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Books on the topic 'Animal Aesthetic'

Author: Grafiati

Published: 10 March 2023

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1

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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2

L' anima della bellezza. Milano, Italy: FrancoAngeli, 2008.

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3

Eibl, Karl. Animal Poeta: Bausteine der biologischen Kultur- und Literaturtheorie. Paderborn: Mentis, 2004.

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4

Of birds, whales, and other musicians: An introduction to zoomusicology. Scranton: University of Scranton Press, 2009.

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5

Scharfstein, Ben-Ami. Tsiporim, pilim ṿe-omanim aḥerim: Hirhurim ʻal omanut baʻale-ḥayim ṿi-yeladim. Tel Aviv: Ḥargol, 2007.

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6

Langford, Martha. Anima mundi: Still life in Britain. Ottawa: Canadian Museum of Contemporary Photography, 1989.

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7

Quando la musica è bestiale per davvero: Studiare e capire la zoomusicologia. Roma: Aracne, 2011.

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8

Women, destruction, and the avant-garde: A paradigm for animal liberation. Amsterdam: Rodopi, 2012.

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9

Patricia, Pérez, ed. Arquitectura mineral: Analogías entre el mundo animal y la arquitectura contemporánea. Barcelona: Parramón, 2007.

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10

Burton, Silver, ed. Why Cats Paint: A Theory of Feline Aesthetics. Berkeley, CA, USA: Ten Speed Press, 1994.

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11

Burton, Silver, ed. Why cats paint: A theory of feline aesthetics. London: Weidenfeld & Nicolson, 1994.

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12

Heather, Busch, ed. Why cats paint: A theory of feline aesthetics. Berkeley, Calif: Ten Speed Press, 2006.

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13

Busch, Heather. Why Cats Paint: A Theory of Feline Aesthetics. Berkeley: Ten Speed Press, 2006.

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14

Gregorat, Claudio. L' anima degli strumenti musicali: Genesi e morfologia. Torino: Centro scientifico editore, 1994.

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15

Anima e corpo dei luoghi: Incontri con James Hillman. Napoli: La scuola di Pitagora editrice, 2017.

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16

Weber, Julien. Donner sa langue aux bêtes: Poétique et animalité de Baudelaire à Valéry. Paris: Classiques Garnier, 2018.

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17

Drawing from nature. New York: Beech Tree Paperback Book, 1995.

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18

Arnosky, Jim. Drawing from nature. New York: Lothrop, Lee & Shepard Books, 1987.

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19

Patricia, Pérez, ed. Inspired by nature: Animals : the building/biology connection / Alejandro Bahamón, Patricia Pérez. New York: W.W. Norton, 2009.

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20

Engel, Sandy. The construction, aesthetics, and effects of lakeshore development: A literature review. [Madison, Wis.?]: Wisconsin Dept. of Natural Resources, 1998.

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21

Animality in British Romanticism: The aesthetics of species. New York: Routledge, 2012.

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22

Schimmel, Schim. Our home, too: The environmental visionary art of Schim Schimmel. Canoga Park, Calif. (9002 Eton Ave., Canoga Park 91304): Collectors Editions, 1993.

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23

Federation, National Wildlife, ed. Wild and crafty. Philadelphia, PA: Chelsea House Publishers, 1999.

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24

Aesthetic Animal. Oxford University Press, 2018.

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25

Hogh-Olesen, Henrik. The Aesthetic Animal. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190927929.001.0001.

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The Aesthetic Animal answers the ultimate questions of why we adorn ourselves; embellish our things and surroundings; and produce art, music, song, dance, and fiction. Humans are aesthetic animals that spend vast amounts of time and resources on seemingly useless aesthetic activities. However, nature would not allow a species to waste precious time and effort on activities completely unrelated to the survival, reproduction, and well-being of that species. Consequently, the aesthetic impulse must have some important biological functions. An impulse is a natural, internal behavioral incentive that does not need external reward to exist. A number of observations indicate that the aesthetic impulse is exactly such an inherent part of human nature, and therefore it is a primary impulse in its own right with several important functions. The aesthetic impulse may guide us toward what is biologically good for us and help us choose the right fitness-enhancing items in our surroundings. It is a valid individual fitness indicator, as well as a unifying social group marker, and aesthetically skilled individuals get more mating possibilities, higher status, and more collaborative offers. This book is written in a lively and entertaining tone, and it presents an original and comprehensive synthesis of the empirical field, synthesizing data from archeology, cave art, anthropology, biology, ethology, and experimental and evolutionary psychology and neuro-aesthetics.

