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)

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)

In contrast to rigid conceptions of nonhuman animals, several philosophers have put forth ideas that suggest a more flexible and extended vision of other animals. In articulating the condition of humans in the world, philosophers have referenced ideas that necessarily bring other beings in common with humanity. Significantly, conceptions of movement and biological transformation have played a central role in these ruminations, thereby suggesting the importance of geographical variables in human/nonhuman relations. By drawing out the connections between these perspectives, this (...) paper outlines an ethics of extension. (shrink)

In this paper I focus on recent artworks by South African artist Nandipha Mntambo. I read these for the ways in which the discourse of species works within and against the humanist sacrificial economy of the subject that Jacques Derrida calls “carno-phallogocentric”. Drawing on Derrida's “metonymy of ‘eating well,'” Achille Mbembe's analysis of colonial violence, and Julia Kristeva's theory of abjection, I argue that these works inscribe and disturb a speciesist, sexual, and racial politics of animalization, and do so by (...) figuring a transgressive animality that stalks the “origins” of “the human” and troubles its carnivorous and colonial relations of “eating the other.” The works render ambiguous the humanist border that separates “man” from what he calls “the animal” and thicken the singular division between edible and inedible bodies, and literal and figurative eating. I suggest that this figures what Haraway might call an “eccentric subject”, one that not only holds open the possibility of a nonanthropocentrism but, as Haraway would say, “nourishes indigestion” at the heart of “carno-phallogocentric” power. But this is risky practice, as a recent controversy about reading Mntambo's work shows. (shrink)

Media and nonhuman animal liberation is an under-researched area in the United Kingdom. If the most appropriate metaphor describing the media/social movement relationship is "dance," then largely the media and animal liberation are dancing in the dark of neglect. Drawing upon different approaches to media and offering some notes toward animal liberation media studies, this article explores how, by engaging with the "established terms of the problematic at play," animal liberationists and their claims are appropriated by speciesist ideology through exclusion (...) and confusing and redefining maneuvers. A contextual analysis of its typical texts raises questions of the public interest role, due impartiality of media and, implicitly, of movement strategy. (shrink)