Relevant bibliographies by topics / Ephemeral art / Dissertations / Theses
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Dissertations / Theses on the topic 'Ephemeral art'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 July 2025

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1

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
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2

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, e
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3

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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4

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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5

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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6

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.<br>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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7

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 th
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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 t
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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
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10

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. Multi‐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 multi‐media installations.
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11

Soltys, Hannah, and Hannah Soltys. "Archiving Experience: A Case Study of the Ephemeral Artworks and Archives of Allan Kaprow, Eva Hesse, and Richard Tuttle." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/626142.

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In this thesis, I will examine the difficulties of documenting ephemeral art and the possible solutions that archivists, curators, artists and other museum professions have come up with. I will begin by presenting a background of the history of performance art, which was the impetus for all ephemeral art to come. Then I will present case studies of three artists: Allan Kaprow, Eva Hesse, and Richard Tuttle, and their archival processes, all of which provide very different approaches to similar artistic problems. Finally, I will discuss the implications of re-performance and re-creation of ephe
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12

Driver, Alice Laurel. "CULTURAL PRODUCTION AND EPHEMERAL ART: FEMINICIDE AND THE GEOGRAPHY OF MEMORY IN CIUDAD JUÁREZ, 1998-2008." UKnowledge, 2011. http://uknowledge.uky.edu/hisp_etds/2.

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This dissertation examines representations of feminicide victims in documentary film, novels, non-fiction, art, and graffiti and argues that these images express anxiety about they way women traverse and inhabit the geography of Ciudad Juárez, often giving precedence to the idea of the public female body as hypersexualized. In order to reclaim memory of the victims some cultural producers focus on the testimonial form in which victims’ families and other activists share their stories or construct informal memorials in the city; these remembrances later appear in works of non-fiction, film, and
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13

Dworsky, Joel Garrett. "Ghosts on the Coast of Paradise: Identifying and Interpreting the Ephemeral Remains of Bermuda's 18th Century Shipyards." W&M ScholarWorks, 2011. https://scholarworks.wm.edu/etd/1539626650.

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14

Bianchi, Marilda. "Arte e meio ambiente nas poéticas contemporâneas." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-05052015-191223/.

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Este é um estudo sobre o desenvolvimento e a prática de arte voltada para questões ambientais, cujo objeto de arte possa ser o próprio ambiente, por meio de ações ou intervenções em espaços públicos ou privados, construções de objetos de arte com utilização de materiais não convencionais, com proposta de foco ou crítica a questões ambientais. A pesquisa estabeleceu investir em um levantamento de artistas cuja poética se envolva com o meio ambiente, como um exercício de crítica de arte. Escolhi os artistas Brígida Baltar, Andy Goldsworthy e Carlos Vergara pelas poéticas. A análise da pesquisa c
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15

Neto, Bruno Pedro Giovannetti. "Graffiti: do subversivo ao consagrado." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-11012012-152024/.

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Nas duas últimas décadas, o graffiti se impôs como um elemento visual das metrópoles brasileiras. Passou a povoar a rotina urbana e, num embate por espaços, vem disputando a visibilidade pública com as cores dos edifícios, as placas de sinalização e outros elementos da comunicabilidade urbana. E o faz mudando a sua proposta e original essência. Este trabalho procura documentar a trajetória do graffitti de meados da década de 1960 até às vésperas da conclusão da pesquisa, em 2011, acompanhando a sua transformação \"do subversivo ao consagrado\". Através da narrativa visual pontuada por uma sele
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16

Curtis, Harriet. "Ketchup and blood : documents, institutions and effects in the performances of Paul McCarthy 1974-2013." Thesis, Queen Mary, University of London, 2014. http://qmro.qmul.ac.uk/xmlui/handle/123456789/7979.

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Since the 1970s, the work of Los Angeles-based artist Paul McCarthy (b. 1945) has included live performance, video, sculpture, kinetic tableaux, and installation. Tracing the development of McCarthy’s work between 1974 and 2013, I undertake a critical discussion of the development of performance in relation to visual art practices. Using one artist’s work as a guide through a number of key discussions in the history of performance art, I argue that performance has influenced every aspect of McCarthy’s artistic practice, and continues to inform critical readings of his work. My thesis follows t
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17

Papadopoulos, Theokritos. "The aesthetics of waste : investigating the role of the ephemeral in the development of the avant-garde in Western Europe and Greece and its relationship to trauma." Thesis, University of the Arts London, 2013. http://ualresearchonline.arts.ac.uk/6470/.

