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emalia-mattia-portfolio-2018 100%

It thus demands an unusual archive, whose materials, in pointing to trauma’s ephemerality, are themselves frequently ephemeral.


Hot 100 83%

ATLAS HOT 100 capricious=erratic behavior/mood equivocation=indecisiveness unequivocal=certain idiosyncratic=quirky decimate=destroy decipher=comprehend vacuity=emptiness chicanery=fraudulence abhor=hate/detest temporize=procrastinate maudlin=sentimental lithe=flexible evanescent=short-lived noisome=smelly peripatetic=constantly traveling irascible=short-tempered magnanimous=generous adroit=skillful inept=clumsy anachronism=wrong time period ineffable=indescribable winnow=narrow down felicity=luck acrid=bitter plight=struggle trenchant=sharp/incisive ubiquitous=all-present vacillate=waiver vapid=dull frivolous=trivial prudent=wise prosaic=boring/mundane exacerbate=make worse mitigate=reduce/lessen evince=show belie=misrepresent boorish=rude insipid=dull apathetic=uncaring compulsory=required palliative=lessening pain/symptoms cursory=superficial succinct=brief/terse decorous=proper/decent erratic=scattered/unplanned pungent=strong smelling antediluvian=very old nihilist=extreme skeptic ephemeral=brief itinerant=constantly moving eclectic=diverse elements pugnacious=ready to fight aesthetic=art or beauty benevolent=sympathy/generosity clairvoyant=see/predict future conundrum=problem venerable=honored tenuous=flimsy pragmatic=practical capacious=spacious superfluous=more than necessary brazen=bold bombast=pompous language intrepid=no fear fastidious=overly critical florid=ornate surreptitious=deceptive, secretive talisman=lucky charm dubious=doubtful spurious=false raze=destroy, ruin precocious=too early innocuous=harmless perfidious=betray orator=speaker abate=lessen reticent=restrained impetuous=rash, careless demagogue=pleasing politician bilk=cheat, steal jocular=jokingly jubilation=joy, happiness abstruse=difficult to understand querulous=complaining haughty=arrogant enervate=debilitate hedonism=self indulgence harangue=noisy, attacking speech revere=worship, honor circumlocution=go around ostentatious=flashy, to impress enigma=puzzle, mystery spurious=false deleterious=harmful rescind=retract/repeal plaudit=praise sagacity=wisdom hackneyed=cliche blithe=free-spirited credulous=gullible | 716.299.TEST


dream realm 83%

As you slowly wake up in the insides of the dubious unknown dream Freeing yourself from the stress-filled strains of the ever haunting reality You witness a scene befitting of nameless beasts, a rotten garden of souls Whose decayed stench your nose can barely stand Look past the unnerving flowers for the forgotten spot where Presence lies To know how to see in this unstable reef means for you to close your eyes As the light whose existence the dream depends upon fades, you kneel And you whisper with me, Presence, grant us eyes, grant us eyes You wake up from your eternal slumber to the voice of your new listener The soot black of your flesh contrasts beautifully with the pale moon And the mind of the listener is yours and only yours to take You hear the wish of the heart and feel the Arcane will You come back to your senses greeted by a foul smell As you realize your existence is ephemeral the dream starts to captivate Ruins of great civilizations and their atmosphere of a distant past engulf you For your destiny is that of greatness but your end lies in here Your trance is heightened, the fulfilled soul moisturises the bier And as you go back to sleep your dream realm fades yet again To realign in the mind of another of your listeners with insight Presence is your name, Wishes you fulfil and souls are for you to take You let your children dream and so they vow to you and yours You, the god of the rivers of consciousness, who lives inside your head You, who dominates insight, grant us eyes, grant us eyes.


snap-letter 82%

Well, as hard as it is to admit, we’re guessing that you didn’t just go cold on making short, ephemeral lms that you share with your friends as a means of expressing yourself.


Introduction 82%

  The second, that of the bankrupted left, unstable and ephemeral, merely makes opposition while espousing a long lost social democratic period.