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26

Basnett, Caleb J. Adorno, Politics, and the Aesthetic Animal. University of Toronto Press, 2021. http://dx.doi.org/10.3138/9781487541453.

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27

Adorno, Politics, and the Aesthetic Animal. University of Toronto Press, 2021.

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28

Blackice, Harry. Coloring Book Aesthetic Animal: Funny Coloring Animals Pages for Baby-2. Independently Published, 2019.

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29

Color, Advanced. Coloring Book Aesthetic Animal: Funny Coloring Animals Pages for Baby-2. Independently Published, 2019.

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30

Color, Creative. Coloring Book Aesthetic Animal: Christmas Book, Easy and Funny Animal Images. Independently Published, 2019.

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31

Color, Creative. Coloring Book Aesthetic Animal: Cute Christmas Animals and Funny Activity for Kids. Independently Published, 2019.

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32

Sheldon, Mante. Coloring Book Aesthetic Animal: Adorable Animal Designs, Funny Coloring Pages for Kids, Children. Independently Published, 2019.

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33

Mimo, J. K. coloring book aesthetic animal: Detailed Designs for Relaxation & Mindfulness. Independently published, 2019.

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34

Color, Creative. Coloring Book Aesthetic Animal: Creative Haven Christmas Inspirations Coloring Book. Independently Published, 2019.

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35

Hogh-Olesen, Henrik. An Animal in Search of Stimulation for Pleasure and Need. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190927929.003.0002.

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The chapter begins with the most basic driving forces behind the aesthetic impulse: the human animal’s ecological living conditions and our ultimate species characteristics as neophile and stimulation-seeking carnivore and food opportunist. Humans turn calorie intake into aesthetic activity, exploration, and play, instead of sleeping up to 16 hours a day as the big cats do after a successful hunt. Our stimulation-seeking nature and the concept of the optimal stimulation level (OSN) are mandatory for understanding the aesthetic impulse, that is, how and why the aesthetic forms change and develop, and why we are motivated toward art and aesthetics both as a species and as individuals.

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36

McMahon, Laura. Animal Worlds. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474446389.001.0001.

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Focusing on a recent wave of international art cinema, Animal Worlds offers the first sustained analysis of the relations between cinematic time and animal life. Through an aesthetic of extended duration, films such as Bestiaire (Denis Côté, 2012), The Turin Horse (Béla Tarr and Ágnes Hranitzky, 2011) and A Cow’s Life (Emmanuel Gras, 2011) attend to animal worlds of sentience and perception, while registering the governing of life through biopolitical regimes. Bringing together Gilles Deleuze’s writings on cinema and his reflections (with Félix Guattari) on animals, while drawing on Jacques Derrida, Jean-Christophe Bailly, Nicole Shukin and others, the book argues that these films question the biopolitical reduction of animal life to forms of capital, opening up realms of virtuality, becoming and alternative political futures.

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37

Rohman, Carrie. Nude Vibrations: Isadora Duncan’s Creatural Aesthetic. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190604400.003.0002.

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This chapter reads Duncan as a paradigmatic test-case for re-seeing the complexities of “naturalness” in the early twentieth century in relation to animality, performance, and an aesthetics that is specifically posthumanist. Rather than a naïve essentialist, Duncan should be viewed as a kind of vitalist who understood art as emerging from the vibrancy of matter itself and the drift or transfer of forces from earth to animal, from animal to human. By examining her animal and cosmic imagery and by discussing questions such as barefootedness and nudity as specific markers of animality in Duncan’s aesthetic, I frame her dance theory as exhibiting a sophisticated posthumanist artistic position. Recognizing these elements of her artistic theories helps us re-evaluate the way Duncan has been viewed because of the natural strains in her work, but also opens new lines of inquiry regarding animality and modern dance.

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38

Mimo, J. K. Coloring Book Aesthetic Animal: An Adorable Coloring Book with Cute Animals, Playful Kids, Best Magic for Children. Independently Published, 2019.

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39

Animal Coloring Book for Kids: Golden Retriever Vaporwave Aesthetic Art Style Fun, Easy, and Relaxing Coloring Book for Animal Lovers. Independently Published, 2020.

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40

Color, Creative. Coloring Book Aesthetic Animal: Christmas Coloring Pages for Boys, Girls, Toddlers Fun Early Learning. Independently Published, 2019.