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This research project, driven by my on-going practice, seeks to identify the role of non-traditional materials such as ephemera, debris, waste and historical archive footage in order to produce art installations for investigating trauma, especially in moments of social crisis. My art practice is informed by Sigmund Freud’s notion of the ‘death drive’ in his book Beyond the Pleasure Principle. Freud’s story about his grandson’s fort-da game provided the context in my research for examining the use of ephemeral everyday materials and historical archive footage within this psychoanalytical interp
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18

Buzz, Lu La. "The states and status of clay : material, metamorphic and metaphorical values." Thesis, University of Plymouth, 2018. http://hdl.handle.net/10026.1/11639.

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This doctoral project combines a performance-led practice with contextual research in order to demonstrate how arts practice can challenge historical perceptions of clay and enhance its material status. The core knowledge deduced from this research is that embodied performance transforms connectivity between artist and clay and produces a unified incarnation of both elements. Through the use of immersive research methods I gained insights which could not have been predicted - particularly that my experiential performances were a process of ‘clay becoming’ in which I ultimately became the clay.
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19

Geurts, James, and james@jamesgeurts com. "BLUE-PRINT: Human/Hydrokinetic Drawing Projects." RMIT University. Art, 2010. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20100326.114926.

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Blue-Print: Human/Hydrokinetic Drawing Projects, is based on an expanded field of drawing practice, centering on a series of spatial and time-based projects at various bodies of water around the world. Blue-Print drawing projects set out to describe a language that articulates a human/hydrokinetic relationship. This expanded drawing practice emerges through diverse forms of installation, video, land-art, kinetic sculpture, light works, sensor-drawing, photography, living-monochromes, sound, durational events and research. This expanded drawing practice is based on an inquiry into the rel
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20

Masley, Jennifer Irene. "Transitory Ephemera." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1619444631965175.

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21

Siegel, Isabella. "Att dokumentera förgänglighet för all framtid : En komparativ studie av påverkan på det efemära konstverket vid dokumentering och arkivering." Thesis, Södertörns högskola, Konstvetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-45291.

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This study investigates effects on the ephemeral artwork and its ephemeral quality when documented and archived. To define the ephemeral artform a definition presented by Mary O’Neill in her thesis Ephemeral Art: Mourning and Loss (2007) is used, and two ephemeral artworks are studied: Zoe Leonards Strange Fruit (for David) (1992-1997) and Felix Gonzalez-Torres ”Untitled” (Portrait of Ross in L.A.) (1991). Results from these case studies are compared to each other and to Peggy Phelan’s critical stance on the possibilities of documenting time-based and performative artforms in Unmarked: The Pol
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22

Pérez-Rementería, Dinorah. "Osvaldo Sánchez's Art Criticism: An Aesthetics of Reconciliation." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_theses/16.

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Aesthetic criticism very often has been overlooked and considered a lesser form. However, many interpretations, applications and discernments can be obtained from this kind of art writing. Using Osvaldo Sánchez's work as a case study, this thesis examines how writerly art criticism offers an active reading framework of the work of art by using philosophical, literary and poetic constructions. In this regard, I will see how the "writerly" condition has contributed compelling insights to the History of Aesthetics, highlighting the connections and disconnections between Sánchez and other writerly
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23

Haynes, Rachael Anne. "Embodied vulnerabilities : responding to violent encounters through installation practices." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/27663/1/Rachael_Haynes_Thesis.pdf.

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This practice-led research was initiated in response to a series of violent encounters that occurred between my fragile installations and viewers. The central focus of this study was to recuperate my installation practice in the wake of such events. This led to the development of a ‘responsive practice’ methodology, which reframed the installation process through an ethical lens developed from Emmanuel Levinas’ ethical phenomenology. The central propositions of this research are the reconceptualisation of ‘violent encounters’ in terms of difference whereby I accept viewers responses, even thos
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Haynes, Rachael Anne. "Embodied vulnerabilities : responding to violent encounters through installation practices." Queensland University of Technology, 2009. http://eprints.qut.edu.au/27663/.

