This article, drawing on selected feminist magazines of the 1980s, particularly Feminist Arts News (FAN) and GEN, offers a textual ‘braiding’ of narratives to re-present a history of Black British feminism. I attempt to chart a history of Black British feminist inheritance while proposing the politics of (other)mothering as a politics of potential, pluralistic and democratic community building, where Black thought and everyday living carry a primary and participant role. The personal—mothering our children—is the political, affording a nurturing of alterity (...) through a politics of care that is fundamentally antiracist and antisexist. I attempt to show how Black feminist thought can significantly contribute to democracy in the present and how Black British history and thought, as fundamentally antiracist and anticolonial, can generate a reinvention much needed in the present of a shared British history. I argue for feminist intervention premised upon a politics of care, addressing through activist mothering the urgency of Black absence from prestigious institutions. Such debilitating absence in Britain inhibits the development of scholarship, distorts feminist history and seriously concerns potential Black feminists. From diverse texts, I develop a genealogical narrative supplemented through memory work. This ‘gathering and re-using’ privileges Black women's theorising as a crucial component of the methodological metissage, which includes auto-theorising to develop ideas of resemblance in relation to Black British feminism and feminist kinship. The resultant ‘braiding’, I suggest after Lionnet, questions the absence of intersubjective spaces for reflection on Black British feminist praxis, indicating a direction for British feminists of all complexions. Attentive to the 1980s as historical context while invoking the maternal, I consider what is required to engage generationally, counterwrite the academy and pursue a dynamic process of transformation within a transnational feminism that challenges Black British absence from academic knowledge production, while nurturing its presence. (shrink)

We humans are a curious species. Of all the life forms that inhabit the earth, we alone strive to make sense of the world in which we find ourselves. For thousands of years we understood the world through stories. Our ancestors told stories of how the world began, how our people originated and came to be at this place, and how those people across the river or beyond the mountains came to be where they are. Some stories were of (...) class='Hi'>animals and plants in our neighborhood, and their powers to help us, feed us, or cure our ailments. But in the last few centuries, starting in Europe and spreading throughout the world, a new way of understanding began competing with storytelling as a means of comprehending our world. Science supplanted storytelling largely because it empowered us to transform the world in ways that were unimaginable to our ancestors. We understand the world scientifically by describing the world instead of by telling stories about it. The stories our ancestors told no longer explain the world, but are data within the world, part of the world that science describes. Our stories have become myths, cultural artifacts that may be interesting and a subject of study, but cannot possibly be true. Yet even in societies that have thoroughly embraced science as a means of understanding the world, myths remain a powerful force. Myth and science exist side by side, often creating confusion and conflict. (shrink)

The systematic examination of the visual depiction of nonhuman animals by humans, and the representation of nonhuman animal imagery is an opportunity to observe varying degrees of anthropocentrism in the manner in which the nonhuman animal is represented. The investigation we present ventures beyond the traditional scope of post-modern human alterity and suggests that an Otherness status should be extended to encompass both the human animal and the nonhuman animal. An important motivation for seriously considering nonhuman animal experience is (...) the biological similarities shared by human animals and nonhuman animals. Many perspectives toward the nonhuman animal have ignored such similarities, and this in turn results in the infliction of much trauma and injustice on nonhuman animals. We argue that the visual representation of nonhuman animals has the potential, to a substantial degree, to affect the general human understanding of and interactions with all nonhuman animals, and with positive, neutral, and negative implications for all involved. In other words, it really matters how we represent animals. (shrink)

_A Communion of Subjects_ is the first comparative and interdisciplinary study of the conceptualization of animals in world religions. Scholars from a wide range of disciplines, including Thomas Berry (cultural history), Wendy Doniger (study of myth), Elizabeth Lawrence (veterinary medicine, ritual studies), Marc Bekoff (cognitive ethology), Marc Hauser (behavioral science), Steven Wise (animals and law), Peter Singer (animals and ethics), and Jane Goodall (primatology) consider how major religious traditions have incorporated animals into their belief systems, myths, (...) rituals, and art. Their findings offer profound insights into humans' relationships with animals and a deeper understanding of the social and ecological web in which we all live. Contributors examine Judaism, Christianity, Islam, Hinduism, Buddhism, Jainism, Daoism, Confucianism, African religions, traditions from ancient Egypt and early China, and Native American, indigenous Tibetan, and Australian Aboriginal traditions, among others. They explore issues such as animal consciousness, suffering, sacrifice, and stewardship in innovative methodological ways. They also address contemporary challenges relating to law, biotechnology, social justice, and the environment. By grappling with the nature and ideological features of various religious views, the contributors cast religious teachings and practices in a new light. They reveal how we either intentionally or inadvertently marginalize "others," whether they are human or otherwise, reflecting on the ways in which we assign value to living beings. Though it is an ancient concern, the topic of "Religion and Animals" has yet to be systematically studied by modern scholars. This groundbreaking collection takes the first steps toward a meaningful analysis. (shrink)

