Academic literature on the topic 'Animal Aesthetic'
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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.
Dissertations / Theses on the topic "Animal Aesthetic"
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Lecomte, Vincent. "Un penser animal à l'oeuvre." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSES043.
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Évoquer ou convoquer l’animal en art met en perspective et accroît l’œuvre humaine jusque dans les excès et les incohérences qu’elle peut manifester, mais rend également possible un accès à ce qui est extérieur au domaine humain. Les artistes s’inspirent de la symbolique à laquelle donne corps l’animal, de sa morphologie aussi bien que des modes d’expressions qu’il invente et déploie. Il leur arrive même de se laisser tenter par le mimétisme. Les créateurs et les poètes ne disposent-ils pas d’autres outils que les penseurs ou les scientifiques pour atteindre cette étrangeté qui semble pourtant souvent si familière ? Qu’il s’agisse d’œuvres plastiques, de performances, de créations musicales ou scéniques, y convier l’animal offre une matrice infinie de figurations et de reconfigurations. L’expression de ce répertoire corporel et comportemental s’articule comme un véritable langage structuré. Au-delà d'une transposition qui permet de donner à entrevoir l’humanité de l'homme, les artistes peuvent aussi tenter la percée vers la réalité d’autres êtres vivants. Entre confrontation, dialogue et transfert, les pratiques artistiques reflètent la diversité, le polymorphisme même du rapport humain aux animaux, et l’histoire d’une attitude foncièrement ambivalente, prise entre empathie et exploitation. L’expérience de l’animal, voire l’expérience animale, donne lieu à un partage de territoire(s) et de conscience(s), ouvrant sur le dévoilement d’un penser en imagesTo evoke or to summon the animal in art puts in perspective the work of mankind, increases its excesses and its inconsistencies as well as it makes possible to open up the door to what is outside the human reach. Artists inspire themselves from the symbolic to which the animal is giving flesh, its morphology up to the ways of communication it creates and deploys. Artists may even be tempted by mimicry. Don’t creators and poets dispose of no other means than this one to address that strangeness that seems however so familiar to them ?To invite the animal in art work, could it be plastic arts, performances, musicals works or on stage, is to offer an infinite matrix for figuring or reconfiguring. The expression of its physical and behavioral repertory is articulated as a structured language. Beyond a transposition that allows a glimpse at human kind’s humanity, artists can also try to break through the reality of other living beings. Half way through confrontation, dialogue and transference, artistic practices mirror the diversity of human relationships with animals and even its polymorphism, as well as they reflect on the history of a human attitude fundamentally ambivalent, torn between empathy and exploitation. The animal experience, the animalistic experiment even, gives rise to a territory and consciousness sharing, opening up to the unveiling of a thinking through images
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Jin, Lipeng. "Animal ethics and contemporary art : an exploration of the intersections between ethics and aesthetics, humans and animals, human and animal injustices." Thesis, Lancaster University, 2016. http://eprints.lancs.ac.uk/82819/.
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This research provides artistic interventions into the question of institutionalised violence against animals. With a relational and holistic vision in mind, this artistic enquiry explores the intersections between ethics and aesthetics, humans and animals, human and animal injustices. It is dualistic and anthropocentric thinking that underlies both human and animal oppression. A Derridean approach invites us to think about the shared vulnerability among all beings through the presence of the animal other, calling our infinite responsibility towards the animal and dismantling entwined dualisms. With regard and respect, we are encouraged to appreciate the animal as a singular, specific, valuable being, rather than a predetermined, dualistic category. Formally and conceptually informed by contemporary art addressing both human and animal oppression, this enquiry critically reflects on the invisibility of violence towards animals which contributes collective ignorance and indifference to animal suffering. Translating the testimony of animal’s plight into poetic representation, I propose three pieces of large-scale, mixed-media installation works, combining aesthetic elements such as paintings, feathers, fabrics, lights, spaces, and audience experiences to confront the viewer with this question. In so doing, I believe that the poetics of art has the potential of transforming public consciousness of thinking about animals in non-binary and non-instrumental terms.
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Bliss, Gillian E. "Redefining the anthropomorphic animal in animation." Thesis, Loughborough University, 2017. https://dspace.lboro.ac.uk/2134/27423.