Rotating Art Program - Q1 2018 81%

I hope that my work conveys a sense of ephemeral wonder, inner peace, and an essence of ohm.


Truth 80%

Cultural evolution is ephemeral, nothing more than fad and fashion, nor does it tend by natural law or necessity toward fairness, justice, benevolence, or altruism.


PrototypeBlogPDF 80%

Cultural evolution is ephemeral, nothing more than fad and fashion.


Book of Thel 75%

Wheatley 1    The Function and Dysfunction of Desire in Blake’s  “The Book of the Thel”     William Blake’s “The Book of Thel” opens with an epigraph, a pithy and barbarous quatrain  entitled “Thel’s Motto.” The “Motto” successfully encapsulates in four lines what Blake  proceeds to unfurl throughout the rest of  “The Book of Thel”: a quest for knowledge,  objectivity, and wisdom. A contemplation of the lines between knowing and not knowing, fear  and desire. “Thel’s Motto” rejects the notion of objectivity. Thel’s procession is ultimately a  mission to achieve the objective, but is hindered by her acquaintances’ lack thereof. Just as  Blake finds definitive virtue in the marriage of heaven and hell, so he advises a compromise of  objectivity and subjectivity (which Marjorie Levinson considers a “binary opposition between  two contradictory ways of knowing and being” [291]). I would further argue that not only is  compromise essential, it is inevitable. The poem’s true statement of objectivity is in its notions  of death and mortality. Death’s barrage of whys in the underworld marks an intersection of  objectivity and subjectivity, a meeting of why and what.      One essential detail that cannot be overlooked is Blake’s use of the name “Thel,”  which in Greek means “wish” or “desire.” (Levinson 287) While I agree with Levinson that it  does little to further the understanding of the text, I’d argue that it does inform Blake’s  apparent reach for a greater gestalt; one in which the contemplation of desire, and the failings  and findings therein, is all­encompassing. With her name, Blake imbues in Thel the very  essence of desire. It permeates her being. Thel is ephemeral, unborn. As such, any symbolic  attachment, no matter the extent, defines a fundamental aspect of her being. Inquisitiveness,  frailty, virginity—all qualities to which Blake attributed Thel, all abstractions of a being who is  herself an abstraction.  Wheatley 2      Despite Thel’s abstracted existence, she possesses what Levinson deems “ontological  density.” (287) Thel’s Socratic search for answers leads her through a parade of creations,  from the Lily of the Valley, to a Cloud, to a Worm, to a Clod of Clay. Her questions are  ultimately concerned with one central notion: the experiences of those who exist within the  realm of the real. Questions of mortality and existence and disillusionment plague Thel’s  conscious. “The Book of Thel” largely concerns itself with the asking of these questions, as  the central majority of the poem is devoted to Thel’s visits with these creatures. There is also  the inescapable problem of sexuality in the poem. Corporal experience, in the broad form it  assumes in “Thel,” certainly invites sexual knowledge. While this is a concern of the self, it  does not preclude Thel’s investment in the world around her. “Liberation […] from sexual  desires” should “transform the fallen world anew.” (Craciun 172)    Thel’s role as an entity consumed with Innocence is important. Brian Wilkie strongly  challenges the notion that Thel is an embodiment of Innocence. In addition to dismissing it as  “simple­minded,” Wilkie asserts that Thel “emphatically lacks the hallmark of Innocence:  trustfulness.” (48) The problem with this analysis is that Thel exhibits no substantial lack of  trustfulness. It’s a grayer area in that what may be interpreted as a lack of trustfulness could  also easily be turned into a sense of naïve fear.  There’s no question that Thel exhibits  compulsive anxiety; but it’s a child’s fear of the dark—a dread of the unknown. Thel’s virginal  naivety is what drives her through her journey. She desperately wants to know the unknown,  despite having an inborn aversion to the latter. Such an uneasy ontological mixture stirs in her  guts a sense of doubt, mistaken by Wilkie to be distrust.    Despite her doubt, overwhelming desire propels Thel through the Vales of Har. It’s  ultimately her yearning for objectification—for a realization of the self—that leads her past the  procession of characters. Her first encounter, with the Lily of the Valley, proves the most  Wheatley 3    frustrating for Thel. The Lily is youthful, beautiful, and ultimately satisfied with her place in  Har. In these qualities Thel no doubt sees a mirror image, the major difference, though, being  this unattainable sense of contentedness that appears to elude Thel. In this way, the Lily  represents not a maternal figure of fulfillment; rather, she assumes much more the role of the  fulfilled duplicate, the Better Sister. In reply to the Lily, Thel only bows further. She praises the  Lily for “giving to those that cannot crave,” for “[nourishing] the innocent lamb,” for “[purifying]  the golden honey.” (2.4­8) And after the praise, she belittles her own existence as nothing  more than “a faint cloud kindled at the rising sun: / I vanish from my pearly throne, and who  shall find my place?” (2.11) This is the first instance in which Thel makes plain the fact that  she is somehow not a being of physical substance. Blake imbues Thel with an otherworldly  sense of atomic insubstantiality, a vaporous notion of fragility and innocence. This is not to  suggest that Thel is literally vaporous. The role of shepherd—despite long­standing allegorical  connotations—suggests a humanoid physical form, as does Blake’s title plate illustration,  which features a virginal young Thel. Rather, she is essentially a child’s soul; void of  experience and harrowing questions of a mortality she has yet to even understand.    