Journal articles on the topic 'Animal Aesthetic'
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Renoult, Julien P. "Henrik Høgh-Olesen. The Aesthetic Animal." Evolutionary Studies in Imaginative Culture 3, no. 2 (December 1, 2019): 105–8. http://dx.doi.org/10.26613/esic.3.2.149.
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Mazzocut-Mis, Maddalena, and Andrea Scanziani. "Souriau’s Animal Aesthetics In Context: Nature, Sensibility, and Form." Aisthesis. Pratiche, linguaggi e saperi dell’estetico 15, no. 2 (February 6, 2023): 15–27. http://dx.doi.org/10.36253/aisthesis-13982.
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The work defines three aspects of Souriau’s animal aesthetics by stressing their relevance in the context of early and contemporary ethology: in (1), the concept «biological nature» which is interpreted by Souriau as a realm of appearances and as intrinsically aesthetic; in (2), the concept of animal sensibility, which makes it possible to reframe animals’ artistic behaviours and the sense by which such phenomena establish a meaningful relationship with the environment; in (3), the concept of form, in the description of natural appearances, is presented as it enters into the process of institution that, accordingly to Souriau’s interpretation of biological nature, encompasses non-human animals and humans. All three definitions will allow us a), to present Souriau’s critique of anthropomorphism and his proposal of an «healthy» zoomorphism; b) to reformulate animals’ sensibility in a non-reductionistic fashion; and finally, c) to address the issue with the supposedly sole communicative function of animal artistic behaviors.
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Delhey, Matthew J. "C. Basnett, Adorno, politics and the aesthetic animal." Phenomenological Reviews 8 (2022): 23. http://dx.doi.org/10.19079/pr.8.23.
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Pahin, Phillip, and Alyx Macfadyen. "A Human-Animal Relational Aesthetic: Towards a Zoophilic Representation of Animals in Art." Biosemiotics 6, no. 2 (July 7, 2012): 231–43. http://dx.doi.org/10.1007/s12304-012-9157-1.
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Pruša, Igor. "Kawaii: fenomén roztomilosti v japonské kultuře a společnosti." Kulturní studia 2022, no. 2 (November 1, 2022): 27–47. http://dx.doi.org/10.7160/ks.2022.190202.
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The main objective of this study is to introduce the Czech reader to the hitherto unexplored phenomenon of cuteness (kawaii) in Japanese culture and society. The term kawaii, which is used to describe cute objects (toddlers, animals, mascots, toys), represents one of the most culturally persuasive aesthetics of the new millennium and is a significant economic driver of Japan’s cultural industry (manga, anime, fashion, music). In other words, kawaii is not a temporary fashion trend – it is virtually a ‘standard aesthetic’ that has permeated all areas of Japanese everyday life. In this study, I focus on three thematic units, namely psychology, aesthetics, and history of cuteness. Within psychology, I analyze kawaii as an intense emotional response to some significant stimulus that triggers a ‘maternal’ desire. Within aesthetics, I firstly focus on the stylized Japanese script, which started the kawaii fever in 1970s. Secondly, I point out the main specifics of Japanese product design with kawaii features and explain how kawaii aesthetics permeated the field of Japanese fashion. Thirdly, I focus on various mascots and animal characters that represent the main platform of kawaii aesthetics today, and demonstrate how Japanese authorities and institutions utilize this aesthetic to maintain the status quo. Finally, I offer a brief history of Japanese cuteness, which began in court literature of the 10th century and culminated in the second half of the 20th century.
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Ahmadi, Anas, Abd Syukur Ghazali, Taufik Dermawan, and Maryaeni Maryaeni. "Indonesian Literature, Trans-species, Post-humanism Aesthetic: Interpreting Novel O, Animal Studies Perspective." Theory and Practice in Language Studies 8, no. 2 (February 1, 2018): 257. http://dx.doi.org/10.17507/tpls.0802.12.
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This study aims at exploring the animal characters that can interact with human in Novel O, a semi-fable novel by Eka Kurniawan, using the perspective of animal studies. Results show that Eka Kurniawan makes animals as the major characters in his novel, of which are able to interact with human. According to the notion of socio-politics, animal is simply an illustration of recent human beings either in Indonesia or in a more universal context. In addition, based on Sartre’s philosophy, animal and human have freedoms including but not limited to freedom of thinking and acting. They also have a right to transform into anything as long as they are responsible for any possible consequences. In connection with the law of human relation, human beings must respect among others, animals and nearby environments, due to the fact that the three of them are interlinked components of life.
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Velden, Felipe Ferreira Vander. "VILLAGE ORNAMENTS: FAMILIARIZATION AND PETS AS ART(IFACTS) IN AMAZONIA." Vibrant: Virtual Brazilian Anthropology 13, no. 2 (December 2016): 58–77. http://dx.doi.org/10.1590/1809-43412016v13n2p058.
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Abstract The objective of this article is to discuss some reasons the Karitiana (Rondônia, Brazil) evoke to explain their ever-present desire to maintain familiarized or domesticated animals in their villages. Based on the ethnography of the relationships among the Karitiana and these animals, this paper enters into dialogue with the hypotheses formulated to explore the Amazonian people's fondness for the company of non-human species. It also provides insights for rethinking these debates, advocating that Indians are particularly looking for beauty represented by the diversity of animals and by the arts of domestication, just like the aesthetics of conviviality as proposed by Joanna Overing. This aesthetic dimension of human-animal relations seems to be overlooked by theorists of domestication or familiarization because they consider these phenomena to be more techniques or technologies than arts. Renewed perspectives on human-animal relations can be opened by addressing the "arts of domestication" and avoiding an a priori opposition between technique and art.
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Ödberg, F. O. "Bullfighting and Animal welfare." Animal Welfare 1, no. 1 (February 1992): 3–12. http://dx.doi.org/10.1017/s0962728600014676.
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AbstractVarious arguments in favour of and against bullfighting are reviewed. The author advocates a thorough and knowledgeable adaptation, suppressing bloodshed and other sufferings. Through history, the evolution of bullfighting consists of a gradual trend towards the ‘art for the art’. Such a solution would not only keep and even stimulate the aesthetic aspects, but has also more chances to save the animals. Strategically speaking, a fight for total suppression is unlikely to succeed anyway or will last too long.
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Greiffenstern, Alexander. "Baboons, Centipedes, and Lemurs: Becoming-Animal from Queer to Ghost of Chance." Humanities 10, no. 1 (March 15, 2021): 51. http://dx.doi.org/10.3390/h10010051.
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The paper establishes a connection between the becoming-writer of Burroughs, who found his calling and style during the 1950s and his signature characteristic of becoming-animal. This can first be observed in Queer, where Burroughs develops his so-called routine; a short sketch-like text that often involves instances of metamorphosis or transformation. The theoretical background for this short form and the term becoming-animal is taken from Deleuze’s and Guattari’s book on Kafka, who also worked best in short texts and frequently wrote about animals. “The Composite City” may be the central text to understanding Burroughs’ work. It is the text where Burroughs found his style and his identity as a writer. Becoming-animal is a logical consequence that further develops Burroughs’ aesthetic ideal. Over the following decades, he experimented with it in different forms, and toward the end of his career, it became part of an environmental turn. In Ghost of Chance, one can find the same aesthetic ideal that starts Burroughs’ writing in 1953, but the political implications have turned toward saving the lemurs of Madagascar.