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The use of anthropomorphic animal characters is pervasive in animation, but there has been little examination of how and why these are created, and how a viewing audience understands them. This Practice-based PhD examines how a re-defining of anthropomorphic and zoomorphic representation might bring a new impetus to the use of animal imagery within contemporary animation practice. An initial stage of research was to define the term anthropomorphism both as a visual language within animation practice and in the wider contexts of scientific and philosophical discourse. Social and psychological aspects are discussed, recognising this form of hybrid representation throughout the development of human culture. Links with Human Animal Studies disciplines raised the question of relating anthropomorphism to negative aspects of anthropocentrism and this led to a second stage of the research that explores ways of working with anthropomorphism that do not promote an anthropocentric bias. This is firstly achieved through the devising of a new theoretical approach to character analysis that is based on the recognition of perceptual aesthetic and sensual animal qualities in human-led , animal-led and design-led anthropomorphic characters, rather than a reliance on conceptual symbolic referencing of human experiences, goals, and narratives. Moving into the practice and influence from historical animation work provides impetus for a move away from character and narrative based work. Experimental animation techniques are used to create rhythms and patterns of abstracted animal and human imagery. This new work is based on contemporary ecological ideas that discuss relationships between humans and animals as interconnected species, thus providing a second way of lessening of anthropocentric bias in the subject matter. Having a starting point of aesthetic and sensual responses to actual experiences with animals is an important factor and live action film is re-animated to create digitally manipulated rhythms of colour, texture, movement and sound. The practical research outcomes are animation samples that evidence the coming together of experimental digital techniques and contemporary ecological subject matter. An action research model was devised for the research to enable the integration of theory and practice, and reflection on theory and practice to have an important influence on the practical outcomes. The approach taken was dependent on experience as a creative practitioner and as a teacher helping others to develop a sustainable creative practice, in allowing an open and intuitive discovery of ideas from both theoretical and practical explorations to create a flow through the research. The combination of theoretical and practical research undertaken provides an impetus towards the creation of future animation work using an anthropomorphic visual language redefined as zooanthropomorphic animation . The submission includes outcomes of a written thesis and links to practical animation work.
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Whiston, Kate. "Pigeon geographies : aesthetics, organisation, and athleticism in British pigeon fancying, c.1850-1939." Thesis, University of Nottingham, 2017. http://eprints.nottingham.ac.uk/46605/.
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This thesis provides new ways of thinking about human-bird encounters under domestication, providing the first substantive geographical study of ‘pigeon geographies’. It explores the spaces, practices, and human-pigeon relationships involved in pigeon showing and long-distance pigeon racing in Britain, from the mid-nineteenth century up until World War Two. The growth of fancy pigeon exhibitions was part of a wider Victorian passion for domesticating animals, at a time when human bodies were also subject to increasing aesthetic and moral scrutiny. Long-distance pigeon racing emerged at the end of this period, organised competitive sport more generally seen as an important means of moral improvement and identity expression. Like many other competitive pastimes in the second half of the nineteenth century, then, institutional bodies were formed to manage the expansion of showing and long-distance racing. The Pigeon Club and the Marking Conference were formed in 1885 to oversee British pigeon exhibitions, whilst the National Homing Union, formed in 1896, governed British long-distance pigeon racing. Both pastimes facilitated the formation of social worlds around varieties of domestic pigeon (Columba livia) and their respective practices. Whilst these pastimes historically had strong concentrations of male working-class followers – particularly in the north-west and north-east – they were both widespread throughout Britain and spanned all socio-economic classes, although accounts of female fanciers were rare. Through the exhibition of pigeons, fanciers debated and defined aesthetics, formulating breeding standards for each fancy breed, and questioning the ways in which pigeons were manipulated – sometimes contentiously – to produce the ‘ideal’. Long-distance pigeon racers, on the other hand, sought to understand and hone their birds’ athletic abilities, becoming entangled in scientific debate about homing, as well as geographical questions about the conduct and regulation of their sport. Racers were also drawn into aesthetic debates, exhibiting their racing birds during the off-season, the show pen becoming a fascinating frontier between showing and racing. Through the organisation of the spaces and practices that made up the fabric of these pastimes, pigeon showing and long-distance racing reconfigured both humans and their birds, the two becoming closely intertwined through collaborative encounters.
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Patchett, Merle Marshall. "Putting animals on display : geographies of taxidermy practice." Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/2348/.
