periods remains unrecognised in private, public, and commercial collections and there is a strong need for backlog evaluation, proper curation and analysis. The inadequate representation of Palaeolithic and Mesolithic information in existing national and local databases must be addressed. Collaboration: Multi-disciplinary, collaborative, and cross- sector approaches must be encouraged – site prospection, prediction, recognition, and contextualisation are key areas to this end. Reconstructing past environments and their chronological frameworks, and exploring submerged and buried landscapes offer existing examples of fruitful, cross-disciplinary work. Palaeolithic and Mesolithic archaeology has an important place within Quaternary science and the potential for deeply buried remains means that geoarchaeology should have a prominent role. Innovation: Research-led projects are currently making a substantial impact across all aspects of Palaeolithic and Mesolithic archaeology; a funding policy that acknowledges risk and promotes the innovation that these periods demand should be encouraged. The exploration of lesser known areas, work on different types of site, new approaches to artefacts, and the application of novel methodologies should all be promoted when engaging with the challenges of early prehistory. Tackling the ‘big questions’: Archaeologists should engage with the big questions of earliest prehistory in Scotland, including the colonisation of new land, how lifestyles in past societies were organized, the effects of and the responses to environmental change, and the transitions to new modes of life. This should be done through a holistic view of the available data, encompassing all the complexities of interpretation and developing competing and testable models. Scottish data can be used to address many of the currently topical research topics in archaeology, and will provide a springboard to a better understanding of early prehistoric life in Scotland and beyond.