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Eaton, Heather. "Subjectivity and Suffering: Transgenic Animals, Christianity, and the need to Re-evaluate." Worldviews: Global Religions, Culture, and Ecology 14, no. 1 (2010): 26–56. http://dx.doi.org/10.1163/156853510x498041.
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AbstractThe many facets of transgenic animals are not addressed by secular or religious voices, and for many reasons; ignorance, absence of public debate, acceleration of the research, and apathy towards animals. There is a need to understand the basic parameters of transgenic animal research. Second, it is important to investigate Christian actual and potential responses, as well as grapple with the strengths and limits. Third, work in transgenic animals comes out of a deprived affective, aesthetic and ethical milieu where there is no rapport with animals as inherent subjects. With new insights from religion and animal studies, it may be possible to transform the prevailing utilitarian view of animals.
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Sushil Ghimire. "Animal Imagery in George Orwell's novel “Animal Farm”." Journal of Balkumari College 10, no. 1 (January 5, 2022): 67–72. http://dx.doi.org/10.3126/jbkc.v10i1.42105.
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The present paper is a literary stylistic study that illustrates in George Orwell's novel Animal Farm the imagery, the allegorical meaning, linguistic exploitation or manipulation of words. One of the most traditional features of the Animal Farm and an integral part of its imagery is Orwell 's sophisticated sensitivity to political abuse of language Inwardly, this novel is an allegory that relates to power struggle, usurpation, coercion, manipulation, hypocrisy, oppression, political racket and fear of the ruling classes in any shape they may exist (human or animal). It seems to be a simple tale of animals. However severe the subject is, through his vivid imagery and artful use of literary instruments, Orwell has made it imaginative and humorous. With its clear, deceptively simple, but creatively honed prose style and expressive language, the novel is a source of great aesthetic and intellectual pleasure and political insight.
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Pullen, Treva Michelle. "Whimsical Bodies and Performative Machines: Aesthetics and Affects of Robotic Art." Open Cultural Studies 1, no. 1 (January 1, 2018): 514–21. http://dx.doi.org/10.1515/culture-2017-0048.
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Abstract This article explores the ways in which robots’ behaviours are designed and curated to elicit reactions from their human counterparts. Through the work of artists such as Nam June Paik, Steve Daniels, Edward Ihnatowicz and Norman White, a survey of robotic art illustrates a particular aesthetic and behavioural language that is non-threatening, animalistic, cute, quaint and whimsical. Considering the artists’ programming of behaviours and construction of aesthetics, the use of animal behavioural modelling, and developments in social robotics, this article unpacks how meaning is inscribed onto robots and in return how affect is transmitted to human viewers. By exploring the whimsical bodies, performative machines and networked nonhumans brought forth in robotic artworks, this article draws out how aesthetic and behavioural languages of robotic art play into peoples’ emotional and affective encounters with them.
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Hadi Radhi, Shaimaa. "Aesthetic Image of the Animal Epithet in Alice Walker's Short Story "Everyday Use"." Advances in Language and Literary Studies 8, no. 5 (November 2, 2017): 120. http://dx.doi.org/10.7575/aiac.alls.v.8n.5p.120.
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In her short story Everyday Use, the African American writer Alice Walker labels her female characters Mrs. Johnson, and her two daughters: Maggie, and Dee by associating them with an animal quality. In my present paper I attempt to show the central and pivotal role played by the mechanism of 'Animal Epithet' in order to investigate to what extent does the writer apply the theory of 'Womanism' to her short fiction's protagonist and the other characters. Walker wants the reader to share her investigation journey in order to find a logical answer for the crucial questions raised in the research-paper: Why does Walker portray female characters by comparing them to animals? How does Walker manage to treat this topic aesthetically? What portrait of black woman does she prove? To answer these central questions, Walker is committed to construct her short narrative work on the base of the key elements of inversion, signifying, and quilting-like. Walker, as a womanist and animal activist is defiant and ridiculous of the mainstream agent of humanism represented by white males. She aesthetically inverts the meaning of the negative, dehumanizing image devised and everyday used by the men of ruling class into aesthetic and positive one to represent the identity of black women.
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Sherbert, Michael G. "Revising Posthumanist Aesthetics in the Ethical Treatment of Nonhuman Animals." Humanimalia 8, no. 2 (March 20, 2017): 63–86. http://dx.doi.org/10.52537/humanimalia.9631.
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Even with the increasing awareness of the importance of nonhuman animal life there remains an entrenched multitude of humanistic biases that hinder the development of the ways we see and treat nonhuman animals. This article examines Cary Wolfe’s posthumanist approach, which seeks to bring about a more inclusive nonhuman animal ethics by de-privileging the human species, and in doing so, identifies an impeding factor for the practical application of his proposal. Wolfe’s proposal for engaging a de-hierarchized sensorium requires the supplementation of a more relentless interrogation of human sight, specifically, the interrogation of the biases that come with human sight. In other words, this article identifies a humanist bias unaccounted for by Wolfe, the preference for the aesthetically pleasing, which impedes the possibility of realizing a more inclusive ethical framework towards nonhuman animals. The human aesthetic preference for beautiful, entertaining, and powerful animals does violence to animal species lacking these characteristics by excluding them from public purview, and in turn, from the support required to keep many of these species from extinction. In addition, a preliminary prescription is offered which argues for the paradoxical use of the humanist aesthetic bias against ourselves for ourselves, so as to open up humanity’s purview in hopes of a more inclusive ethics to come. In subjecting ourselves to such a manipulative attack we engage in a Derridean autoimmune process which opens humanity up to the nonhuman other by employing a posthumanist conception of care.
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Schwartz, David T. "Art History, Natural History and the Aesthetic Interpretation of Nature." Environmental Values 29, no. 5 (October 1, 2020): 537–56. http://dx.doi.org/10.3197/096327120x15868540131288.
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This paper examines Allen Carlson's influential view that knowledge from natural science offers the best (and perhaps only) framework for aesthetically appreciating nature for what it is in itself. Carlson argues that knowledge from the natural sciences can play a role analogous to the role of art-historical knowledge in our experience of art by supplying categories for properly 'calibrating' one's sensory experience and rendering more informed aesthetic judgments. Yet, while art history indeed functions this way, Carlson's formulation leaves out a second (and often more important) role played by art-historical knowledge over the last century - namely, providing the context needed for interpretations of meaning. This paper explores whether natural science can also inform our aesthetic experience of nature in this second sense. I argue that a robust sense of meaning from our aesthetic experience of nature is indeed made possible by coupling our aesthetic experience of animals with knowledge from the natural science of animal ethology. By extending the scope of Carlson's analogy to include interpretations of meaning, my argument shows that the cognitive, scientific model can accommodate a wider range of aesthetic engagement with nature than previously recognised.