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Taxidermy specimens and displays have become increasingly liminal features in contemporary society. Viewed variously as historical curios, obsolete relics or more malignantly as ‘monstrosities’, they can be a source of discomfort for many. Taxidermy objects have become uncomfortable reminders of past scientific and colonial practices which have sought to capture, order and control animated life and as such have become increasingly problematic items for their owners. As a result many taxidermy displays have been dismantled and mounts relegated to ‘backstores’ to gather dust. The paradox is that taxidermy as a practice is a quest for ‘liveness’, to impute life back into the dead. Much like the taxidermist, my goal in this thesis is to revive and restore: to renew interest in and reassert the value of taxidermy collections by recovering what I shall term as the ‘biogeographies’ of their making and continued maintenance. Considerable academic attention has been paid to the ‘finished’ form and display of taxidermy specimens inside cabinets, behind glass – in other words, to their representation. By way of contrast, this thesis recovers the relationships, practices and geographies that brought specimens to their state of enclosure, inertness and seeming fixity. These efforts are aligned with work in cultural geography seeking to counteract ‘deadening effects’ in an active world through a prioritisation of practice (Dewsbury and Thrift 2000), and elsewhere draw on research arguments and approaches originating in historical geography, and the history of science. The thesis firstly investigates historical developments in the scientific and craft practice of taxidermy through the close study of period manuals, combined with ethnographic observations of a practicing taxidermist. Critical attention to practice then facilitates the recovery of the lifeworlds of past taxidermy workshops and the globally sited biogeographies behind the making of individual specimens and collections. The thesis required the purposeful assemblage and rehabilitation of diffuse zoological and historical remains to form unconventional archives, enabling a series of critical reflections on the scientific, creative and political potentials of taxidermy.
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Kanno, Maurício de Paula. "Ética abolicionista animalista nos \"mangas\" de Mauricio de Sousa: Estética e História da Arte revisitadas." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-14122018-143051/.
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Este trabalho analisou questões de Ética Animal nos quadrinhos de Turma da Mônica Jovem e Chico Bento Moço, revistas em estilo mangás retratando personagens de Mauricio de Sousa como adolescentes. Para isso, foi realizado um panorama sobre a relação entre Estética, Ética e cultura popular, com destaque para estudos de Jean-Marie Guyau e foi verificado o histórico do pensamento ético sobre os animais na História do Mundo, desembocando em Tom Regan, Gary Francione, Sônia Felipe e Carlos Naconecy. Também se realizou um histórico da representação dos animais na História das Artes Visuais, com destaque para Franz Marc; e o mesmo com os quadrinhos infantis de Mauricio de Sousa, com destaque para o porco Chovinista; uma história em que Chico Bento tentava degolar um peru, mas se arrependeu; o tiranossauro vegetariano Horácio; e as tentativas do personagem mudo Humberto de libertar um canário e um peixe-dourado do negro Jeremias. Entre os autores estudados para as análises, destacam-se Umberto Eco, pela metodologia de interpretação de texto; Antonio Candido, pelos estudos do personagem de ficção; e Mikhail Bakhtin, pela estética do Grotesco. Nas revistas em estilo mangá de Mauricio de Sousa, foram analisados o seu discurso extra-ficcional e princípios gerais enunciados pelos protagonistas sobre os animais; a relação entre humanos e animais selvagens perigosos, silvestres inofensivos e animais de estimação. Verificou-se elevada valorização do critério ambiental, exceto quando está em jogo o consumo de animais. Os casos anteriores foram comparados com a representação do tratamento dos animais mortos e explorados na indústria alimentícia: porcos, vacas, galinhas, peixes e abelhas. Verificou-se que discursos dos protagonistas e o extra-ficcional do autor de amor, paz e proteção generalizados pelos animais são frequentemente incoerentes com atitudes observadas nos personagens e em relação às mensagens identificadas nas histórias, com destaque para a pesca recreativa de Chico Bento. Foi verificado o fenômeno do \"afetismo letal ou coisificador\", termo cunhado nesta pesquisa para designar que, diferentemente do que ocorre na realidade, há certos animais tratados pelo mesmo protagonista com afeto e outros da mesma espécie mortos ou escravizados por seus hábitos de consumo ou atitudes diretas. Cenários idílicos no campo comunicam mensagens enganosas em relação ao que ocorre via de regra no meio rural com os animais; assim como não se valorizou e informou adequadamente sobre os alimentos mais saudáveis na dieta vegetariana. Personagens vegetarianas foram identificadas e análises sobre sua representação e associações decorrentes foram deduzidas. Elas são novidade nestes quadrinhos, porém são exclusivamente mulheres e bruxas com poderes sobrenaturais, com particular e coincidente exposição de seus corpos. Positivamente quanto aos direitos animais, destaca-se história em que a protagonista Mônica e a vegetariana Denise resgatam porcos lembrando uma ação direta de ativismo da Frente de Libertação Animal (ALF); e outra em que Mônica demonstrou