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This practice-led research was initiated in response to a series of violent encounters that occurred between my fragile installations and viewers. The central focus of this study was to recuperate my installation practice in the wake of such events. This led to the development of a ‘responsive practice’ methodology, which reframed the installation process through an ethical lens developed from Emmanuel Levinas’ ethical phenomenology. The central propositions of this research are the reconceptualisation of ‘violent encounters’ in terms of difference whereby I accept viewers responses, even thos
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25

Chapman, Gaye. "Decompose : decay + weeds = beauty : research into the visual art/painting implications of botanical biodegradation of weeds as an expression of I. The subjective, expansive and ephemeral nature of art, artist and materials. II. An incarnation of the nature of time and sublime beauty that articulates and expands perceptions of art, artist and materials as text + paintings /." View thesis, 2004. http://handle.uws.edu.au:8081/1959.7/29745.

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Thesis (Ph.D.)--University of Western Sydney, 2004.<br>A thesis presented to the University of Western Sydney, College of Arts, Education and Social Sciences, School of Contemporary Arts, in fulfilment of the requirements for the degree of Doctor of Philosophy, Contemporary Arts. Includes bibliographies. Electronic version minus appendices 2, 3, 4 is also available online at: http://handle.uws.edu.au:8081/1959.7/29745.
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Lucas, Isabel Jesus Basilio. "A Land Art como recurso pedagógico: a Land Art como recurso pedagógico para que os alunos adquiram competências a nível da gramática visual." Master's thesis, Escola Superior de Educação, Instituto Politécnico de Setúbal, 2011. http://hdl.handle.net/10400.26/6131.

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Chapman, Gaye. "Decompose : decay + weeds = beauty : research into the visual art/painting implications of botanical biodegradation of weeds as an expression of I. The subjective, expansive and ephemeral nature of art, artist and materials. II. An incarnation of the nature of time and sublime beauty that articulates and expands perceptions of art, artist and materials as text + paintings." Thesis, View thesis, 2004. http://handle.uws.edu.au:8081/1959.7/29745.

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“In the decomposition of organic/botanic materiality, decayed and decaying exotic weeds are printed and imprinted on the host vessel: The surviving trace becomes a code - a sign - a semiotic map = disjecta membra: being there ... then destroyed... but still remaining.” THE BODY OF VISUAL AND WRITTEN RESEARCH, 'DECOMPOSE', is a cross-disciplinary interrogation, interpreting overlapping meanings in the Botanical Biodegradation of Weeds through Visual Art/Science practices and processes expressed as Text +Paintings. DECOMPOSE validates the Act of Art, Botanical Biodegradation of Weeds, as both: I
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Périot-Bled, Gaëlle. "Des œuvres éphémères devenues mémorables : modalités et enjeux d’une transmission fragile." Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080107.

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Ce travail de recherche part de la description d’événements artistiquescontemporains, réexposant ou rejouant des oeuvres éphémères du passé, afin d’analyser lesmodalités de leur transmission. Dans un premier moment, il s’agit de montrer que l’éphémèreopère une réduction temporelle qui met en crise une conception de l’oeuvre que la tradition desarts plastiques a fondée sur la conservation de l’objet et de la trace. Or, lorsque les oeuvreséphémères nous sont données a posteriori, dans le corps du vestige ou de l’archive, la questionest de savoir si leur reconnaissance par l’institution ne coïnci
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Ortiz, García José A. "Art, devoció i ritual funeraris a la Catalunya moderna." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/353619.

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Parlar de mort és parlar de les pors inherents a l'esser humà. Diferents son les disciplines que ens permeten aproximar-nos al final de la vida a partir d'una perspectiva cultural. Qüestions històriques, artístiques, religioses, antropològiques i sociològiques, entre d'altres, s'imbriquen entre elles per aportar-nos una mirada sobre el concepte de la mort. Radica en aquesta relació interdisciplinària la tesi doctoral titulada Art, devoció i ritual funeraris a la Catalunya moderna. El títol de la recerca planteja en ell mateix els conceptes que la vertebren. La mort és l'element d'estudi a t
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Méndez, Barrios Judith Lorena. "Dilatando el efímero. Intervención performativa y pedagógica radical: El caso de Lleca en México." Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/145762.