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Arisi, Barbara M. "MATIS ANIMAL FEASTS: MINIMAL MIMESIS FOR SOCIAL RELATIONS WEAVING." Vibrant: Virtual Brazilian Anthropology 13, no. 2 (December 2016): 78–94. http://dx.doi.org/10.1590/1809-43412016v13n2p078.
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Abstract In this paper, I describe how the Matis animal feasts are important events for the Matis to try establishing relationships with strangers, especially with the animalumans, animals that are humans. These rituals are an important cosmo-socio-logical investment for the Matis as they are a constituent part of the Matis economy of culture. I also comment on the matis' morphological scientific observation, with its emphasis on the plant's body parts named after animal's organs. I intend to show how the predominant aesthetic in these animal parties is minimalist and mimetically subtle, especially when it concerns the animal clothes, masks and patterns the Matis produce and reproduce when en-acting animals and weaving their clothes (bracelets and anklets). I reflect on the sort of mimesis they produce as a valuable way of weavestablishing relations with the foreigners (be they animals, disembodied beings or other foreigners).
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Taylor, Chloë. "Foucault and the Ethics of Eating." Foucault Studies, no. 9 (September 1, 2010): 71. http://dx.doi.org/10.22439/fs.v0i9.3060.
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In a 1983 interview, Michel Foucault contrasts our contemporary interest in sexual identity with the ancient Greek preoccupation with diet, arguing that sex has replaced food as the privileged medium of self-constitution in the modern West. In the same interview, Foucault argues that modern liberation movements should return to the ancient model of ethics, of which diet was a prime example, as aesthetics or self-transformative practice. In this paper I take up Foucault's argument with respect to the Animal Liberation Movement and the dietetics of ethical vegetarianism. Contra Foucault, I suggest that diet has not been replaced by sexuality in the modern West, and that food choices, along with and intertwined with sexuality, continue to function as practices of self-constitution in both disciplinary and aesthetic fashions. I then consider the implications of this argument for the Animal Liberation Movement, exploring ways in which it might (and to some degree already does) take on aesthetic rather than moral strategies in order to pursue what Foucault once described as “an ethics of acts and their pleasures which would be able to take into account the pleasure of the other.”
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Wolch, Jennifer, and Marcus Owens. "Animals in Contemporary Architecture and Design." Humanimalia 8, no. 2 (March 20, 2017): 1–26. http://dx.doi.org/10.52537/humanimalia.9628.
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What are animals doing in design? How do designers see, care for, and use animals? In this paper we analyze an array of design projects featuring animals, identifying intersections between human-animal studies (HAS) and design studies, and discussing the broader social significance of the figure of the animal or animality in design. First, we review the literature at this convergence between these two fields. Next, we discuss the results of our snowball survey of animal design projects across several prominent design blogs. We consider the distribution of attention designers delegate to certain animals, the standardization of certain animal designs, and which designs circulate in the design public sphere, revealing cultural blind spots and biases of designers. Finally, this paper asks how animal design tactics highlight broader social transformations related to the mobilization of perception, behavior and desire as technical practices with functional outcomes. This paper argues that the study of design as a hybrid aesthetic and technical practice yields unique insights both into studies of technics and technology as well as human-animal relations. This paper proposes such a view helps frame both studies of design as well as human relations with nonhuman animals more broadly.
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McHugh, Susan. "Video Dog Star: William Wegman, Aesthetic Agency, and the Animal in Experimental Video Art." Society & Animals 9, no. 3 (2001): 229–51. http://dx.doi.org/10.1163/156853001753644390.
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AbstractThe canine photographs, videos, and photographic narratives of artist William Wegman frame questions of animal aesthetic agency. Over the past 30 years, Wegman's dog images shift in form and content in ways that reflect the artist's increasing anxiety over his control of the art-making process once he becomes identified, in his own words, as "the dog photographer". Wegman's dog images claim unique cultural prominence, appearing regularly in fine art museums as well as on broadcast television. But, as Wegman comes to use these images to document his own transition from dog photographer to dog breeder, these texts also reflect increasing restrictions on what I term the "pack aesthetics," or collaborative production of art and artistic agency, that distinguish some of the early pieces. Accounting for the correlations between multiple and mongrel dogs in Wegman's experimental video work and exclusively Weimaraner-breed dogs with human bodies in his recent work in large-format Polaroid photography, this article explores how Wegman's work with his "video dog star," his first Weimaraner dog Man Ray, troubles the erasure of the animal in contemporary conceptions of artistic authority.
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Nassif, Alexander D., Ricardo F. Boggio, Sheila Espicalsky, and Gladstone E. L. Faria. "High Precision Use of Botulinum Toxin Type A (BONT-A) in Aesthetics Based on Muscle Atrophy, Is Muscular Architecture Reprogramming a Possibility? A Systematic Review of Literature on Muscle Atrophy after BoNT-A Injections." Toxins 14, no. 2 (January 21, 2022): 81. http://dx.doi.org/10.3390/toxins14020081.
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Improvements in Botulinum toxin type-A (BoNT-A) aesthetic treatments have been jeopardized by the simplistic statement: “BoNT-A treats wrinkles”. BoNT-A monotherapy relating to wrinkles is, at least, questionable. The BoNT-A mechanism of action is presynaptic cholinergic nerve terminals blockage, causing paralysis and subsequent muscle atrophy. Understanding the real BoNT-A mechanism of action clarifies misconceptions that impact the way scientific productions on the subject are designed, the way aesthetics treatments are proposed, and how limited the results are when the focus is only on wrinkle softening. We designed a systematic review on BoNT-A and muscle atrophy that could enlighten new approaches for aesthetics purposes. A systematic review, targeting articles investigating BoNT-A injection and its correlation to muscle atrophy in animals or humans, filtered 30 publications released before 15 May 2020 in accordance with the Preferred Reporting Items for Systematic Reviews and Meta-Analyses (PRISMA) guidelines. Histologic analysis and histochemistry showed muscle atrophy with fibrosis, necrosis, and an increase in the number of perimysial fat cells in animal and human models; this was also confirmed by imaging studies. A significant muscle balance reduction of 18% to 60% after single or seriated BoNT-A injections were observed in 9 out of 10 animal studies. Genetic alterations related to muscle atrophy were analyzed by five studies and showed how much impact a single BoNT-A injection can cause on a molecular basis. Seriated or single BoNT-A muscle injections can cause real muscle atrophy on a short or long-term basis, in animal models and in humans. Theoretically, muscular architecture reprogramming is a possible new approach in aesthetics.
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Muradian, Gaiane. "Imagery in Action: G. Orwell’s “Animal Farm”." Armenian Folia Anglistika 12, no. 1 (15) (April 15, 2016): 17–26. http://dx.doi.org/10.46991/afa/2016.12.1.017.