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41

nature, A. walk in. Animal Series : Lions: Aesthetic Notebook with an Animal, Lined and Large, for Better Organization, for School Notes/ Business Writing, Diary, Journal. Independently Published, 2021.

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42

Rohman, Carrie. Afterword. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190604400.003.0007.

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The afterword reiterates it is time to risk a border-crossing in our view of art and see it as part of our shared affective becoming-excessive, as a fundamentally non-cognitive zone of self-othering that all animals engage, not just human animals. Art connects us profoundly to other creatures. The aesthetic capacity is animal; it doesn’t just approach animals or hold them in its purview. And if this is the case, then we can anticipate wholly new ways of viewing, inhabiting, and understanding artistic practices. The transporting power of art, the becoming-intense of aesthetics, the felt vibrations of aesthetic forces, and the taste for certain affect-circulating performances all have their “ancestral” lineage in animals’ aesthetic engagements. Bioaesthetics thus reminds us that the world of art includes hordes of other creatural actors and living assemblages—and that these beings have always been artistic.

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43

planners, flife journals flife journals &. I'd Rather Be Playing Animal Crossing: A Dotted Dot Grid Aesthetic Journal Notebook for Bullet Journaling. Independently Published, 2020.

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44

nature, A. walk in. Animal Series : Zebra: Aesthetic Notebook with an Animal, Squared Grid Pages and Large, for Better Organization, for School Notes/ Business Writing, Diary, Journal. Independently Published, 2021.

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45

Rohman, Carrie. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190604400.003.0001.

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Rather than looking primarily “beyond” ourselves to understand animals and aesthetics, I suggest we must also look “within” to identify a deep coincidence of the human and animal elaboration of life forces in bioaesthetic practices. A “bio-impulse” at the root of the aesthetic itself connects human artistic propensities to animality through strategies of excess, display, and intensification. Re-envisioning the aesthetic domain itself as trans-species in scope is ethically charged because our species must acknowledge the shared status of art-making, one of our most hallowed and formerly “exceptional” activities. In examining the work, theories, and art practices of Isadora Duncan, D. H. Lawrence, Virginia Woolf, Rachel Rosenthal, Merce Cunningham, and John Cage, I articulate ways to recognize and assess the entanglement of human and nonhuman aesthetic forces.

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46

Harver, Anna. Coloring Book for Kids : Vaporwave Dolphins Retro 80s Aesthetic Animal Coloring Book: For Kids Aged 3-8. Independently Published, 2020.

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47

Rohman, Carrie. Choreographies of the Living. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190604400.001.0001.

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Animals seem to be everywhere in contemporary literature, visual art, and performance. But though writers, artists, and performers are now engaging more and more with ideas about animals, and even with actual living animals, their aesthetic practice continues to be interpreted within a primarily human frame of reference—with art itself being understood as an exclusively human endeavor. The critical wager in this book is that the aesthetic impulse itself is profoundly trans-species. Rohman suggests that if we understand artistic and performative impulses themselves as part of our evolutionary inheritance—as that which we borrow, in some sense, from animals and the natural world—the ways we experience, theorize, and value literary, visual, and performance art fundamentally shift. Although other arguments suggest that certain modes of aesthetic expression are closely linked to animality, Rohman argues that the aesthetic is animal, showing how animality and actual animals are at the center of the aesthetic practices of crucial modernist, contemporary, and avant-garde artists. Exploring the implications of the shift from an anthropocentric to a bioaesthetic conception of art, this book turns toward animals as artistic progenitors in a range of case studies that spans print texts, visual art, dance, music, and theatrical performance. Drawing on the ideas of theorists such as Elizabeth Grosz, Jane Bennett, Gilles Deleuze and Félix Guattari, Jacques Derrida, Una Chaudhuri, Timothy Morton, and Cary Wolfe, Rohman articulates a deep coincidence of the human and animal elaboration of life forces in aesthetic practices.

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48

Lindqvist, Wilhelm. Animal 2022 Calendar: Aesthetic Floral January to December Crossing Noted New Dairy Horizons Daily 12 Months with Julian Date. Independently Published, 2022.

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49

Friesen, Paul R. Animal Rights : PEDIGREE or AESTHETICS: Is Breeding Animals for Aesthetics Ethical? Lulu Press, Inc., 2022.

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50

Lindqvist, Wilhelm. Animal 2022 Calendar: Aesthetic Square Book Calendar Crossing Remember New Books Horizons Daily with to-Do List Suit for Office. Independently Published, 2022.

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