Figuring Animals is a collection of fifteen essays concerning the representation of animals in literature, the visual arts, philosophy, and cultural practice. At the turn of the new century, it is helpful to reconsider our inherited understandings of the species, some of which are still useful to us. It is also important to look ahead to new understandings and new dialogue, which may contribute to the survival of us all. The contributors to this volume participate in this dialogue (...) in a variety of ways--through personal experience, natural history, cultural studies, philosophical inquiry, art history, literary analysis, film studies, and theoretical imagining, and through a combination of these trains of thought. The essays expose weaknesses in western epistemological frames of reference that for centuries have limited our views and, thus, our experiences of animal being, including our own. (shrink)

_A Communion of Subjects_ is the first comparative and interdisciplinary study of the conceptualization of animals in world religions. Scholars from a wide range of disciplines, including Thomas Berry, Wendy Doniger, Elizabeth Lawrence, Marc Bekoff, Marc Hauser, Steven Wise, Peter Singer, and Jane Goodall consider how major religious traditions have incorporated animals into their belief systems, myths, rituals, and art. Their findings offer profound insights into humans' relationships with animals and a deeper understanding of the social and (...) ecological web in which we all live. Contributors examine Judaism, Christianity, Islam, Hinduism, Buddhism, Jainism, Daoism, Confucianism, African religions, traditions from ancient Egypt and early China, and Native American, indigenous Tibetan, and Australian Aboriginal traditions, among others. They explore issues such as animal consciousness, suffering, sacrifice, and stewardship in innovative methodological ways. They also address contemporary challenges relating to law, biotechnology, social justice, and the environment. By grappling with the nature and ideological features of various religious views, the contributors cast religious teachings and practices in a new light. They reveal how we either intentionally or inadvertently marginalize "others," whether they are human or otherwise, reflecting on the ways in which we assign value to living beings. Though it is an ancient concern, the topic of "Religion and Animals" has yet to be systematically studied by modern scholars. This groundbreaking collection takes the first steps toward a meaningful analysis. (shrink)

In art and literature, animals appear not only as an allegoric representation but as a reference which troubles the border between humanity and animality. The aim of this book is to challenge traditional ways of confronting animality with humanity and to consider how the Darwinian turn has modified this relationship in postmodern narratives. The subject of animality in culture, ethics, philosophy, art and literature is explored and reevaluated, and a host of questions regarding the conditions of co-existence of humans (...) and animals is asked: Should discourse ethics now include entities that initially seemed mute and were excluded from discussions? Does the modern animal rights movement need a theology, and vice versa, is there a theology that needs animals? Are animals in literature just metaphors of human characters, or do they reveal something more profound, a direction of human desires, or a fantasy of transgressing humanity? This book provides answers and thus gives a new impetus to a so far largely overlooked field. (shrink)