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The present paper is a literary stylistic analysis that highlights the imagery, the allegorical significance, linguistic manipulation or abuse of language in the novel Animal Farm by George Orwell. Orwell’s sophisticated exposure of political abuse of language is one of the most typical characteristics of Animal Farm and an indispensable part of his imagery. Seemingly a plain story of animals, inwardly this novel is an allegory that refers to power struggle, usurpation, intimidation, exploitation, hypocrisy, corruption, political racket and terror of the ruling classes in whatever form they may appear (human or animal). However serious the theme is, Orwell has made it fictitious and amusing through his vivid imagery and artful use of literary devices. With its clear, deceptively simple, but creatively honed prose style and expressive language, the novel is a source of great aesthetic and intellectual pleasure and political insight.
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Cohn, Elisha. ""No insignificant creature": Thomas Hardy's Ethical Turn." Nineteenth-Century Literature 64, no. 4 (March 1, 2010): 494–520. http://dx.doi.org/10.1525/ncl.2010.64.4.494.
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Elisha Cohn, "'No insignificant creature': Thomas Hardy's Ethical Turn" (pp. 494––520) This essay examines the limitations of ethically motivated representations of animals in Victorian realism. As many critics have argued, evolutionary theory's challenge to human supremacy had the potential to alter radically literature's focus on individual subjectivity and social ideals. In particular, the new relevance of animals to human life threatened to deflate the human moral ideals. The treatment of animals in Victorian literature is rarely interpreted as exploring evolution's radically anti-humanist implications. More often, animals are thought to function as objects of sympathy in a larger project of constructing middle-class subjectivity. As i argue, it is important to account for the relationship between the sympathetic and the anti-humanist representation of animals in Victorian works. The changing role of animals in Thomas Hardy's works highlights the disconnect between the radical implications that critics see in evolutionist thought and the way in which animals in Victorian writings are usually construed as objects of sympathy. Tess of the D'Urbervilles (1891) places these two approaches in conversation by shifting emphasis from a destabilizing lyricism associated with human-animal affinity to a more distanced narrative stance associated with human autonomy, sympathy, responsibility, and critique. Examining how Hardy grounds his ethically motivated expectations of stable human agency after having seemingly dispensed with them suggests the need for a distinction between a lyrical, evolutionist aesthetic and an ethical aesthetic. This approach also offers insight into the enabling conditions——and limitations——shaping sympathetic agency in defense of animal lives. In examining the intersections between Hardy's work and recent approaches to theories of animality, particularly those based on Gilles Deleuze's concept of becoming-animal, Tess helps us to rethink the theory, to understand why ethical claims require boundaries between species, and on what basis these boundaries can be legitimated.
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Flint, A. P. F., and J. A. Woolliams. "Precision animal breeding." Philosophical Transactions of the Royal Society B: Biological Sciences 363, no. 1491 (July 26, 2007): 573–90. http://dx.doi.org/10.1098/rstb.2007.2171.
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We accept that we are responsible for the quality of life of animals in our care. We accept that the activities of man affect all the living things with which we share this planet. But we are slow to realize that as a result we have a duty of care for all living things. That duty extends to the breeding of animals for which we are responsible. When animals are bred by man for a purpose, the aim should be to meet certain goals: to improve the precision with which breeding outcomes can be predicted; to avoid the introduction and advance of characteristics deleterious to well-being; and to manage genetic resources and diversity between and within populations as set out in the Convention on Biological Diversity. These goals are summed up in the phrase precision animal breeding. They should apply whether animals are bred as sources of usable products or services for medical or scientific research, for aesthetic or cultural considerations, or as pets. Modern molecular and quantitative genetics and advances in reproductive physiology provide the tools with which these goals can be met.
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Davies, Gail. "Searching for GloFish®: Aesthetics, Ethics, and Encounters with the Neon Baroque." Environment and Planning A: Economy and Space 46, no. 11 (January 1, 2014): 2604–21. http://dx.doi.org/10.1068/a46271.
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Fluorescent zebrafish are the first genetically modified animals globally, if unevenly, circulated outside of laboratory environments. GloFish® were developed in Singapore. They are widely sold as popular pets in the United States, but their public sale is banned in Europe and elsewhere. On the trail of these animals, I trace a fragmentary biogeography through ethnographic encounters in the spaces of scientific research, animal exhibits, pet stores, and art galleries, in Europe, the USA, and Singapore. At each site, as the colour, light, and intensities of neon flicker with the potential for life, and concern for animal lives move in and out of focus, I ask: what is the proper way of knowing and living with genetically altered zebrafish? To ask the question is to open up a conversation about the changing constitution of science and space, representation, and reproduction in relation to these new forms of life. To try to answer it demands attention to a baroque patterning of scientific practices, aesthetic sensibilities, ethical responsibilities, and political spatialities. In a discursive arena typically characterised by narratives of linearity—whether of scientific progress or slippery slopes—I suggest the affective sensibilities, theatrical qualities, and unresolved elements of the baroque offer powerful, if ambivalent, resources for reflection on the intersection between the animating aesthetics and turbulent ethics of postgenomic life.
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Quinn, Emelia. "Vegan attendance: reading Gibbons’s animals." Sculpture Journal: Volume 29, Issue 3 29, no. 3 (December 1, 2020): 379–94. http://dx.doi.org/10.3828/sj.2020.29.3.8.
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When we encounter the work of Grinling Gibbons, we find ourselves in the presence of multiple non-human animals. However, it is unclear how one should address these presences. On the one hand, for ecofeminist scholars such as Josephine Donovan, the aestheticization of animal death is to be vehemently resisted and the embodied presence of animals recovered by looking beyond the surface: a mode of looking that Donovan terms ‘attentive love’. On the other hand, a re-reading of the philosophical ideas of Simone Weil, upon which Donovan premises her argument, suggests that attention to others requires a mode of radical detachment. These two positions speak in important ways to the dilemmas faced by a vegan spectator. Drawing on Jason Edwards’s previous work on ‘the vegan viewer’, this article seeks to reconcile a vegan resistance to Gibbons’s depictions of animal death, in their spontaneous falling under human dominion, with the aesthetic pleasure generated by Gibbons’s craftmanship. I therefore propose ‘vegan camp’ as a means of reconciling oneself to insufficiency and complicity in systems of violence without renouncing pleasure. Vegan camp is detailed as an aesthetics that acknowledges the violence of humanity and one’s inescapable place within it, dissolving the subjective idea of the beautiful vegan soul to pay attention to the pervasive presence of an anthropocentrism that, in the case of Gibbons, decoratively adorns the sites at which animals might be eaten, worn, or offered up for sacrifice.
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Howard-Smith, Stephanie. "Little Puggies: Consuming Cuteness and Deforming Motherhood in Susan Ferrier’s Marriage." Eighteenth-Century Fiction 34, no. 3 (March 1, 2022): 307–32. http://dx.doi.org/10.3138/ecf.34.3.307.