aversão ao trabalho na pecuária, apesar de não ser vegetariana. Magali, a personagem de Mauricio de Sousa tradicionalmente mais associada à alimentação, demonstrou forte tendência ao vegetarianismo, além de ocorrerem muitos episódios em que expressou sua compaixão pelos animais e sensibilidade.This work analyzed issues on Animal Ethics in the comics Turma da Mônica Jovem and Chico Bento Moço, publications in manga style picturing characters by Mauricio de Sousa as teenagers. First, we made a panorama about the relationship among Aesthetics, Ethics, and popular culture, with highlights to studies by Jean-Marie Guyau; we traced the ethical thinking on animals in the World History, arriving to Tom Regan, Gary Francione, Sônia Felipe and Carlos Naconecy. We researched the representation of animals in the History of Visual Arts, with highlights to Franz Marc. The same with the childish comics of Mauricio de Sousa, emphasizing the pig Chovinista; a story where Chico Bento tried to behead a turkey, but regretted it; the vegetarian Tyrannossaurus Horácio; and attempts of the mute Humberto of releasing a canary and a golden-fish from the black Jeremias. Among the characters studied for the analysis, there are: Umberto Eco, for the methodology of text interpretation; Antonio Candido, for studies on the character of fiction; and Mikhail Bakhtin, for the aesthetic of the Grotesc. In manga comics of Mauricio de Sousa, we analyzed his extra-fictional discourse and general principles enunciated by the main characters about the animals; the relationship between humans and savage dangerous animals, innofensive wild animals and pets. We noticed how high valued was the environmental criterium, except when the consumption of animals is at stake. The former cases were compared to the representation of the animals killed and exploited in the food industry: pigs, cows, chickens, fish and bees. We noticed that discourses of the characters and the extra-fictional discourse of generalized love, peace and protection for animals are often incoherent with attitudes observed in the characters and in relation to the messages identified in the stories, mainly noticing the recreative fishing by Chico Bento. We verified the phenomenum of \"letal or slavering affectism\", concept created in this research to designate that, differently from reality, there are certain animals treated by the same character with affection and others of the same species killed or slavered by his or her habits of consumption or direct attitudes. Idyllic scenaries in the rural area communicate deceiving messages in relation to what happens usually in the rural zone with animals; also, the healthiest vegetarian food were not valued and adequately informed. Vegetarian characters, novelties in these comics, are exclusively women and witches with supernatural powers, and with coincidental exhibition of their bodies. Positively for animal rights, there\'s importance in a story where the character Mônica and the vegetarian Denise rescue pigs, which remind us a direct action of activism by Animal Liberation Front (ALF); and other story where Mônica revealed aversion to working with cattle exploitation, although shes not vegetarian. Magali, the Mauricio de Sousa\'s character traditionally most associated to food, expressed a strong tendency to vegetarianism, and we can see also many episodes in which she showed compassion to animals and sensitivity.
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Erlandsson, Niklas. "ANIMAL QUALIA AND NON-ANTHROPOCENTRIC NARRATION IN BARBARA GOWDY’S THE WHITE BONE : PROBLEMATIZING NONHUMAN EXPERIENTIALITY THROUGH ENVISIONMENTS IN THE EFL CLASSROOM." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-104002.
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This thesis examines nonhuman phenomenological experiences, communication, and sensory perception in Barbara Gowdy’s The White Bone. Drawing on literary and pedagogical theories by Roman Bartosch, Monika Fludernik, Marco Caracciolo, David Herman, and Judith Langer, the thesis argues that Gowdy’s novel employs narrative strategies and devices that involve nonhuman experientiality evoked from sensorial configurations, narration, and textual cognitive and embodied experiences. These represented experiences disrupt human primacy by establishing a disorientation that challenges the anthropocentric bias in the novel and decenters the human reader. Moreover, the thesis offers suggestions for using the novel in conjunction with envisionment building to discuss animal alterity and anthropocentrism in the Swedish EFL classroom.
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Elsaghir, Sayed Ali Ahmad. "Context sensitive design of provincial road Galliera SP4." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amslaurea.unibo.it/6759/.
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In the past centuries and before the invention of automobile, roads consisted mainly of unpaved paths connecting only few cities. Later, in the beginning of the twentieth century, the automobile was introduced and a new type of the transportation system was born. Therefore, it was necessary to change the condition of roads to fit with the automobiles. With the spread and the development of the automobiles, roads also have developed and increased all over the world. That caused negative effects on the environment and humans’ life quality. Thus, highways associations and communities had to take some steps to reduce these effects and care about environmental and cultural issues with the traditional commitment to safety and mobility, and that is known as context sensitive design.