Cimatti and Salzani have put together a rich collection of essays on animal studies that provides an exhaustive overview of how Italian contemporary philosophers are engaging with animal ethics, antispeciesism, posthumanism, ecofeminism, and biopolitics. This edited volume represents an important development in the “animal turn” in the humanities, particularly because it is published in English, allowing for a more efficient dialogue between “Italian theory” and philosophers around the world. This is, in fact, the first collection that will give an international (...) audience access to the rich and varied contribution of Italian contemporary philosophy in the burgeoning field of animal studies. It is also important to point out that all the authors—who are either well-established erudite thinkers or bright and innovative new voices in the panorama of Italian philosophy—effectively engage with recent and prominent scholarship in the fields of animal studies, posthumanism, and biopolitics, such as the work of Zizek, Esposito, Hardt, Calarco, Braidotti, and Wolfe.The volume is clearly intended for an academic audience: professors, scholars, and graduate students studying not only philosophy, Italian studies, environmental humanities, and animal ethics, but also political science, ethology, comparative literature, art history, and religious studies. In addition, the book could also find an audience in animal rights and environmental activists who are interested in the philosophical aspects and ethical and political implications of their actions.The division of the book into three sections (“Animality in the Italian Tradition,” “Animality in Perspective,” and “Fragments of a Contemporary Debate”) provides the reader a clear trajectory from the Italian philosophical tradition to the current debate on “animality.” In the first section, in fact, the authors engage with the rich and complex tradition of both Italian animal philosophy and advocacy. In the three essays that make up this section, the authors provide a compelling historical perspective of the anti-Cartesian and antidualistic aspects of Italian thought, tracing its pre-Cartesian origin and post-Cartesian developments through the work of Francis of Assisi, Dante Alighieri, Giordano Bruno, Giambattista Vico, and Giacomo Leopardi, among others. This section also includes essays outlining the development of animal bioethics in Italy, which emerged from the work of animal advocacy pioneer Aldo Capitini and continued to have an important impact on Italian culture thanks to the antispeciesist movement and debate, of which the third essay of this section provides an exhaustive intellectual history.The second section of the volume, comprised of six essays, provides an overall view of the ongoing philosophical debate on animality that traverses Italian posthumanism, feminism, theology, biopolitics, environmental ethics, and Marxist thought. Here the authors engage with some of the prominent voices in the contemporary Italian philosophical landscape, such as Giorgio Agamben, Roberto Esposito, Roberto Marchesini, Antonio Negri, Maria Turchetto, Adriana Caravero, Luisa Muraro, and Paolo De Benedetti. As pointed out by the editors in their introduction, this section does not intend to offer a complete account of the extensive and heterogenous exchanges occurring inside the Italian biological turn, but instead aims at investigating its most compelling approaches and effectively links them to the ongoing transnational debate.The rich historiography and analysis of the first two sections is complemented, in the third section of the volume, by the speculative approach that strongly characterizes all five final essays. Here we can find some of the most exciting and original developments in Italian scholarship on animal philosophy. This section is, therefore, the most effective in presenting the distinctive approach of contemporary Italian philosophers in rethinking animality and the human-animal interplay, in particular inside the historical and epistemological frame of the Anthropocene. For instance, Massimo Filippi explores how slaughterhouses have become exemplary spaces to investigate the calculation that adds, subtracts, multiplies, and divides humans and animals, which removes animality and excises the other, which forcefully bans any imagining of the monstrously other, of the other-than-human, and that produces, among others and besides It-Self, the Woman, the Homosexual, the Abnormal, the Migrant, the Criminal, and the Animal. (p. 225)Structuring his argument on the real and metaphorical “mathematics of sacrifice” at work in the slaughterhouse (p. 226), Filippi engages with the processes that enable human ontological privilege, with intraspecific and interspecific mechanisms of discrimination, and with philosophical, political, and ethical implications of meat production.For a second and final example, ethologist Roberto Marchesini—one of the most original and prominent voices in animal studies—focuses on redefining the paradigm of “animality.” In his essay, Marchesini questions behaviorism and the automatism of learning, key aspects that have been prominent in defining animality in many fields, from biology to philosophy. Building from his groundbreaking and extensive work in ethology and zooanthropology, he argues for an “elaborative model” of animality (animal as subject) against the fallacy of the “automatism-based model” (animal as mechanism): Subjectivity is the implicit condition of the animal being, an expressive dimension that may also be unconscious but that precedes from (i) a constructivist conception of behavior, which we could explain by considering it a work in progress, always open and never predetermined, but equally never imposed and nonetheless always co-factorial to external contributions, and (ii) a propositional view of the individual, or rather from being supported by verbal structures such as to delight, to fear, to want, which join themselves to modal predicates declined according to context, but which likewise render the individual the protagonist. (p. 247)Animal studies has established itself as one of the most exciting areas of research inside the biological turn of the humanities worldwide and, by collecting such a large number of compelling and provocative theories from Italian contemporary philosophy, the impact of Cimatti and Salzani's volume will be twofold: It will enrich and expand a developing discussion in the environmental humanities and in animal studies while establishing the centrality of Italian thought in such an important and, in the Anthropocene era, necessary debate. (shrink)