But it’s not only mortality Thel is unable to comprehend. The Lily of the Valley  suggests a discussion with the Cloud, who falls victim to the same transient existence Thel so  desperately wants to upend. “O little Cloud,” Thel says, “I charge thee tell to me; / Why thou  complainest not when in one hour thou fade away.” (3.1­2) In the Cloud, Thel finds a kindred  spirit, albeit one who finds itself unable to despair of its ephemerality in the way the young  virgin does. The Cloud answers: “[W]hen I pass away, / It is to tenfold life.” (3.10­11) The  Cloud revels in his ability to cleanse and nourish the world beneath him.  His daily death is an  altruistic affirmation of love, and a promise of rebirth. Thel’s reservations in this regard ring  sincere and reasonable: unlike the Cloud, Thel considers herself unable to serve so vital a  Wheatley 4    function.  This is important, as it speaks to that with which Thel truly concerns herself when  discussing mortality. Thel searches for a kind of function she may serve and comes up  empty­handed. Unlike the Cloud, she “[smells] the sweetest flowers, / but [does not feed] the  little flowers.” (3.18­19) In other words, the Cloud happily acts as both a giver and receiver;  Thel, however, only receives the pleasures of the world, and does nothing for the world in  return. There’s a palpable sense of gratitude in Thel. She considers the flowers “the  sweetest,” and once delighted in the “warbling birds.” (3.18­19) But her delight has fallen to  guilt. She thinks her life serves no purpose beyond being “the food of worms” upon death.  (3.23)    The creatures she visits all share a common trait. That is, their outward thoughts and  actions directly represent their role in Har’s spiritual hierarchy. The Cloud assumes the role of  the omnipotent patriarch, what Robert P. Waxler calls “the invisible father.” (49) While Waxler  couples the term with the Jesus concept, I feel the Cloud just as easily fulfills the role. As the  invisible father, the Cloud nourishes and loves from his throne above all those in the Vales.  But, more to the point, the Cloud rebuffs Thel with a proper assignment of her role in Har.  “Then if thou art the food of worms […] / How great thy blessing!” (3.25) He goes on to explain  that “everything that lives / lives not alone, nor for itself.” (3.26­7) The Cloud provides a  domineering role of paternity over Har in general, and Thel in particular. Here Blake  establishes the concept of false objectivity: the Cloud may provide life, but he too is an  inhabitant of Har, and therefore is no different than the Mole, blind to all but his pit. (Levinson  291)    The curious feature of the ensuing stanza is Blake’s reflexive ambiguity. Who’s doing  the speaking in these lines? Unlike the other dialogue stanzas, this one appears without an  attribution tag before or during. “Art thou a Worm?” the speaker says. “Image of weakness, art  Wheatley 5    thou but a Worm?” (4.2) If these words belong to Thel, it indicates that she sees the worm as  a small, insignificant creature. Her initial disdain for her inability to do nothing but feed the  worms has proven stronger than the Cloud’s words of encouragement. She views this  creature not as an equal with which to share her spiritual wealth, but as a pitiful, “helpless”  thing. (4.5) Its nakedness—remarked upon with a subtle twinge of disgust—undoubtedly calls  to mind a phallus. Here the phallus is stripped of its usual power; the worm is impotent, and in  need of a maternal bond.    With that taken into account, the path grows curious if you consider the stanza to be  entirely spoken by the Worm. The entire dynamic of the relationship between the two is  reversed. Where the prior instance would have signified Thel as the dominant opposite of the  Worm, we’re now given a chance to see the Worm question Thel’s own spiritual integrity. “Art  thou a Worm?” Is Thel a worm? What separates the young virgin from the naked, helpless  creature sitting on the leaf? After all, isn’t it ultimately the Worm that will be devouring Thel  after she’s dead? The Cloud insists this type of relationship is something that resembles a  cooperative agreement between equals. Thel, however, stands to gain nothing in death. If this  is the Worm speaking to Thel, we’re also treated to an interesting moment when the Worm  relishes in Thel’s solitude. Thel has no one, “none to cherish thee with mother’s smiles.” (4.6)  Here we return to the filial concept previously seen in the Cloud and the Lily. Thel is an  incomplete concept, a loose abstraction of fears and worries with no discernible maternal  presence, despite (or perhaps due to) her active role as a lost daughter. As such, it’s a  grotesque mockery of motherhood when the Clod of Clay appears to soothe the weeping  phallus. (4.7­9)    Unlike much of Blake’s more canonical and denser texts, “The Book of Thel” follows a  fairly traditional narrative structure, complete with something resembling a climax. After