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Frequently represented as substitutes for children by eighteenth-century satirists and moralists, lapdogs stood accused of distracting their mistresses from maternal obligations. These women supposedly projected the feelings and desires of children onto their canine companions. In Susan Ferrier’s Marriage (1818), the target of this animal-commodity fetishism is the pug dog. Why was this particular lapdog so well-suited to the attentions of consumers and critics, and what might “ugly” animals beloved by people tell us about human tastes? Reading contemporary aesthetic theory alongside eighteenth-century literary and material culture reveals that the quality identified today as “cuteness” was considered a factor in women’s affection for certain pets. Just as aesthetic theorists find freakishness to be concomitant to cuteness, so too did critics of these dogs discuss the pug’s “deformity.” Current debates about the moral worth of cuteness likewise have eighteenth-century analogues. In Marriage, Juliana Douglas’s interactions with her companion animals and their ceramic simulacra reveal the threat posed by the cute and its ability to collapse distinctions between objects, animals, and people.
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Tiège, Alexis De, Jan Verpooten, and Johan Braeckman. "From Animal Signals to Art: Manipulative Animal Signaling and the Evolutionary Foundations of Aesthetic Behavior and Art Production." Quarterly Review of Biology 96, no. 1 (March 1, 2021): 1–27. http://dx.doi.org/10.1086/713210.
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Varga, Donna. "Babes in the Woods: Wilderness Aesthetics in Children's Stories and Toys, 1830-1915." Society & Animals 17, no. 3 (2009): 187–205. http://dx.doi.org/10.1163/156853009x445370.
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AbstractRepresentations of nonhuman wild animals in children's stories and toys underwent dramatic transformation over the years 1830-1915. During the earlier part of that period, wild animals were presented to children as being savage and dangerous, and that it was necessary for them to be killed or brutally constrained. In the 1890s, an animalcentric discourse emerged in Nature writing, along with an animal-human symbiosis in scientific child study that highlighted childhood innocence, resulting in a valuing of wild animals based upon their similarity to humans. This article will describe the aesthetic devices of children's stories and play materials in relation to the dominant, emerging, and residual ideas about the wild communicated by adults to children through these means.
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Sabuncuoglu, N., and O. Coban. "Attitudes of Turkish veterinarians towards animal welfare." Animal Welfare 17, no. 1 (February 2008): 27–33. http://dx.doi.org/10.1017/s096272860003195x.
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AbstractA survey was carried out to examine the attitudes of Turkish veterinarians towards animal welfare issues. The email questionnaire consisted of three sections of statements with a five-point Likert scale for choices of answer. The first section included statements examining the attitudes of Turkish veterinarians to animal welfare issues relating to European Union (EU) Legislation (93/119/EC, 95/29/EC, 2002/4EC and Council Regulation 1/2005). In the second, statements were designed to ascertain veterinarian attitudes towards the recently-passed Animal Protection Law, TR-5199. The statements in the last section were designed to assess the respondents' personal beliefs on a variety of welfare topics. The survey was sent to 615 veterinarians and the response rate was 40.2%. Turkish veterinarians expressed considerable support for the implications of animal welfare with the exception of statements regarding ‘stunning of ruminants pre-slaughter’, ‘phasing out of battery cages for poultry’ and ‘not operating on animals for aesthetic purposes’. In addition, they did not agree with the statements related to ‘ethological needs of farm animals’ and ‘effectiveness of EU laws and legislation in Turkey’. Females had higher mean values than males. The results of the survey indicated that significant concern for animal welfare issues is seen in the Turkish veterinarian population. Although the process of becoming a fully-integrated member of the EU will not occur rapidly, the influence of veterinarians could potentially enhance animal welfare in Turkey.
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Brandstetter, Gabriele. "Dancing the Animal to Open the Human: For a New Poetics of Locomotion." Dance Research Journal 42, no. 1 (2010): 3–11. http://dx.doi.org/10.1017/s0149767700000796.
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Animals have provided a theme and a model for movements in dance from time immemorial. But what image of man do danced animal portrayals reflect? What questions of human identity and crisis do they reveal? Do the bodies of animals provide symbolic material for the ethical, political, and aesthetic questions raised by man's mastery of nature?The exploration of the boundary between man and animal—in myths and sagas, in the earliest records of ritual and art, and in the history of knowledge—is part of the great nature-versus-nurture debate. In the Bible the relationship is clear: Adam, made in the image of God, gives the animals in Paradise their names. In this way he rules over them—but Thomas Aquinas's commentary on this biblical text makes clear that the act of naming animals in Paradise is a step toward man's experiential self-discovery. Since then the hierarchy seems to be beyond doubt.Homo sapien, as theanimal significans, is distinguished from other animals by his ability to speak, his upright gait, the use of his hands, and the capacity to use instruments and media—man as what Sigmund Freud called the “prosthetic god” (1966, 44).
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Chepeleva, Natalia Yu. "Schopenhauer’s Contribution to the Animal Welfare Movement." Ethical Thought 22, no. 2 (2022): 74–85. http://dx.doi.org/10.21146/2074-4870-2022-22-2-74-85.
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The article analyzes the contribution made by Schopenhauer to the development of the movement for the protection of animals. The author reconstructs some details of Schopenhauer’s interaction with the founder of the first German societies for the protection of animals Ignaz Perner. The article discusses the criticism of the Cartesian worldview and Christian morality proposed by Schopenhauer, with which Schopenhauer associates the lawlessness of animals that was relevant for his era. The article critically reconstructs some of Schopenhauer’s judgments regarding the reflection of the status of animals in language, in the Bible, and in legislation. The author compares the status of animals in Schopenhauer’s philosophy and in classical German philosophy on the example of Kant and Hegel. The article discusses the criticism of Kant presented by Schopenhauer for “idolatry of reason”, on the basis of which Kant, following Descartes and Christian morality, continues to be in error regarding the existence of an ontological gap between man and animals. The article gives a detailed reconstruction of Schopenhauer’s doctrine of animals, including the idea of the animal kingdom as one of the stages of objectification of will, the interpretation of the aesthetic image of animals and the creative drives of the animals themselves, and the justification for the need for compassionate behavior towards animals. The article criticizes the widespread perception of Schopenhauer as a vegetarian, and provides Schopenhauer’s own arguments about the necessity of eating meat. The article discusses Schopenhauer’s doctrine of animals in the context of modern animal and vegan studies. The article concludes that Schopenhauer was the first European philosopher to offer a popular theoretical justification for the need for an ethical attitude towards animals, which formed the basis of the animal welfare movement in Germany.
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Schwärzler, Monika. "‘Cheese’ and Don’t Move! Tame Animals and Contrived Poses: Rob Macinnis’s Animal Group Portraits." Instinct, Vol. 4, no. 1 (2019): 54–58. http://dx.doi.org/10.47659/m6.054.rev.
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Macinnis’ photographs of various groups of animals are so striking because all the animals assembled in front of the camera seem to be most willing to accept the camera’s gaze and the power relation implied. Animals are usually hard to photograph, because they are not particularly collaborative, unpredictable in their movements, and tend to flee the frame. Macinnis’ protagonists pose and look straight into the camera. They appear tame, pacified, ‘civil’, patiently awaiting their pictorial equivalent. As in all well-managed and representative group photos, there are no obvious signs of disorder or potential subversion. Macinnis’ patchwork families look friendly and demonstrate unity and a sense of aesthetic order. Macinnis’ photos allow for a reflection on group photographs and their specific arrangements. At the same time, they make one painfully aware of the disciplinary nature of the photographic act. Posing and freezing in front of the camera is a cultural practice that had to be trained and appropriated. Narratives from the beginnings of photography prove that. By looking at Macinnis’ fully disciplined animal models, one realizes how much of our own unruliness we had to give up to fit into the photographic system. Keywords: animal group portraits, anti-photographs, composite images, discipline
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Jahani, Ali. "Forest landscape aesthetic quality model (FLAQM): A comparative study on landscape modelling using regression analysis and artificial neural networks." Journal of Forest Science 65, No. 2 (March 5, 2019): 61–69. http://dx.doi.org/10.17221/86/2018-jfs.