The 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. (shrink)

This work was presented at the Research Center for Philosophy of Science of the Ferdowsi University of Mashhad (Iran) – in Aug 2020. --- -/- Briefly, in the first section of this Persian book, first of all, I (Hereafter: the writer) have presented generalities of Aesthetics and an interpretation of aesthetic universality (Hereafter: φ) and it is argued that each definition of art has to admit φ and this is a Kantian, minimalist, and subjective perspective view (some others would incline (...) objective interpretation of φ, but it is beyond the purpose of this work). What’s more, this view could be applied to all definitions of art e.g. Functionalism, Conventionalism, or Hybrid Theories. Additionally, the writer has replied to some objections, those would promote definitions of art without φ, it seems that they could not be successful to refuse φ, since it appears that φ is a premise in every aesthetic judgment. Next, in another section, the writer has written some primary notes on creativity, those have come from contemporary literature of it, and it is argued that there is a relation between creativity and φ. It is also claimed that the relation is the same φ by the creative processes, creative products, and creative persons, both scientifically and philosophically; and so, the relation represents that φ is true. Besides that, the writer has presented some potential objections to the writer’s aspect of the relation and the writer has also replied to those objections. --- -/- In the next section of the book, the writer has applied the φ by creativity to the philosophy of animal-made art, the writer revolutionarily illustrates that first of all, the normativity of the philosophy of animal-made art is prior to the descriptive one. Second of all, φ is principally the criterion to know that animal-made art is impossible. The writer’s position recognizes those other works of animal aesthetics, which means aesthetics of all of the non-human creatures in the earth or cosmos as a new part of environmental aesthetics, is the marginally second order of animal aesthetics. It is owing to the fact that first of all, the question, of whether animal-made art is possible or not, is normative. Second of all, if one does not concern normativity of the question, then one could not get the answer to the nature of it. Next, one could not distinguish between on the one side, the pleasure of drinking water when one’s thirst may cause death, on the other side, the one’s pleasure of listening to music when there is no urgent necessity of it. The fourth argument is that one needs to identify the normativity of animal-made art because one could generalize aesthetic judgments if one sets φ as the basis of it, and then, one identifies that φ is one of the most fundamental bases in Aesthetics. --- -/- The main section of this book is that the writer’s argument -Animal-Made Art Impossibility Argument- is in favor of the impossibility of animal-made art i.e. Functionalist, Conventionalist, or Hybrid Theories of the definitions of animalmade art, also the writer has replied to some possible ideas and objections to the argument. --- -/- Pouya Lotfi Yazdi --- Iran | June 2022. (shrink)

This book explores interdisciplinary approaches to animal-focused curriculum and pedagogy in environmental education, with an emphasis on integrating methods from the arts, humanities, and natural and social sciences. Each chapter, whether addressing curriculum, pedagogy, or both, engages with the extant literature in environmental education and other relevant fields to consider how interdisciplinary curricular and pedagogical practices shed new light on our understandings of and ethical/moral obligations to animals. Embracing theories like intersectionality, posthumanism, Indigenous cosmologies, and significant life experiences, and (...) considering topics such as equine training, meat consumption and production, urban human-animal relationships, and zoos and aquariums, the chapters collectively contribute to the field by foregrounding the lives of animals. The volume purposefully steps forward from the historical marginalization of animals in educational research and practice. (shrink)

Posthumanism has come to synthesize philosophical, literary, and artistic responses to the pressures of technology, globalization, and mass extinction in the Anthropocene. It asks what it can mean to be human in an increasingly more-than-human world that has lost faith in the ideal of humanism, the autonomous, rational subject, and it models generative alternatives cognizant of the demands of social and ecological justice. Posthumanism in Art and Science is an anthology of indispensable statements and artworks that provide an unprecedented mapping (...) of this intellectual and aesthetic shift in a global context. It extends across a broad range of fields such as art theory, media studies, continental philosophy, natural science, literary studies, aesthetics, psychoanalysis, environmental humanities, social and political theory, and animal studies. The reader features a diverse sampling of major thinkers including Donna Haraway, Rosi Braidotti, Michael Marder, Karen Barad, Alexander Weheliye, Jay Prosser, Anna Tsing, Graham Harman, Timothy Morton, N. Katherine Hayles, Jane Bennett, Bruno Latour, Francesca Ferrando, and Cary Wolfe, as well as innovative, acclaimed artists and curators such as Yvonne Rainer, Chus Martínez, William Wegman, Nandipha Mntambo, Cassils, Pauline Oliveros, Doo-sung Yoo, and Gavin Steingo. Their provocative and compelling works, including previously unpublished interviews and essays, speak to the ongoing conceptual and political challenge of posthuman theories in a time of unprecedented cultural and environmental crises. An essential primer and reference for educators, students, artists, and art enthusiasts, this volume offers a powerful framework for rethinking anthropocentric certitudes and reenvisioning equitable and sustainable futures. (shrink)

