![]() Habitat The specific environment in which an organism lives. ie: flowers and pollinating insects Symbiosis The intimate living together or association of 2 kinds of organisms. Mutualism A close relationship between two organisms from which both derive a benefit. Determined by total combined weight of all organisms at each trophic level. Biomass Mass of biological material, usually the total mass of a particular group or category. Food Web The combination of all the feeding relationships that exist in an ecosystem. Food Chain The transfer of energy and material through a series of organisms as each one is fed upon by the next. (ie: the organism that is supporting the feeder) Detritus The dead organic matter, such as fallen leaves, twigs, and other plant and animal wastes, that exists in any ecosystem. Host In feeding relationships, particularly paratism, refers to the organism that is being fed upon. They are commonly divided into ecto_, those that attach to the outside of the host, and endo_, those that live inside the host. Parasite Organisms that attach themselves to another organism, the host, and feed on it over a period of time without killing it immediately, but usually doing harm to it. Prey An animal hunted or seized for food, especially by a carnivorous animal. Predator An animal that feeds on another living organism, either plant or animal. Carnivores An animal that feeds more or less exclusively on other animals. Omnivores An animal that feeds on both plant and material and other animals. ![]() Inorganic All things such as air, water, minerals, and metals, that are neither living organisms nor products uniquely produced by living things. Where the fugitive cyanotypes are analogies for a terrifyingly fleeting and beautiful existence, the process of re-photographing is a metaphor for the incorporation and mediation of photography in contemporary human experience.Organic All living things and products that are uniquely produced by living things, such as wood, leather, and sugar. Entitled Continua, the progressive images are shown as polyptychs. The artist selectively re-photographs moments in the evolution of the images to generate a series of static records of a transitory process. Photochemically, the pieces are never wholly processed they continue to change over time in response to environments that they encounter, blurring the line between creation and destruction. The pieces record the movement of water through the planetary surface, tracing topographies in both wild and built environments. Riepenhoff drapes the photochemically treated paper on objects in the landscape, from windfall branches and boulders to garbage cans and fences. chemically activate the photographic materials, while they expose via the residual sunlight that exists even in the heaviest storm. Ecotone also engages dynamic photographic materials in the landscape, but collaborates with precipitation rather than ocean waves or running water in the landscape. The elements employed in the process-waves, rain, wind, and sediment-leave physical inscriptions through direct contact with photographic materials. Littoral Drift, a geologic term describing the action of wind-driven waves transporting sand and gravel, consists of camera-less cyanotypes made in collaboration with the landscape and the ocean, at the edge of both. Both series consist of cyanotypes made directly in the landscape, where elements like precipitation, waves, wind, and sediment physically etch into the photo chemistry the prints simultaneously expose in sunlight and wash in the water around them. This work stems from the artist’s fascination with the nature of our relationships to the landscape, the sublime, time, and impermanence.
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