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Today, the landscape aesthetic quality assessment is more technical and quantitative in environmental management. We aimed at developing artificial neural network (ANN) modelling and multiple regression (MLR) analysis approaches to predict the perceptional aesthetic quality of forest landscapes. The methodology, followed in this paper, can be divided into six distinct parts: (i) selection of representative study sites, (ii) mapping of landscape units, (iii) quantification of naturalness indicators, (iv) visibility analysis, (v) assessment of human perceptions, (vi) ANN and MLR modelling and sensitivity analysis. The results of ANN modelling, especially its high accuracy (R<sup>2</sup> = 0.871) in comparison with MLR results (R<sup>2</sup> = 0.782), introduced the forest landscape aesthetic quality model (FLAQM) as a comparative model for an assessment of forest landscape aesthetic quality. According to sensitivity analysis, the values of livestock density, tree harvesting, virgin forest, animal grazing, and tree richness were identified as the most significant variables which influence FLAQM. FLAQM can be used to compare the classes of aesthetic quality of forests.
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Haas, Mirjam, and Leonie Kirchhoff. "Genre Maketh Dog?" Volume 60 · 2019 60, no. 1 (November 14, 2019): 277–98. http://dx.doi.org/10.3790/ljb.60.1.277.
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In The New Biography, Virginia Woolf notes that there is a paradox inherent to the genre of biography, i. e. that of »truth« and »personality«. »[P]ersonality«, she argues further, can only be truly conveyed through aesthetic selection and manipulation of the facts of a life, through fiction. Animal biography challenges both of these categories: what is a true dog character and how close can an author come to a life-like depiction of it? Virginia Woolf’s Flush: A Biography (1933) as well as the earliest English example of animal biography, Francis Coventry’s The History of Pompey the Little or The Life and Adventures of a Lap Dog (1751), are, in their own way, concerned with this issue. Influenced by their generic predecessors, the texts explore the narratological possibilities which an animal biography can offer, from satirical purposes to aesthetic objectives, from mere functionalisation to sentient animals. Woolf is essentially affected by contemporary discussions of biography and the challenges imposed by creating a dog »personality«. This is fundamental for the depiction of Flush as having an individual (anthropomorphised) character, rather than being depicted as a mere, and changeable type. Pompey the Little, in contrast, serves as a mostly silent and apparently objective observer of society, who, by watching and imitating his masters’ manners, offers eighteenth-century society a ruthlessly unembellished look into the mirror. Consequently, his animal character is, for satirical purposes, reduced to a mere type rather than a complex, not to mention »truth[ful]«, depiction of a nonhuman character. In this paper, we argue that genre expectations interact with two further aspects, i.e. literary history and historical as well as philosophical developments, and all three decisively influence how the two texts understand and relate human as well as non-human experience.
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Zeplin, Philip H., Inesa Sukhova, Alexander Kranz, Tim Nürnberger, Silvia Mihalceanu, Christian Beescho, Kristin Schacht, et al. "Recombinant Silk Hydrogel as a Novel Dermal Filler Component: Preclinical Safety and Efficacy Studies of a New Class of Tissue Fillers." Aesthetic Surgery Journal 40, no. 9 (February 28, 2020): NP511—NP518. http://dx.doi.org/10.1093/asj/sjaa059.
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Abstract Background Hyaluronic acid-based tissue fillers are commonly utilized in reconstructive surgery as well as for aesthetic augmentation. A new type of recombinant silk-based tissue filler might pose a beneficial alternative for surgeons and patients. Objectives The aim of this study was to compare injectability, reshaping, tolerability, and postimplantation behavior of dermal filler preparations containing recombinant silk hydrogel with a commercially available hyaluronic acid filler in 2 different animal models. Methods Recombinant silk hydrogel as standalone preparation or as a mixture with commercial stabilized hyaluronic acid was tested in rodent and porcine animal models. The preparations were analyzed in detail and administered subdermally followed by clinical, volumetric, and histological monitoring of the subdermal depots over several months. Results Applicability, dosing, and tissue distribution of the filler preparations were facilitated in the presence of silk hydrogel. No clinical complications attributable to tissue filler application were recorded. State-of-the art methods, such as high-performance magnetic resonance imaging, were applied successfully to monitor the volumetric development of the filler depots in live animals. Conclusions The preclinical data demonstrate the basic suitability of recombinant silk hydrogel as safe and convenient tissue filler ingredient. Due to its shear thinning properties, recombinant silk hydrogel has the potential for less painful application, comfortable aesthetic reshaping immediately after administration, and negligible postoperative discomfort.
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Colin Gardner. "Towards an Ethico-Aesthetic Paradigm: Animal Politics, Metamodelization, and the Pragmatics of Mutual Inclusion." Criticism 59, no. 1 (2017): 165. http://dx.doi.org/10.13110/criticism.59.1.0165.
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Cohn, Elisha. "Dickens's Talking Dogs: Allegories of Animal Voice in the Victorian Novel." Victorian Literature and Culture 47, no. 3 (2019): 541–74. http://dx.doi.org/10.1017/s1060150319000135.
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How does the category of the “animal” contribute to the Victorian novel? In the 1840s and 1850s, magazines offered endless short tales of “animal sagacity” that most commonly featured dogs, demonstrating the virtues of the species. An 1858 article in Household Words, “Old Dog Tray,” observes, “Alas! not a day will pass but we can descry human qualities in the brute, and brute qualities in the human being; and, alas again, how often we find a balance of love, fidelity, truth, generosity, on the side of the brute!” In the 1850s and 1860s, the analogies between human and animal behavior upon which these tales depended became a resource to the growing fields of comparative ethology and evolutionary theory—Frances Power Cobbe would suggest in 1877 that dogs had “reflex morality.” Meanwhile, novels from this period increasingly raised questions of the scientific, political, and aesthetic value of claims of resemblance among species. For Charles Dickens, whose work offered a capacious image of the London population, the question of who belongs in a family, a community, or a nation persistently turned to the status of animals. In his work, animal figures mark meditations on the conditions and limits of social inclusion.
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Shatz, Marilyn. "Language as a consequence and an enabler of the exercise of higher-order relational capabilities: Evidence from toddlers." Behavioral and Brain Sciences 31, no. 2 (April 2008): 145–46. http://dx.doi.org/10.1017/s0140525x08003713.