In recent years, an increasing number of contemporary artists have incorporated live animals into their work. Although this development has attracted a great deal of attention in the artworld and among animal rights activists, it has not been much discussed in the philosophy of art—which is quite remarkable, given the serious ethical and artistic questions that these artworks prompt. I focus on answering two such questions. First, is the use of animals in these artworks ethically objectionable? Or are (...) such artworks instead morally permissible or even laudable? Second, what might be the distinctive value or good of incorporating animals into artworks in this way? In response to both questions, I argue that one distinctive value of some of the artworks I discuss is their ability to facilitate a relationship of moral concern and respect on the part of an audience toward the animals that are a part of the artwork. Insofar as artworks facilitate such relationships, they are not simply artistically important; they are also, to that extent, morally good. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology experimentally. (...) However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology experimentally. (...) However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

The animation industry of China has developed windingly almost 50 years in 20 century, finally obtained the eruption -like growth in the beginning 21st century. Talent cultivation is one of the important elements of Chinese Animation industry, thus animation education also obtained the stimulation. More and more fine art schools began to have animation program after 2000. This paper studies a brief history of animation professionals in Fine Art Schools of China, and the relationship between fine art schools and animation (...) subject. However the number of schools expanded, but the quantity cannot guarantee quality of education, most Fine art schools are relying on the University-Industry Collaboration teaching mode, but in the fact beneath the brilliant achievements, fine art schools need to sum up teaching experience and education theory different from animation industry. The period of Animation program expanding in Fine Art Schools is almost over, but the period for education quality is coming. How to improve the animation education quality become the most important situation to all Fine Art Schools have animation program. (shrink)

This article describes a team-taught environmental studies course called Animal Metaphors. Focusing on animal metaphors in literature and film, the course emphasizes various cognitive and perceptual biases that lead humans to place ourselves above and beyond nature, making us more likely to engage in practices destructive to the environment. Whereas the first iteration of the course underscored various ways in which humans are less rational or moral than we imagine, the new iteration shifted more of the focus to what inspires (...) and motivates humans, gives us emotional resilience, and best creates conditions for mental well-being as we cooperate and collaborate. This seemed an appropriate tack to take in an age commonly referred to as the “Anthropocene.” We thus continued to examine our status as evolved animals while also calling more attention to spiritual or ecstatic experience, music, humor, and the uniquely human ability for shared intentionality. (shrink)

Despite Robert Boyle’s enthusiasm as a leading chemist in the early years of the Royal Society, his experiments on animals raised acute moral and theological issues in regard to animal suffering. Many years after Boyle’s experiments in the scientific field of pneumatics, Joseph Wright of Derby painted a complex representation of Boyle’s early experiment called An Experiment on a Bird in an Air Pump. I use an art historical methodology to resituate Wright’s imagined painting of group performance as a (...) microcosm of 18th-century morality against the backdrop of Boyle’s profound eschatological beliefs and earlier discourse on animal ethics. (shrink)

The tenacity of medieval animal iconography in the Renaissance, disguised under the veil of genre, narrative and allegory, is demonstrated in this book. A comprehensive introduction to sources precedes case studies illustrating traditional animal symbolism in Renaissance masterpieces.