The aim of this thesis is to use the concepts of context sensitive design to reduce the negative environmental impacts of provincial road Galliera, which connects via Colombo in city of Bologna to provincial road 3 in Argelato city. Some solutions were proposed in this thesis to reduce traffic noise, fragmentation, fauna mortality and to improve the aesthetics of the road.
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Casallo, Víctor. "Perspectivas de apaplicación en la fenomenología de la comunicación prelingüística." Conexión, 2016. http://repositorio.pucp.edu.pe/index/handle/123456789/114726.
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Phenomenology systematically clarifies the structures and processes that make possible different experiences of communication based on pre linguistic foundation. This article explores this perspective and argues that it allows a deeper comprehension of experiences of personal and social reintegration through the interaction with animals of inmates and children with autism. Also, this article follows the thesis of David Abram: that the re discovery of the amplitude od the communicational possibilities in the human beings opens up alternatives of solution to the cultural discomforts that are growing deep in contemporary urban cultures of the world.La fenomenología aclara sistemáticamente las estructuras y procesos que hacen posible las diversas experiencias comunicativas desde sus estratos fundamentales prelingüísticos. El artículo argumenta que esta perspectiva permite una comprensión más profunda de las experiencias de reintegración personal y social de reclusos y niños autistas a partir de la interacción con animales. Sostiene, siguiendo las tesis de David Abram, que el redescubrimiento de la amplitud de las posibilidades comunicativas en los seres humanos abre alternativas de respuesta a los malestares culturales que se van profundizando en las culturas urbanas contemporáneas.
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Salamanca, Angarita Óscar Mauricio. "Memoria del "Goldfish": Presentación y Representación del animal en el dibujo occidental de finales del siglo XX, La." Doctoral thesis, Universitat de Barcelona, 2005. http://hdl.handle.net/10803/2560.
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El animal ha estado presente en el laboratorio a partir del siglo xx. Ya sea en la investigación científica, en el debate político o en la exploración artística, el animal ha carecido de refugio, es la víctima propiciatoria de todos los sacrificios contemporáneos.Sin la función exploratoria que las vanguardias adjudicaron al arte poco o nada habría que documentar de tales operaciones. La figuración plástica, por otro lado, ha afianzado su proximidad en los diseños derivados del industrialismo tardío. El pop como escuela última del siglo pasado ha visto explotar las hibridaciones entre imagen pictórica y mediática. El siglo xx fue el siglo del triunfo de la imagen visual. La profusión de imágenes ha saturado la visión y sustituido al mundo por su representación.
La gráfica en el arte de finales de siglo cobraría una inusitada preponderancia por sobre las expresiones pictóricas. El arte conceptual y los minimalismos ejercieron una fuerte influencia sobre los estilos emergentes atrajeron una mayor atención hacia aspectos estructurales y sistemáticos de la práctica del arte. Hacia principios del siglo XXI el estatuto contemporáneo del dibujo es de primera relevancia respecto a otros recursos.
Poco queda ya de las identidades clásicas, nada, a decir verdad, de los géneros pictóricos donde las presencias animales hallaban clara pertinencia. El código genético es el trazo definitorio de las identidades en el siglo XXI. Ni la naturaleza muerta, ni el paisaje, ni el retrato con animales subsisten más que como formas paródicas. Los individuos del finales del siglo perdían toda relación de permanencia y trascendencia. En ese proceso fueron desfigurándose y desmaterializándose como la misma sustancia de la obra artística. Devenido discurso el arte tendría que volverse por un lado autorreferencial y por el otro una aplicación comunicativa.
No hallamos más a la naturaleza en nuestro entorno. El arte del siglo XX fue urbano, artificial, abstracto, sintético, teórico y, finalmente, sarcástico. La imagen de la naturaleza pasó a ser un tópico romántico trascendido y obsoleto; un lamento nostálgico. La sobre explotación de los recursos naturales aunada a la depauperación de las regiones rurales del planeta, particularmente en regiones extensas del tercer mundo, ha generado una actitud catastrofista hacia el programa desarrollista de occidente y se plantean más dudas que certezas frente al destino de múltiples especies animales y vegetales. El imaginario tradicionalmente prolífico y virtuoso de la naturaleza como abundancia inabarcable y como fuente de secretos y maravillas se ha trocado en una visión apocalíptica de fin de la vida.