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AbstractData on toddler language acquisition and use support the idea of a cognitive “supermodule” that can resolve contradictory claims about human-animal similarities. Examples of imagination, aesthetic evaluation, theory of mind (ToM), and language learning reveal higher-order, relational, abstract capabilities early on. Although language itself may be a consequence of exercising this supermodule, it enables further cognitive operations on indirect experience to go far beyond animal accomplishments.
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Bopp-Filimonov, Valeska. "Saddening Encounters. Children and Animals in Romanian Fiction and Beyond." Studia Universitatis Babeș-Bolyai Philologia 67, no. 2 (June 30, 2022): 13–34. http://dx.doi.org/10.24193/subbphilo.2022.2.01.
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"The aim of this essay is to give some impetus to a re-reading of classic Romanian literature by taking an approach inspired by Animal and Childhood Studies to larger questions of ideological currents and social cultural phenomena in the Romanian society. I chose four short texts by Ioan Alexandru Brătescu-Voinești, Elena Farago, and Ion Barbu that originate from the beginning of the 20th century and are currently considered as part of the Romanian literary canon. They are, at least partially, addressed to children and they all contain violent human-animal encounters. The fact that this element of violence has not prevented the texts from becoming and continuing to be canonical adds a new dimension to Animal Studies scholarship, which has so far mainly mirrored the increasingly “civilised” human-animal relation in countries with an early developing bourgeois social strata where animals became pets and thus friends and family members. The study also challenges the existing interpretations of Romanian literature: instead of applying aesthetic criteria, a thematic thread is followed with reflections on the social relevance of the recurring topos which seems to store a more deeply anchored cultural experience. A closer look at both the “disempowered and oppressed positions” (Feuerstein) that children and animals occupy in both literary texts and real-life society poses the practical question of how greater harmony can be created in the future. Keywords: animal studies, childhood studies, human-animal encounters, violence, Romanian literature, Barbu, Brătescu-Voinești, Farago "
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Lambert, Shannon. "Experimental Bodies: Animals, Science, and Collectivity in Contemporary Short-Form Fiction." Studia Universitatis Babeș-Bolyai Philologia 67, no. 2 (June 30, 2022): 89–111. http://dx.doi.org/10.24193/subbphilo.2022.2.05.
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"In the relatively short time since its establishment as an area of research, literary animal studies has become a burgeoning field covering a significant amount of intellectual terrain: traversing, for example, thousands of years of history and an array of human-animal encounters like pet ownership and breeding, hunting, farming, and biotechnology. However, few scholars have focused their attention on “experimental animals”—that is, animals used in experiments within and beyond laboratories—and fewer still have investigated the aesthetic and ethical challenges of representing these animals (and literary animals more generally) as collectives. This article uses the polysemy of “the experimental” to think together innovative literary forms and descriptions of scientific research and experimentation. In particular, it considers some of the tensions that arise in literary experiments that feature representations of animal collectives in science. In place of an in-depth study of a single text, I draw on Natalia Cecire’s vocabulary (2019) of the “flash” to explore how Tania Hershman’s short story “Grounded: God Glows” (2017), Karen Joy Fowler’s “Us” (2013), and an excerpt from Thalia Field’s Bird Lovers, Backyard (2010) constitute an ecology of experimental texts which, when considered alongside one another, highlight patterns of animal multiplicity and movement. Foregrounding literary strategies like fragmentation, we-narrative, and synecdoche and juxtaposition, I argue that snapshots of animal collectives in Hershman, Fowler, and Field accumulate into a shimmering and hybrid multitude of bodies resistant to uncritical forms of literary anthropomorphism and impersonal scientific practices that frequently transform such bodies into readable and interpretable “data.” Keywords: laboratory animals, experimentation, flash, form, fragmentation, we-narrative, synecdoche, juxtaposition "
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Smith, Alexis D. "Commentary: Colonialist Values in Animal Crossing and Their Implications for Conservation." Highlights of Sustainability 1, no. 3 (July 8, 2022): 129–33. http://dx.doi.org/10.54175/hsustain1030010.
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In the Nintendo game Animal Crossing: New Horizons, players move to an uninhabited island and quickly become instrumental to the naming, aesthetic development, and biodiversity of the island. In some ways, the game can foster a love for and curiosity about nature. In other ways, the game reinforces harmful colonialist values and attitudes that are ultimately an obstacle to conservation in the real world. Here I critique the game values relevant to conservation, both the values that benefit and the values that hinder conservation. I discuss possibilities for a future version of the game that reinforces values better aligned with conservation.
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Maftyn, N. V. "“I WAS SUPPORTED BY MY FAITH…”: VASYL’ KARKHUT’S FEAT IN LIFE AND CREATIVE WORK." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 2(54) (January 22, 2019): 121–29. http://dx.doi.org/10.31471/2304-7402-2019-2(54)-121-129.
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The article is dedicated to the analysis of wholeness of “life creating” and “text creating” of Vasyl’ Karkhut’s figure: a fighter for Ukraine’s independence, a talented writer on animals, doctor and phytotherapist. The article examines the factors influencing the formation of V. Karkhut’s worldview, his artistic abilities. In addition, it analyses the influence of Jack London’s and Dontsov’s aesthetic conception of “will neo-romanticism” on the formation of the psychological narrative of animal stories and novellas by the writer. It analyses the thematic, genre and style compass of the collection “Tsupke zhyttia”, an innovative search in the realm of architectonics of the genre of the novella.
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Williams, Nicholas M. "Blake Dead or Alive." Nineteenth-Century Literature 63, no. 4 (March 1, 2009): 486–98. http://dx.doi.org/10.1525/ncl.2009.63.4.486.
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William Blake's interests in the living body and its aesthetic analogue, "Living Form," underlie his attempt at representing motion, a hallmark of animal life since at least the time of Aristotle's De Anima. In scenes such as Albion's climactic rise and subsequent falling back in Milton, motion emerges as a representational problem, however, in large part due to the unsatisfying dominance of a Newtonian mechanical account of motion. Phenomenological accounts of both self-motion and motion in the object world, such as Maurice Merleau-Ponty's, can nevertheless suggest how Blake points to the problem of perceiving motion, even if it finally resists full representation.
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Keskin, Suphi, and Burcu Baykan. "Becoming-Animal in the Narrative and the Form of Reha Erdem’s Kosmos." CINEJ Cinema Journal 8, no. 1 (March 11, 2020): 249–85. http://dx.doi.org/10.5195/cinej.2020.275.
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This article performs a narrative and aesthetic analysis of Reha Erdem’s movie, Kosmos (2009), through an engagement with Gilles Deleuze and Félix Guattari’s philosophical concept of becoming-animal. Erdem narrativizes the story of an odd traveller dervish named Kosmos, who has supernatural abilities and an expanded capability of communication—one that displays liminal features between human and animal. Through his distinctive editing technique, particularly by juxtaposing human and animal faces, the director further deconstructs the conceptual boundaries between humanity and animality, revealing the inherent connectedness of the two. Hence, this article discloses the consistency between the narrative and the form of Kosmos through a close reading based upon the notion of becoming-animal and its conceptual constituents.