DNNT 15-12-01am 74%

the untested pairing of unemployed ranter Creepy Chris Dick and comic dealer and provocateur Jimmy Linguini, turned out to be an ephemeral moment indeed.


trailerifatree 74%

And without good memories, life is ephemeral.


CAVEAT DUCTOR 1-5-17 with dates 74%

“ DIEU ET MON DROIT” the force against its own nation that was New Labour, perpetuated by the random coalition successor This ancient Sceptred Isle, Orb intact, which - nonetheless - prevails still… …the ephemeral New Labour and Third Way, which do NOT (…Amen…) the bubble - burst belatedly by the virtual axe of reason and immutable First Principles - that was New Labour the Traitor’s Gate EC3N - conduit to erstwhile really steely justice for acts of… well, acts deemed deplorable The dignified, honourable, intelligent vision which must perforce inspire via quill, not blade, a mightier future head the calculus-of-risk which confronts an electorate at the ballot box… CAVEAT SUFFRAGATOR the calculus-of-responsibility of the democratically elected jester… CAVEAT DUCTOR “Things can only get better…” (?) the electorate that was duped by New Labour (1 May A.D.


CCA ABC McGill Tribune 19 nov 12 73%

The works touch upon both the abstract and physical elements of Montreal —the ephemeral hums and buzzes of daily life, the fleeting moments the metropolis holds, and the people, buildings, and places that define the present-day city.


Brecon Town Open Studios Map 71% 2 King Street 01874 611453 Tessa’s work centres on the ephemeral nature and complexity of our relationships;


The real cause of our environmental crisis handout 69%

-Shoghi Effendi, Letter written on behalf of Shoghi Effendi, February 1933 Consumer culture, today's inheritor by default of materialism's gospel of human betterment, is unembarrassed by the ephemeral nature of the goals that inspire it.