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La acción cultural tiende a la performance, pues se afirma como una acción estética de formación compleja. En ella coexisten percepciones y bienes estéticos tangibles, los cuerpos, e intangibles, las emociones. La experiencia personal y grupal de formación adquiere sentido en las prácticas culturales e implica una revisión de las ideas de arte. Si mi educación personal involucró una didáctica del arte y una educación más amplia, formal e informal, el trabajo de grupo con el colectivo de intervención cultural y artística La Lleca se adscribe, más bien, a la militancia cultural feminista en
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Stillwell, Joana. "a window the color of her sunburn." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4821.

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I use video and material fragments to investigate the collapse of virtual and physical spaces as memories, lived environments, and digital interfaces become overlaid and interchangeable. I am interested in the capacity for technology to propose alternative strategies in which to engage with the world as we continue to extend ourselves in new and enduring methods. Seemingly unremarkable fragments offer new potentials in questioning meaning, worth, and care within spaces of downtime, boredom, and play. This document accompanies my thesis exhibition a window the color of her sunburn. It provides
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Sehn, Magali Melleu. "A preservação de \'instalações de arte\' com ênfase no contexto brasileiro: discussões teóricas e metodológicas." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-21062010-100207/.

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A abordagem das principais discussões éticas e metodológicas no âmbito da preservação da arte contemporânea constitui o ponto de partida desta tese. O recorte procurou enfatizar a problemática da preservação de algumas modalidades artísticas denominadas atualmente de instalações de arte, evidenciando a produção artística brasileira a partir da década de 80. Tomando como referência o estudo de cinco obras de artistas vivos que, em sua maioria, ainda não estão inseridas no contexto institucional, analisa-se a relevância do registro das intenções desses artistas quanto à preservação, bem como o p
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Asalia, Nour. "La fragilité dans la sculpture contemporaine : réflexions théoriques et expérimentations artistiques à partir de Marcel Duchamp et Pablo Picasso." Electronic Thesis or Diss., Paris 8, 2022. http://www.theses.fr/2022PA080076.

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La fragilité est une notion importante dans la sculpture contemporaine. Cette thèse s’interroge sur ses aspects chez deux des plus influents artistes de l'histoire de l'art au XXe siècle : Pablo Picasso et Marcel Duchamp. Nous nous interrogeons dans ce sens sur les facteurs qui ont favorisé l’avènement de la fragilité dans leurs pratiques : contexte historique, traditions populaires revisitées par la modernité, évolution du regard porté sur les matériaux, pratiques artistiques novatrices, contraintes et techniques de conservation. Notre recherche aborde bien entendu la question de la fragilité
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Anderson, Charles Nicholas, and charles anderson@rmit edu au. "Ephemeral Architectures: towards a process architecture." RMIT University. Architecture and Design, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091104.143239.

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This PhD responds to a two fold problem with the philosophy of design and the practice of design. The philosophical problem is stated as the discrepancy between a dominant philosophical framework that orders the world according to eternal essences and the actual conditions of the world in which we exist: the conditions of becoming and of flux. Commencing with a critique of the western metaphysical tradition of statics this research project proposes that we need to find a way of describing an evolutionary model of practice, and by so doing to provide a revitalised narration of process. Con
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Puydebois, Maryline. "Proto-matériau végétal et utopies spatio-temporelles : oeuvres végétales contemporaines et pratiques personnelles." Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0524.

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Il s’agit de s’interroger à partir de notre pratique plastique qui s’intègre dans l’Art Végétal, sur le statut, la fonction et le processus créateur du proto-matériau végétal dans les œuvres contemporaines. Ce travail analyse la capacité du déchet, d’une épluchure de fruit ou de légume à convoquer certains savoir-faire, procédés techniques s’intégrant dans un proto-langage artistique. Ce principe créateur végétal interroge de manière paradoxale la notion de conservation créatrice à partir de matériaux ordinaires et éphémères. Ces dispositifs de préservation de fragments végétaux créent un espa
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Hoffman, Jeffrey. "A Crack in Everything." Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5305.