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Steinmann, Michael. "The Aesthetics of the Posthuman Human: Reflections Following Nietzsche’s Thus Spoke Zarathustra." Journal of Posthumanism 2, no. 1 (February 28, 2022): 79–85. http://dx.doi.org/10.33182/joph.v2i1.1869.
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Posthuman aesthetics leads to a decentering of the human and shows aspects of existence that are no longer contained in the categories and dichotomies that define the essence of the human being. But because all aesthetic involves human experience, a posthuman conception also needs to develop its own idea of the human being. The essay shows that the posthuman human can emerge along the lines of three categorical distinctions to the traditional idea of the human. It can emerge in the animal, which is similar to, but also fundamentally different from the human being; in the angelic which transcends the ordinary human in a powerful and joyful way; and in the demonic which overcomes human experience in a transgressive and potentially terrifying way. The essay follows Nietzsche’s Thus Spoke Zarathustra in which these dimensions of existence are described as a new, alien and ecstatic way of being human.
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Horrocks, Roger. "The dance of the hand: Len Lye’s direct films." Animation Practice, Process & Production 8, no. 1 (December 1, 2019): 33–45. http://dx.doi.org/10.1386/ap3_00003_1.
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Len Lye’s animation has a special relationship with physical materials and the body because of the ways he drew and scratched his images directly onto film. This article considers what is unusual about his aesthetic, with its emphasis on kinaesthetic styles of viewing and on ‘physical empathy’. Tracking Lye’s film work from the 1930s through the 1950s, it draws connections with the body-oriented aspects of abstract expressionist art. It also relates the films to Maurice Merleau-Ponty’s ‘embodied’ approach to phenomenology. Today Lye’s films need to be digitized, and that transfer raises interesting questions about the differences between analogue and digital aesthetics. What happens when his films move from the ‘black box’ of the cinema to the ‘white cube’ of the gallery or museum where they are digitally presented? The article also considers Lye’s kinetic sculpture as another body-oriented form of animation, in which the motor replaces the projector. His sculpture again raises questions about mixing the analogue with the digital.
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Zhang, Yan, and Xinyu Hu. "On the Visual Symbols of Dian Bronze Animal Decoration." Learning & Education 10, no. 5 (March 13, 2022): 125. http://dx.doi.org/10.18282/l-e.v10i5.2700.
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Among the animal patterns on the bronzes of the Dian Kingdom, the cow and the snake are the most common and
representative visual symbols. They have strong visual tension, expressiveness and artistic appeal, showing the unique artistic
aesthetics and ideas of the ancients of Dian Kingdom, and They all have specific meanings and contexts. This article mainly
explores the decorative symbols of animal decorations in Yunnan bronzes, and uses “ox” and “snakes” as the main objects to
analyze semantics and context.Methods:This article first elaborates on the types and decorations of ancient Dian bronzes, and then
elaborates on the characteristics and symbolic meanings of cow and snake patterns by listing some representative Dian bronzes;
finally, it is in-depth with the semantics and context of visual symbols. Analysis. Result:The types of animal images on the bronze
ware of Yunnan culture are rich and diverse, and each animal has different shapes and forms, and has its own symbolic meaning and
function. This also reveals the relationship between man and nature from the side, reflecting the ancient people of Yunnan’s sacrifices
and sacrifices. The social and economic conditions such as hunting and breeding record the trivial life of the ancients. The animal
decoration art of the Dian Kingdom has a very strong ethnic customs and regional characteristics. It depicts the intense scenes of
animal daily life and fighting in detail. The animal’s shape, demeanor and own characteristics are all vividly shaped, with a strong
artistic atmosphere and visual tension. To a large extent reflects the aesthetic concept and ideological pursuit of the ancients of Dian
Kingdom. Conclusion:The two visual symbols of the cow pattern and the snake pattern are the records of the people of the ancient
Dian kingdom on nature and life, and they also carry the ancient people’s feelings for nature. They reflect the religious beliefs and
ideas of the ancient Dian civilization and have local characteristics and customs. , It is the spiritual sustenance of the ancient Dian
people to seek advantages and avoid disadvantages.
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Lamb, David. "Animals, Ethics and Aesthetics." Journal of Applied Animal Ethics Research 1, no. 1 (March 25, 2019): 66–87. http://dx.doi.org/10.1163/25889567-12340006.
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Abstract Mainstream theories which argue for enhanced ethical status of animals with appeals to sentience or intelligence have depicted aesthetics in a negative sense. This paper supports a different outlook. We explore reasons why aesthetic appreciation of animals is portrayed as subjective and sentimental, concerned only with superficial and external features. Aesthetic qualities, as understood here, are not intended as criteria for admission to a moral community or as a guide for veterinary professionals when prioritizing therapy. The case for measuring the extent of an animal’s beauty or attractiveness in order to establish its entitlement to moral status or rights is a non-starter. Nevertheless, aesthetic traditions, we argue, play a significant role in our moral response to animals and objectives to protect them. As a corrective to misunderstandings regarding the status of aesthetics in deliberation about moral obligations to animals a case for the integration of ethics and aesthetics is developed.
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Neves, João, Jean-Christophe Giger, Vasco Alves, and Joana Almeida. "The Social Representations of Zoo Goers toward Crocodiles and Turtles: Structural Analysis and Implications for Conservation." Social Sciences 11, no. 12 (December 5, 2022): 571. http://dx.doi.org/10.3390/socsci11120571.
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Zoos have changed dramatically over the last century and today attract millions of people worldwide, being places where visitors can closely watch wildlife and learn about the species on display. Although present at most zoos, reptiles are challenging animals in terms of visitor interest and engagement, as some species do not fit aesthetic standards from the human standpoint, have culturally negative perceptions or generate aversive emotions. By studying zoo visitors’ social representations of crocodiles and turtles, we aimed to detail their structures, as well as identifying their prototypical elements that help to understand their emotional and cognitive framing. The findings show the crocodile’s prototypical image as a big, fearsome predator with teeth as its main physical attribute. Male visitors showed a more emotional perception of this animal. The turtle’s prototypical image is a slow, hard-shelled ancestral sea animal with a neutral-to-positive set of traits, with no particular differences between genders. Our results shed a more detailed light on some of the social constructs that make up the mental images of these animals, which can help the zoological community direct communication toward a more fluent conversation between stakeholders toward conservation.
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Zhang, Yueyang. "The Influence of Defamiliarization on Literary Works — A Case Study of George Orwell's Animal Farm." Journal of Higher Education Research 3, no. 3 (July 2, 2022): 261. http://dx.doi.org/10.32629/jher.v3i3.872.
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George Orwell is a master of the application of defamiliarization techniques. His work 1984 is regarded as a model of the application of defamiliarization technique. The author takes his another work, Animal Farm, as an example to explore the realization and effects of defamiliarization on literary works. This article according to the concept of defamiliarization put forward by Viktor Shklovsky, classifies the use of defamiliarization in Animal Farm. Combined with examples from Animal Farm to analyze the effect and influence of using defamiliarization, the essay aims at showing defamiliarization can be applied to the subject, narrative perspective, characters, language and almost every aspect of the work to provide creative aesthetic art for people.