ROY MOLLER (ABOVE AND BELOW LEFT) (CUT ACROSS GLASGOW) white blanking/ nouveau people/Cronyism Place /clothes city cringe/ This high in big entire horrible ground of over-covered chic go expenses time/ It’s unstable deal reinvention/ The Glasgow you junkie about bloated /new-faced, much-weighed Glasgow borderline/ Style alcoholics/birthright catastrophic/ plastic and high bag architecture life/ confident shit, the made-himself image/the merchant is ragged/ sold pinnacle city/social councils yuppie haul her inclusion/ratty Style Glasgow/ in dumping day’s negative calamity/everything money/ wrong bumbled city destroying of colour /fashion in banging out/I defy bestial lording/the apologists for everything of the other/New real-life urban/skin a social hell crime/gaunt debate living/accept refashioning/increased to durable motifs city/ industrial worst/gone common galore/ephemeral clean.



ROY MOLLER (ABOVE AND BELOW LEFT) (CUT ACROSS GLASGOW) white blanking/ nouveau people/Cronyism Place /clothes city cringe/ This high in big entire horrible ground of over-covered chic go expenses time/ It’s unstable deal reinvention/ The Glasgow you junkie about bloated /new-faced, much-weighed Glasgow borderline/ Style alcoholics/birthright catastrophic/ plastic and high bag architecture life/ confident shit, the made-himself image/the merchant is ragged/ sold pinnacle city/social councils yuppie haul her inclusion/ratty Style Glasgow/ in dumping day’s negative calamity/everything money/ wrong bumbled city destroying of colour /fashion in banging out/I defy bestial lording/the apologists for everything of the other/New real-life urban/skin a social hell crime/gaunt debate living/accept refashioning/increased to durable motifs city/ industrial worst/gone common galore/ephemeral clean.


Specification 62%

document, minutes, notes, project plan, transcript)  ephemeral (g conversation, agreement)  whether an audit trail is needed Collaborative technology tools and devices:


Catholic 01 60%

61, New Bond Street 1825 A very nice copy of this ephemeral item.


theory essay- angelique farge 59%

this ephemeral and sudden wish of death will die unnoticed;


Literally Design Prospectus 57%

and, teaching himself that, forget it forever, leaving no room in his workshop for anything but the old verities and truths of the heart, the old universal truths lacking which any story is ephemeral and doomed - love and honor and pity and pride and compassion and sacrifice.


arcade power up document 55%

Bjork tells us that “Power-Ups give players Ephemeral Goals of Collecting when they appear;” due to the apparent importance of the power-up to the player, they will divert their attention away from the main game objective in order to collect the power up and gain whatever advantage it is that it affords them.



Often playing with gravity, site-specific works used to be obstinate about “presence,” even if they were materially ephemeral, and adamant about immobility, even in the face of disappearance or destruction.


FINALWPA-Call for Artists-4-4-16V2 54%

WPA projects are temporary and ephemeral in nature.