La creciente preocupación en torno a la degradación acelerada de la naturaleza ha conducido a una conciencia política y civil de la ecología como postura ética y cultural de vanguardia. En correspondencia con el ecologismo desde el arte se ha hecho presente una actitud de reinterpretación de lo natural, ya no por medio de la imitación figurativa, sino como correlato cultural elíptico.
Por ello, la presencia de los animales en el arte de las últimas décadas del siglo XX plantea paradojas interesantes. No son el tema central de tal práctica, a decir verdad ningún tema lo fue; son agentes de extrañeza y de descentramiento. Son un sujeto aparentemente banal, periclitado en la historia, pero abandonado al margen de mitologías y utopías ancestrales. Los grandes imaginarios zoológicos de claras connotaciones al culto han perdido pertinencia en un mundo tecnificado y mediatizado. Por otro lado ese espacio salvaje del mundo animal, como instinto y naturaleza pura, ha sido neutralizado por la práctica psicoanalítica. Es propio de la civilización actual no hallar otros referentes que los antropocéntricos. El estatuto animal ha sido degradado a la domesticación e incorporado a la cadena productiva. Lo animal es excesivo y excedente: un suplemento irracional sin lógica en el diseño de la civilización futura.
La calidad espiritual del arte contemporáneo es débil, porque la sociedad que lo produce tiene un alma confundida. Las formas animales, tradicionalmente arquetipos de valor y conocimiento, nos son tanto más extrañas cuanto más manipulables y desintegradas nos parecen. Buscar un lugar para su manifestación en el arte necesariamente demanda una reconsideración de los procesos culturales de interpretación del mundo como un espacio donde aún tenga cabida la dimensión espiritual.
"Goldfish's Memory: Animals' Display and Representation in the Late 20th Century Western Drawings. (1970 - 2000)"
The traditionally prolific and virtuous imaginary of nature, as an endless abundance and source of all secrets and wonders, has changed into an apocalyptic vision of the end of life, as we know it.
The increasing concern about the fast degradation of nature has led to a civil and political conscience around ecology, as an avant-garde ethical and cultural posture. From the point of view of the ecology, seen through the lens of the Arts, there has been an attitude towards the re-interpretation of the natural, not by means of the figurative imitation, but as a cultural elliptic co-narrative.
This is the reason why, the presence of animals in the art production of the last decades of the 20th Century poses some interesting paradoxes. Animals are not the central theme of this practice; actually, they never were: they are agents of estrangement and decentralization. They are an apparently banal subject, glorified in history, but put aside along with mythologies and ancestral utopias. The great imaginary from zoology, clearly bonded to cult and ceremonial practices, has lost its pertinence in a technophile and media-influenced world. On the other hand, the "savage" space of the animal realm, as pure and natural instinct, has been neutralized by a psychoanalytic practice. It is proper to the current civilization to find no other references that those anthropocentric. The animal statutory has been subdued to domestication and incorporated to the dynamics of the production line. The animal is excessive and a left over: it is an irrational supplement without logic in the design of the future civilization.
The spiritual sphere of contemporary art is weak because the society that produces it bears a confused soul. Animals' form, traditionally depicted as a knowledge and value archetype, appears to us the stranger the more controllable and disintegrated they seem. To look for an appropriate space for their artistic manifestation obliges a reconsideration of all the cultural processes we use to interpret the world as a place where a spiritual dimension is still possible.
Books on the topic "Animal Aesthetic"
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1945-, North Ian, and Contemporary Art Centre of South Australia., eds. Visual animals: Crossovers, evolution and new aesthetics. Parkside, SA: Contemporary Art Centre of South Australia, 2007.
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Eibl, Karl. Animal Poeta: Bausteine der biologischen Kultur- und Literaturtheorie. Paderborn: Mentis, 2004.
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Of birds, whales, and other musicians: An introduction to zoomusicology. Scranton: University of Scranton Press, 2009.
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Scharfstein, Ben-Ami. Tsiporim, pilim ṿe-omanim aḥerim: Hirhurim ʻal omanut baʻale-ḥayim ṿi-yeladim. Tel Aviv: Ḥargol, 2007.
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Langford, Martha. Anima mundi: Still life in Britain. Ottawa: Canadian Museum of Contemporary Photography, 1989.
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Quando la musica è bestiale per davvero: Studiare e capire la zoomusicologia. Roma: Aracne, 2011.
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Women, destruction, and the avant-garde: A paradigm for animal liberation. Amsterdam: Rodopi, 2012.
