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Introduction
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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.
Title: Introduction
Description:
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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