The present essay aims at illustrating Marlene Creates’s web project Brickle, nish, and knobbly (2015), as a key example of Eco-Digital Humanities. First of all, it is a digital work of art made of ice images. Besides, it is also a digital archive meant to salvage a linguistic treasury of local idioms that both name and describe all types of snow and ice formations in Newfoundland, Canada. Therefore, the present analysis proves the special quality and inevitable ephemeral status of this project, for it constitutes a multimodal and multimedia web-archive, subject to possible erasure, or obsolescence in the face of new computer programmes and platforms developments. The archive is also an open instrument for everybody’s use: a digital audio-visual (poetic) dictionary, that ultimately functions as a challenge to climate change effects, that might dissolve both the ice formations and the language that accompanies them. Since the real world is no less ephemeral than the world of the web, this contribution also proves how Marlene Creates’s artwork envisions and embraces an ecological salvaging of our present and future landscape, mindscape, and langscape.

本文旨在说明 Marlene Creates 的网络项目Brickle、nish 和 knobly（2015），作为生态数字人文的一个重要例子。首先，它是由冰图像构成的数字艺术作品。此外，它还是一个数字档案，旨在挽救当地习语的语言宝库，这些习语既命名又描述了加拿大纽芬兰的所有类型的冰雪形成。因此，目前的分析证明了该项目的特殊性和不可避免的短暂状态，因为它构成了一个多模式和多媒体网络档案，面对新的计算机程序和平台的发展，可能会被删除或过时。档案也是一种供所有人使用的开放工具：数字视听（诗意）词典，最终作为对气候变化影响的挑战，可能会溶解冰层和伴随它们的语言。