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Contained herein is a close examination of self-awareness and self-portraiture as it applies to the works of artist Jeffrey Hoffman. Water, frozen into various forms and combined with natural elements of wood, slowly melt over an indeterminable amount of time, each droplet documented as the process transforms the elements. Through this process, we see change. We see time. We see truth. This documentation of change and time through natural elements is where the artwork comes full circle. Working with new media to explore man's interconnectivity to life, energy, and the cosmos, he produces time
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Shepard, Nathan Lindstrom. "Everlasting ephemera: temporary festival structures and Bernini's Fountain of the four rivers." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/3535.

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An exploration of the various ephemeral sources of Bernini's Fountain of the Four Rivers. This thesis brings together other authors' observations of Baroque ephemera. Additional sources are proposed by the author to create a more complete discussion of the fountain and its relationship with Baroque ephemera.
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BARBIERI, FRANCESCA. "Spettacolarità e scenografia a Milano tra età teresiana e giuseppina." Doctoral thesis, Università Cattolica del Sacro Cuore, 2012. http://hdl.handle.net/10280/1350.

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Nella seconda metà del Settecento Milano diventò un centro di riferimento per la scenografia a livello internazionale. La tesi studia l’evoluzione della spettacolarità e della scenografia in un periodo cruciale per la città (1765-1792) prendendo in esame non solo il teatro, ma anche gli aspetti connessi agli eventi festivi legati al potere. La ricerca è basata primariamente sulle fonti iconografiche, soprattutto disegni e incisioni, reperite negli archivi milanesi e nazionali; l’analisi di libretti, relazioni, periodici e altra documentazione ha inoltre offerto altri elementi utili alla deline
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BARBIERI, FRANCESCA. "Spettacolarità e scenografia a Milano tra età teresiana e giuseppina." Doctoral thesis, Università Cattolica del Sacro Cuore, 2012. http://hdl.handle.net/10280/1350.

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Nella seconda metà del Settecento Milano diventò un centro di riferimento per la scenografia a livello internazionale. La tesi studia l’evoluzione della spettacolarità e della scenografia in un periodo cruciale per la città (1765-1792) prendendo in esame non solo il teatro, ma anche gli aspetti connessi agli eventi festivi legati al potere. La ricerca è basata primariamente sulle fonti iconografiche, soprattutto disegni e incisioni, reperite negli archivi milanesi e nazionali; l’analisi di libretti, relazioni, periodici e altra documentazione ha inoltre offerto altri elementi utili alla deline
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Zofkova, Magdalena. "Evolutionary dynamics in ephemeral pools : inferences from genetic architecture of large branchiopods." University of Western Australia. School of Animal Biology, 2007. http://theses.library.uwa.edu.au/adt-WU2007.0048.

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[Truncated abstract] I have evaluated the effects of different types of ephemeral pools on the evolutionary dynamics of two large branchiopods in Australia, the clam shrimp Lynceus and the fairy shrimp Branchinella longirostris. Both shrimps are passive dispersers, relying on their sexually produced resting eggs for continuity of populations in time and space, although their actual dispersal ability remains speculative. The two currently recognised species of the genus Lynceus (L. tatei and L. macleyanus) are widespread across Australia, and they occupy a wide range of ephemeral fresh water ha
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Zofkova, Magdalena. "Evolutionary dynamics in ephemeral pools : inferences from genetic architecture of large branchiopods /." Connect to this title, 2006. http://theses.library.uwa.edu.au/adt-WU2007.0048.

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Kambs, Jill Elise. "32% of the archive." Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/995.

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32% of the Archive explores memory, loss, and the power of ephemera through recording and re-presenting objects from a personal archive. Through uniform recording, framing, and treatment of the art objects, 32% of the Archive, attempts to neutrally display personal objects so the audience can objectively investigate the material. The gesture falls short of impartial, though, for the specificity of the subject and the enormity of the act carries an emotional charge. Beyond presenting data, this work reflects a sincere effort to remember and preserve, to puzzle and piece together, to pay homage
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Ururahy, Heloisa Pinto. "Museus na internet do século XXI: a caminho do museu ubíquo." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-25042014-112545/.