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Patricia, Pérez, ed. Arquitectura mineral: Analogías entre el mundo animal y la arquitectura contemporánea. Barcelona: Parramón, 2007.
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Burton, Silver, ed. Why Cats Paint: A Theory of Feline Aesthetics. Berkeley, CA, USA: Ten Speed Press, 1994.
Find full textBook chapters on the topic "Animal Aesthetic"
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Lanier, Lee. "Lighting an Animated Animal Character." In Aesthetic 3D Lighting, 185–98. New York : Routledge, Taylor & Francis Group, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315185279-10.
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Broch, Trygve B. "Object." In The Ponytail, 27–48. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-20780-8_2.
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AbstractAnalogies are elementary forms of meaning-making. In this chapter, I explore how the ponytail hairdo is imbued with meanings as we ascribe animal traits to people and human characteristics to animals to create “objective” or “natural” realities. The cultural creation of the natural through analogies, resemblances, and inductive reasoning makes symbolic work disappear from aesthetic surfaces, yet survive in an invisible cultural depth, reappearing in Freudian slippages and affective snippets of text. I show how meaning moves through the sensual materiality of the ponytail, and this aesthetic surface awakens a cultural depth to mediate social relations. The ponytail—or horsetail, as it is called in Norwegian—exudes kinetic energy that is recaptured on the catwalks of global fashion capitals. Like a horse’s tail provides balance for the animal, the ponytail balances the wearer’s stride and allows a feeling of movement, being moved and passionately moving others. The ponytail moves to move us.
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Rowe, Bradley. "Challenging Anthropocentrism in Education: Posthumanist Intersectionality and Eating Animals as Gastro-Aesthetic Pedagogy." In The Educational Significance of Human and Non-Human Animal Interactions, 31–49. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/9781137505255_3.
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Bleakley, Alan. "Aesthetic Animals." In The Animalizing Imagination, 26–50. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230287259_2.
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Barnett, Vincent. "Bowerbird Aesthetics and Cognition." In Encyclopedia of Animal Cognition and Behavior, 1–7. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-47829-6_2112-1.
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Barnett, Vincent. "Bowerbird Aesthetics and Cognition." In Encyclopedia of Animal Cognition and Behavior, 877–83. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-319-55065-7_2112.
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Swale, Alistair D. "Introduction." In Anime Aesthetics, 1–16. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137463357_1.
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Swale, Alistair D. "R. G. Collingwood and a “Philosophical Methodology” of Aesthetics." In Anime Aesthetics, 17–38. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137463357_2.
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Swale, Alistair D. "Anime as Craft." In Anime Aesthetics, 39–58. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137463357_3.
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Swale, Alistair D. "Anime as Representation." In Anime Aesthetics, 59–77. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137463357_4.
Full textConference papers on the topic "Animal Aesthetic"
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Burmakina, E., and Ekaterina Hazova. "LANDSCAPE-ENVIRONMENTAL ASSESSMENT OF THE PARK TERRITORY OF CULTURAL HOUSE 50-YEARS OF OCTOBER, VORONEZH." In Modern problems of animal and plant ecology. FSBE Institution of Higher Education Voronezh State University of Forestry and Technologies named after G.F. Morozov, 2021. http://dx.doi.org/10.34220/mpeapw2021_103-107.
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The results of the landscape-ecological assessment of the park territory of cultural house 50-years of October in Voronezh are presented. This work allows you to determine the state of the object for its further use. This facility is located in the South-West district of the city and is used for recreation of the local population. The indicators of landscape-ecological assessment were determined: type of landscape, type of spatial structure, sanitary-hygienic assessment, aesthetic assessment, stage of digression. The results of the research showed that the site is in a relatively good sanitary condition, the indicator of aesthetic assessment is at a fairly high level. We also studied the plant species, which grow on the object and their condition. The assortment available in the park is represented by the list of woody plants: Robinia pseudoacacia, Betula pendula, Ulmus pumila, Acer platanoides, Tilia cordata, Populus alba, Populus pyramidalis, Sorbus aucuparia.All woody plants in the park is in good and satisfactory condition. Based on the results of the assessment of the territory, it is possible to outline design measures that will improve the sanitary, hygienic and aesthetic conditions at the facility. There is a need to design small forms of architecture (benches, urns), organize additional planting of trees, pick up flowering shrubs and create flower beds to enhance the attractiveness of the object.
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Santaoja, M., and M. Niva. "43. The missing animal in entomophagy – ethical, ecological and aesthetic considerations on eating insects." In 6th EAAP International Symposium on Energy and Protein Metabolism and Nutrition. The Netherlands: Wageningen Academic Publishers, 2019. http://dx.doi.org/10.3920/978-90-8686-892-6_43.