The archaeology of animals is often unhelpfully split between pure symbolism and pure economy. This paper will examine Viking Age Scandinavian religion as one sphere where the two overlapped and where symbolism was manipulated for economic ends and vice versa. Scandinavian Viking Age culture reasoned and understood animal symbols in a way that was internally coherent, yet it was very different from anything in modern science. The paper asks how, or if, this made any difference in the lives of (...) real animals in Viking Age Scandinavian society. Viking Age Scandinavia is a particularly appropriate case study because art and literature suggest a great interest in thinking with animals. Like modern culture, it had a lot of animal references. Yet, unlike modern culture, most people also lived in everyday contact with economically important animals. (shrink)

An examination of the specifically graphic-novelistic strategies employed in Art Spiegelman's graphic memoir, Maus, in leading the reader into a punctuated experience of time and memory, and in forcing complicity with the novel's problematic animal-as-ethnicity metaphor, in a wider attempt at putting together the critical vocabulary for discussing comic books as simultaneously textual and pictorial ‘texts’.

This paper argues that debates over art exhibitions that make use of live animals, such as the Guggenheim Museum's 2017 Art and China After 1989: Theater of the World, are reflective of a schism between two general approaches to the ethico-political criticism of art. One of these approaches, the interpretation-oriented approach, is dominant in the art world and its adjacent institutions. The other, the production-oriented approach, is tacitly adopted by art-interested non-specialists. This rift explains why the use of (...) class='Hi'>animals in contemporary art—a practice that many art-interested people outside of the art world find bizarre and prima facie unethical—is so rarely discussed critically within art world institutions such as museums and journals. In an attempt to redress this oversight, the paper argues that the production-oriented approach is not only conceptually sound, but rationally preferable to the interpretation-oriented approach in many such cases. (shrink)

Umayyad Islamic art has a very rich understanding of art. It will not be possible to create architectural, handicrafts and other custom decorations of these dates, including animal decorations and animal decorations. Therefore, it has become a very important owner in figure art. The figures of the early Islamic period have a common style and style while under the influence of different cultures. In this high Islamic art, it is preserved and maintained before it is transformed into a form that (...) can be applied from sculpture and painting. It is one of the figures that can be said to what extent the people who have survived until today. Because human and animal figures will not be a part of the most important elements of Islamic art. With the absence of Islam and the negative view of the statue, the life necessary for an early period aimed to be completed. In the design of the plan, private 'civil decorations' can be included in Islamic art with a political planning. Do not avoid this art because they are not cautious about verses and events. In this work, it is aimed to place the subject in question, to bring it to the exhibition and to imagine a wider window expression. Therefore, it will be a pleasure to reach and present the goals achieved. (shrink)

Parallels are often made between the culture of San hunter-gatherers of southern Africa and that of European Upper Paleolithic hunter-gatherers. Despite different environmental conditions and lifestyles, the fact that both groups live by hunting provides a point of comparison that can afford insights into Ice Age art. Focusing on both groups' hunting relationships with prey animals can illuminate the intermeshing of human and animal traits in Upper Paleolithic art. We can now give a fairly precise account of the cognitive (...) and affective neurological mechanisms that facilitate hunting and that also have an impact on depicting animals. (shrink)

A new take on our bio-cultural evolution explores how the "inner theatre" of the brain and its "animal-human stages" are reflected in and shaped by the mirror of cinema. Vampire, werewolf, and ape-planet films are perennial favorites—perhaps because they speak to something primal in human nature. This intriguing volume examines such films in light of the latest developments in neuroscience, revealing ways in which animal-human monster movies reflect and affect what we naturally imagine in our minds. Examining specific films as (...) well as early cave images, the book discusses how certain creatures on rock walls and movie screens express animal-to-human evolution and the structures of our brains. The book presents a new model of the human brain with its theatrical, cinematic, and animal elements. It also develops a theory of "rasa-catharsis" as the clarifying of emotions within and between spectators of the stage or screen, drawing on Eastern and Western aesthetics as well as current neuroscience. It focuses on the "inner movie theater" of memories, dreams, and reality representations, involving developmental stages, as well as the "hall of mirrors," ape-egos, and body-swapping identifications between human beings. Finally, the book shows how ironic twists onscreen—especially of contradictory emotions—might evoke a reappraisal of feelings, helping spectators to be more attentive to their own impulses. Through this interdisciplinary study, scholars, artists, and general readers will find a fresh way to understand the potential for interactive mindfulness and yet cathartic backfire between human brains—in cinema, in theater, and in daily life. (shrink)

