They were perfectly prepared to embrace the new place and forget the old one, especially when doing so did not stipulate the pursuit of an all too provisional "oneness" with a land whose ephemerality
might come back to haunt them.
She argues that by uniting flesh and spirit, the specimen-solder epitomized the ideal love object Whitman conjured throughout Leaves of Grass--not yet a corpse, but already something beyond human, a creature all the more treasured for his ephemerality
When Snapchat launched in 2011, ephemerality
was its unique selling point.
During an era in which ephemerality
seems baked into everyday experience, the notion of creating a product that can sustain its value and function seems quaint.
Open till May 14, Abundance and Ephemerality
Still Lives from Finnish and Baltic Collections, Kadriorg Art Museum, Tallinn
(The app also offers a rotating stable of filters that distort your appearance comically, which I feel less drawn to.) With its built-in ephemerality
, Snapchat is commonly understood as a place to enjoy being yourself, flaws and all.
By "swiping right" on men who label themselves as Artists on their personal profiles, she appropriates Tinder's intended use in order to hand select artists and their work for a temporary show—a show which has an ephemerality
mirroring that of Tinder hookups.
Wall's fourth chapter tracks key concepts of preservation, distillation, and seasoning--three tools early modern housewives had for counteracting domestic and natural ephemerality
that also engage philosophical categories--across manuscript recipes and into literary texts that engage with these questions.
Yet the ephemerality
of canonical performance works such as Meat Joy also presents problems for museum curators and audiences.
Not a week goes by without hundreds of new shows opening, while others end their runs, evaporating from the stage in the ephemerality
that is our art form.
returns in Richard Andrews' discussion of Isabella Andreini's posthumous prose, the Lettere and Frammenti (or Ragionamenti), both of which he regards as forms of performance text; the Lettere appear to be selections from Isabella's "professional zibaldone" (35), that is, the notebook kept by actors containing a personal repertoire of set speeches and conceits to be utilized in given dramatic situations; while the Fragmenti are in effect "mini-dialoghi teatrali" (33), always between a man and a woman, verbal sparring matches with "a strong element of erotic tension" (32).
Gaponenko does not explicitly identify the tensions--between the personal and the political, life and death, inelegance and dignity, ephemerality
and timelessness--underlying these ironies.