#animal representation

[miamaimania]

"Spider" (2021) - A whimsical balloon sculpture transforms a spider into a playful, tactile form.

[novemberhope]

11: SYMBOLISM/THEMES

what represents your oc? is there a specific colour you associate them with, or a specific animal?

Neri - pale blue / betta fish Niara - light green / emerald swallowtail Azura - white / arctic fox Cordelia - black / bombay cat Ellaria - green / splendid fairy wren Ginny - red / leopard seal Midori - blue / crested ibis Kat - purple / lynx Star - orange / prairie dog

Join OC-tober! Learn more in this post!

[chourzahi]

Statut de AlMokrani à Medjana à Bordjbouaréridj

[artstore-pl]

Pyotr Konchalovsky Forging of Buffalo Study 1927

[notesonfilm1]

POFCRIT PODCAST 2024: Rowan Abbott on EO (Jerzy Skolimowski, 2022)

In this podcast, we talk about the 2022 Jerzy Skolimowski film, EO. The film is a sweeping picaresque narrative following the tumultuous life of a former circus donkey named EO, who is set free into rural Poland, a place that can’t seem to decide what purpose a donkey still has for humans. This wholly unique film is a landmark in animal representation on screen, being one of the most successful…

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[sovereign-of-rust-and-salt]

I want to interact with you!

Send me an * and I’ll tell you what animal I think represents your blog

[telepresent-animal]

Pages from the "Cabinet of Natural Curiosities" reveal some cute human faces etched into drawings of chrysalises. And a snake with a face on it's back. There might be some relation to truth. The book text states that,"The elements important for human identification of the animal are rendered better and considerably more clearly in the picture than in the actual specimen itself. This pictorial abstraction may also be understood as one way of taming the multifariousness of nature". 

[anthropo-eccentrism]

Zootrope

Allow me to repurpose this word to speak about figurative turns between the living and the nonliving, the animal, the machine, and the human.  Like the nineteenth-century parlour toy, the various creatures that inhabit our literary, philosophical, and technoscientific traditions demonstrate an optics and an aesthetics of animation.  The various foxes, mice, dogs, scorpions, and turtles that star in fables; the hedgehogs, larks, and magpies that lurk in the thought of Derrida, Heidegger, Descartes, and so on; the tortoises, moths, boids, and insects that emerge from robots labs—it is through their behaviours, performances, and techniques that one may be persuaded to see or feel that something has life or is, on the other hand, lifeless.  The concern for me in the rhetorical play of the zootrope has to do with the discourse of the animal and the machine, which articulates the contours of the boundaries between life and nonlife through those vast, arbitrary, and aggressive taxonomical generalizations.  For this discourse, so deeply rooted in the imagination of Western modernity, distinguishes these two enormous groups only to elide them in the biotechnological worldview that persists from Cartesian mechanism through to the informatic and computational paradigms of contemporary molecular biology.  A zootrope is thus a plaything for experimenting discursively with the modern limits of the animate and the inanimate, and for considering the very serious implications such experimentation holds for the lives of humans and nonhumans alike.