jeff.medema.application 53%

Connect Your Audience to Your Brand with Better  Storytelling  Telling stories as a brand is how you relate ideas, share yourself and identify with your audience  through your content.    By  Jeff Medema  | Media Contributor    Brand exposure is nothing if not an adapting, evolving and dynamic artform the modern  marketer must master. Yesterday you caught up with  video marketing  and a week ago was the  backlinking  revamp on your articles, but now you’re starting to hear whispers about optimizing  articles with multimedia . The modern marketer moves from tactic to tactic day to day, but there’s  one thing that’s remained consistent throughout: Storytelling.    Stories are how we identify with each other. They grip us and move us. Stories connect us and  immerse us in ideas, characters, and emotions that help us relate to each other. They help us  share and express values and ideals, and they’re one of the most powerful tools to the modern  marketer.    Where storytelling was once just a means of instilling values in the next generation and even  preserving history, it’s now an absolutely essential part of connecting audiences to  brands . In  your day to day, you establish the ‘what’ for your brand, but audiences care significantly more  about the ‘why’ when they find you. Why do you do what you do? Why should anyone trust in  you and what you offer? Storytelling is how you give them that ‘why’ and instill in them your  brand values, ideals, goals and more.    The fact of the matter is that the power has shifted. Brands aren’t the only ones making moves  in marketing. Many brands, like  Starbucks , have actually caught on to this and harnessed the  power of users by encouraging user generated content.      And more than just making moves, brands aren’t the only ones with the power to tell their story.  As we get closer and closer to a completely leveled playing field as a result of the shift to digital,  we’re seeing a change in roles. Everyone has the power to publish, the power to curate, the  power to be found, and the power to be heard. With such ephemeral and ever­changing roles as  we move from profile to profile and community to community, there’s no way to keep it all  straight save for one singular title: People.    We are people connecting with other people in a P2P market, and we do it by telling each other  stories and creating even more of them together.    Tell Your Story    The first story people want to hear is the one you’ve lived. They want to know how your brand  came to be and why it began in the first place. And more than just appeasing their interest in  you, you’re implanting a story that’s easy to remember and relate to.    Just think about how the big brands do it. You may not know the computing power of the latest  Apple devices, but you’ve certainly heard of Steve Jobs and may even know his story. The  same goes for Facebook. We all know how small of an idea it was at its conception and how it  grew beyond Zuckerburg’s wildest dreams.    In what you say and what you create, you have to tell your own story. Telling your audience  what you’re doing without telling them what you’ve done won’t engage them. Those that tell their  stories, and tell them well, are the ones that will succeed.    Tell Many Stories    Today,  everyone is a publisher . Just by looking at your news feed, you’re being exposed to  thousands of stories from publishers of all varieties. The next step after you’ve told your story is  to create and tell even more, and this is accomplished through content.    Small stories, self­contained and succinct to fit within the limited attention span for most Internet  browsing, can be seen all over, like this one from TrueMove H.    [Insert  this Video  Here]    These stories instill a relatable emotion in us, whether it’s compassion, happiness or even  anger. Most importantly, these stories do not push brands upon the audience. They may push  those same values, ideals and goals that you hold, but they do so with a different approach.    Capturing these moments in stories and bringing them forward for your audience is an art.  Modern marketers have a lot demanded of them, but storytelling must be at the foundation of it  all, and should weave its way into how you relate to and engage those that matter most to your  success.    How will you share your stories? Ask us anything about how to tell your story or about the  stories you’ve already told in the comment section below.    What You Need to Know About How the  Internet is Connecting People to People  The traditional model of identifying businesses and customers is being broken down and  replaced by the much more efficient and accurate P2P.     By  Jeff Medema  | Media Contributor    When you think about yourself as a member of the Internet, what do you envision? Techie?  Lurker? Enlightened Guru? Very likely, it’s not just simply Consumer, and even if it’s Business,  there’s surely a lot more to you than that.    We transcend these titles implied by buckets, like B2B and B2C, as people of the Internet; we  are so much more. As individuals, we play enough of a part in each of these roles, in addition to  a thousand other dynamic and fluid roles, that the line begins to blur. It becomes far too  complicated to restrict ourselves to just two roles when we think about how we connect to each  other. We are people connecting to other people, simple as that.    What matters is how we build who we are online. Building a  digital presence  may seem like  something just businesspeople need to worry about, but it’s something you do without even  trying just by being online. Uploading videos, posting pictures, and even just saying what’s on  your mind in a public space builds upon what others can find about you.    And it’s these networked public spaces that allow all sorts of amazing  communities  to really  come to life. In these communities, founders and highly active members may attain something  of a higher status, but the group is ultimately made up of a collection of equals. Individuals may  have different reasons for joining, but at the end of the day, it’s still just people connecting with  other people. What you need to determine for yourself is: what do you want to achieve by being  part of these communities?    You Can Achieve Anything    It may seem cliche, but it holds quite a bit of truth. Anyone with an idea, product, service, or  merely the desire to be heard has the power to build a digital presence and get noticed online.  The denizens of the Internet have made this even easier by building their communities on  platforms and in places with specialized methods of sharing and connecting. Tattoo artists like  Alice Carrier , for instance, have tons of pictures to share, and have built large communities by  utilizing Instagram.