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A pesquisa observa as novas relações de produção e difusão da arte que surgiram com a utilização da internet e das novas tecnologias, pelas instituições culturais, para a expansão de suas atividades. A investigação propõe que essa nova forma de comunicação pode unir o alcance das plataformas virtuais, a credibilidade de grandes centros artísticos e a força dos processos colaborativos de criação em rede para ampliar a propagação da arte e da cultura. O estudo pretende mostrar como museus, galerias e instituições culturais em geral, têm desenvolvido trabalhos na world wide web, desde o começo do
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Syron, Liza-Mare. "Ephemera Aboriginality, reconciliation, urban perspectives ; Artistic practice in contemporary Aboriginal theatre /." Access electronically, 2004. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060220.155544/index.html.

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John, Jason Robert, and jason@scotschurch org au. "Biocentric Theology: Christianity celebrating humans as an ephemeral part of life, not the centre of it." Flinders University. Theology, 2005. http://catalogue.flinders.edu.au./local/adt/public/adt-SFU20051212.182616.

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When the Uniting Church formed in 1977, its Basis of Union envisaged a final reconciliation and renewal for all creation, not just humans. It did, nonetheless, reflect the anthropocentric assumptions of its day, as did other official documents released in the first decade of the Uniting Church’s life. Anthropocentrism assumes that human beings alone are created in the image of God, charged with dominion over Earth, and responsible for the fallenness of creation, though not necessarily through the actions of a literal Adam and Eve. This basic framework did not shift in the first decade, ev
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Francis, Cathy, and n/a. "A multi-scale investigation into the effects of permanent inundation on the flood pulse, in ephemeral floodplain wetlands of the River Murray." University of Canberra. Health, Design & Science, 2005. http://erl.canberra.edu.au./public/adt-AUC20061128.153926.

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Using a multi-scale experimental approach, the research undertaken in this thesis investigated the role of the flood pulse in ephemeral floodplain wetlands of the River Murray, in order to better understand the impact of river regulation (and permanent inundation) on these wetlands. An ecosystem-based experiment was conducted on the River Murray floodplain, to compare changes in nutrient availability and phytoplankton productivity in three ephemeral wetlands (over a drying/reflooding cycle) with three permanently inundated wetlands. In the ephemeral wetlands, both drying and re-flooding phases
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Baker, Katherine S. "Seed germination and dormancy in south-western Australian fire ephemerals and burial as a factor influencing seed responsiveness to smoke." University of Western Australia. School of Plant Biology, 2006. http://theses.library.uwa.edu.au/adt-WU2007.0091.

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[Truncated abstract] Fire ephemerals are pioneer species that germinate in large numbers after fire and generally live for between six months and four years. Seeds produced during the short life span of these plants persist in the soil seedbank until a subsequent fire. This study examined the dormancy characteristics and germination requirements of ten Australian fire ephemeral species from five families. Seeds of four species germinated at one or more incubation temperatures in the laboratory, indicating that a proportion of their seedlots were non-dormant at the time of testing. Austrostipa
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Haring, Christian [Verfasser], Steffen [Gutachter] Siegel, and Olaf [Gutachter] Peters. "Wir machen kein Theater! : Passagen der Performance Art der 60er Jahre bis heute, mit Hinblick auf Einschreibung, Aufzeichnung und Neubewertung von ephemerer Kunst / Christian Haring ; Gutachter: Steffen Siegel, Olaf Peters." Jena : Friedrich-Schiller-Universität Jena, 2017. http://d-nb.info/1170399576/34.

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Yates, Atkins Gillian Kaye. "Ephemeral installations: Contemporary Canadian art in the public arena." 2007. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=742099&T=F.

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Shiell, Michael. "Trace : an exploration of alternative means of documenting ephemeral environmental art." Thesis, 2011. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/41479.

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Doctor of Philosophy<br>The field of Ephemeral Environmental Art is now very well established in contemporary arts practice. The ephemerality of the work together with the fact that its location is frequently inaccessible results in the need for documentation. Photography is the primary means by which these artworks are recorded. The role of photography is very important, however, it is also limited as a documentary outcome. As a visual artist who creates Ephemeral Environmental Art I am concerned that while photography can quickly and relatively easily create a visual record of the created fo
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