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Dodgson, Neil A. "Abstract depiction of human and animal figures." In Expressive '18: Joint Symposium on Computational Aesthetics and Sketch Based Interfaces and Modeling and Non-Photorealistic Animation and Rendering. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3229147.3229152.
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Sánchez López, José. "Inframedia: barreras infraestructurales y ecologías online en la web 2.0." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.4896.
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Nuestra inteligencia colectiva y con ella nuestro posicionamiento “glocal” dependen estrechamente de la operación a gran escala de los media existentes en las redes (motores de búsqueda, redes sociales, wikis etc.). El origen digital de tales medios, y su dependencia de las ciencias de la computación las hace adoptar formas distintivas en relación específica con el diseño de software. Dada esta situación, es importante señalar la condición limitada, particular a nuestro contacto fenomenológico y cognitivo con las infraestructuras de red que lo soportan. El presente trabajo trata de resumir una investigación personal sobre la visualidad en las redes, que tiene por objetivo proveer de contexto teórico a una próxima experimentación artística en el ámbito de los nuevos medios. Ésta, órbita alrededor de una serie de cuestiones que surgen en relación con la noción de “interfaz cibernética”, entendida como la parte visible de todo un complejo infraestuctural. Se destacan cuatro principales focos de incidencia: Valoración de la estructura en capas de abstracción funcional, propias de la gestión mediada: arquitectura, protocolos y algoritmos que componen la “vida” tecno-material de la red. Atención al término acuñado por James Bridle: “New Aesthetics”, y la iniciativa de señalar la creciente autonomía de lo digital en su vocación de referir lo real desde sus propios términos. Circunstancia puesta en relación con las inquietudes de la sociología contemporánea por considerar la implicación de los agentes no-humanos en las dinámicas sociales propias de la ecología on-line. La doble acepción de “colectividad” en las redes: la generación de contenidos por parte de usuarios, y su oscilación entre lo procomún y la recolección de datos. Impacto sobre casos concretos: prácticas artísticas contemporáneas sujetas al contexto digital desde sus estrategias formales, sea en complicidad, o en actitud de resistencia en un ejercicio de contra-diseño.http://dx.doi.org/10.4995/ANIAV.2017.4896
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Andaní, Ángela Bonet. "Nuevos horizontes especulativos." In V Congreso Internacional de Investigacion en Artes Visuales ANIAV 2022. RE/DES Conectar. València: Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/aniav2022.2022.15515.
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La promesa especulativa de la nueva estética es el título de un artículo de Luke Turner en el blog “Notas sobre el Metamodernismo” (2012). Turner es el autor del manifiesto del metamodernismo, una corriente estética que recoge la estructura del sentimiento más allá del posmodernismo, y que intenta comprender, asimilar y describir las oscilaciones estéticas de la práctica artística y de la cultura visual en la actualidad. En torno a dicha corriente se está manifestando, de una manera necesaria, la posibilidad de un nuevo orden de las cosas en la cultura contemporánea y, llevando sus tentáculos más allá, en nuestra sociedad. Así, en un momento de horizontes especulativos abiertos, una filosofía, el realismo especulativo -OOO (ontología orientada a los objetos)- de Graham Harman, avala la posibilidad de concebir la realidad y, con ella, la causalidad desde nuevos puntos de vista, sin precedentes. Abandonar el antropoceno y comenzar a escuchar otras formas de inteligencia: la inteligencia artificial, o abrir la posibilidad a la escucha de la inteligencia de la naturaleza: primates, cefalópodos, árboles, piedras, madera… Para ilustrar estos cambios ontológicos a nivel artístico propondremos el estudio del caso de James Bridle como representante de The New Aesthetic. Una etiqueta que recapitula el imaginario visual donde se interrelaciona la superhibridación del imaginario colectivo en la era digital. Y por otra parte, nos acercaremos a la obra musical de Holy Herndon, investigadora sonora que, a través de la electrónica, explora y asimila las nuevas tendencias artísticas relacionadas con la inteligencia artificial. Spawn, un sistema de grabación inteligente creado a partir un aprendizaje automático, da lugar a conjuntos de datos a través de los cuales se genera la pista sonora. Ambos artistas tuvieron una charla fructífera en Berlín en verano de 2019 sobre la Inteligencia Artificial (AI), la naturaleza de la inteligencia y sus implicaciones con la evolución, la cultura y el control del poder.