Consistency is the hallmark of a coherent ethical philosophy. When considering the morality of particular behaviour, one should look to identify comparable situations and test one’s approach to the former against one’s approach to the latter. The obvious comparator for animal experiments is non-consensual experiments on people. In both cases, suffering and perhaps death is knowingly caused to the victim, the intended beneficiary is someone else, and the victim does not consent. Animals suffer just as people do. As we (...) condemn non-consensual experiments on people, we should, if we are to be consistent, condemn non-consensual experiments on animals. The alleged differences between the two practices often put forward do not stand up to scrutiny. The best guide to ethical behaviour is empathy—putting oneself in the potential victim’s shoes. Again to be consistent, we should empathise with all who may be adversely affected by our behaviour. By this yardstick, too, animal experiments fail the ethical test. (shrink)

This book examines the works of major artists between the seventeenth and nineteenth centuries, as important barometers of individual and collective values toward non-human life. Once viewed as merely representational, these works can also be read as tangential or morally instrumental by way of formal analysis and critical theories. Chapter Two demonstrates the discrimination toward large and small felines in Genesis and The Book of Revelation. Chapter Three explores the cruel capture of free roaming animals and how artists depicted (...) their furs, feathers and shells in costume as symbols of virtue and vice. Chapter Four identifies speciest beliefs between donkeys and horses. Chapter Five explores the altered Dutch kitchen spaces and disguised food animals in various culinary constructs in still life painting. Chapter Six explores the animal substances embedded in pigments. Chapter Seven examines animals in absentia-in the crafting of brushes. The book concludes with the fish paintings of William Merritt Chase whose glazing techniques demonstrate an artistic approach that honors fishes as sentient beings. (shrink)

The geometric shapes and natural forms, captured with exceptional precision in Ernst Haeckel's prints, still influence artists and designers to this day. This volume highlights the research and findings of this natural scientist. Powerful modern microscopes have confirmed the accuracy of Haeckel's prints, which even in their day, became world famous. Haeckel's portfolio, first published between 1899 and 1904 in separate installments, is described in the opening essays. The plates illustrate Haeckel's fundamental monistic notion of the "unity of all living (...) things" and the wide variety of forms are executed with utmost delicacy. Incipient microscopic organisms are juxtaposed with highly developed plants and animals. The pages, ordered according to geometric and "constructive" aspects, document the oness of the world in its most diversified forms. This collection of plates was not only well-received by scientists, but by artists and architects as well. Rene Binet, a pioneer of glass and iron constructions, Emile Galle, a renowned Art Nouveau designer, and the photographer Karl Blossfeld all make explicit reference to Haeckel in their work. (shrink)

In Sensations of History, James J. Hodge argues that animation in new media art transforms historical experience in the digital age. Combining close textual analysis of experimental new media artworks with discussion of key phenomenological texts, Sensations of History argues for the broad critical significance of animation as we shift from analog to digital technologies. Hodge looks closely at animation aesthetics, which allow for a clear grasp of the ways digital technologies transform our sense of historical experience.

Going beyond the creolisation theories of Brathwaite and Glissant, I attempt to develop ideas concerning the gendering of creolisation, and a historicising of affects within it. Addressing affects as ‘physiological things’ contextualised in the history of the Caribbean slave plantation, I seek, importantly, to delineate a trajectory and development of a specific Creole history in relation to affects. Brathwaite's proposition that ‘the most significant (and lasting) inter-cultural creolisation took place’ within the ‘intimate’ space of ‘sexual relations’ is key to my (...) argument. In the light of this, I consider how Creole cultural knowledge about affect—as the primary motivational system inclusive of fear, anger, outrage and so on — might be identified, and what constitutes such Creole knowledge within which affect might be embedded. How might Glissant's relationality and Creole literary texts add to this knowledge? I focus primarily on three texts: Clarke's The Polished Hoe, Collins’ The Colour of Forgetting and Morejón's ‘Amo a mi amo’/‘l Love My Master’. Each text on which I draw is selected for its intersectional representation of gender relations, ‘knowledge about sexual difference’ and its representation of Creole subjectivities within the context problematised here as the ‘demonic ground’. Moreover, as auto-theorising texts, they represent both narrative and meta-narrative of a creolising of affects in and against the economy of the slave plantation. Each represents also a stage or aspect of the development of subjectivities and an affective community that inform this intervention concerned with theorising against consolidated, universalising and Eurocentric conceptualisations of affect. In the process, I attempt to offer a differentiated cartography and literary archaeology of affect. (shrink)