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Snaebjornsdottir, Bryndis and Wilson, Mark (2012) What We Can Do: Art Methodologies and Parities in Meeting

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Snaebjornsdottir, Bryndis and Wilson, Mark (2012) What We Can Do: Art Methodologies and Parities in Meeting View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Insight - University of Cumbria Snaebjornsdottir, Bryndis and Wilson, Mark (2012) What we can do: art methodologies and parities in meeting. In: Blake, Charlie, Molloy, Claire and Shakespeare, Steven, (eds.) Beyond human: from animality to transhumanism. Bloomsbury Continuum, London, pp. 77-96. Downloaded from: http://insight.cumbria.ac.uk/1260/ Usage of any items from the University of Cumbria Repository ‘Insight’ must conform to the following fair usage guidelines: Any item and its associated metadata held in the University of Cumbria Institutional Repository (unless stated otherwise on the metadata record) may be copied, displayed or performed, and stored in line with the JISC fair dealing guidelines (available at: http://www.ukoln.ac.uk/services/elib/papers/pa/fair/) for educational and not-for-profit activities provided that • the authors, title and full bibliographic details of the item are cited clearly when any part of the work is referred to verbally or in the written form a hyperlink/URL to the original Repository record of that item is included in any citations of the work • the content is not changed in any way • all files required for usage of the item are kept together with the main item file. You may not • sell any part of an item • refer to any part of an item without citation • amend any item or contextualise it in a way that will impugn the author/creator/contributor’s reputation • remove or alter the copyright statement on an item. The full policy can be found at http://insight.cumbria.ac.uk/legal.html#section5, alternatively contact the University of Cumbria Repository Editor by emailing [email protected]. Beyond Human: From Animality to Transhumanism Edited by Steven Shakespeare Published by Continuum Bryndís Snæbjörnsdóttir and Mark Wilson 0 What We Can Do: Art Methodologies and Parities in Meeting A toe in muddy waters The equally manifest senses of purpose, enthusiasm and urgency generated within animal studies groups internationally over the last few years have led many to adopt a position of moral virtue and to an acceptance of greater commonality between human and non-human animals, bound up in a broad set of sensibilities kindled by the residual sparks of late 20th Century race, gender and sexuality conflicts. Much has been written and much read and from this basis and a back catalogue of theoretical discourse has provided the framework not only of thought, but also of response and discursive action. The irony in this seems to be that in sanctioning a dependency on the same learned and developed faculties, (being those of language), the absence of which in other species has been used traditionally to demonstrate our distance from and superiority to non-human animals, we continue to distinguish and distance ourselves from, rather than draw any closer to our subject and by so doing compromise the possibility of the ‘otherness’ of understanding that might otherwise accrue around alternative approaches. Where such approaches are attempted, the results are often dismissed as being fanciful – impossible to evaluate on the simple grounds of their intrinsic lack of accountability by means of rational analysis. Whilst it is perfectly possible to imagine a useful analysis of an ‘other’ understanding through language, such understanding may prove only to be achievable in the first instance by some other means – through for instance the honing and application of intuition and instincts – faculties which although they may vary in degree and mechanics between species, nevertheless are shared tools by which all species may sense and ‘read’ the world. In relation to anthropocentric perspectives and human superior capacity of self awareness and linguistic expression it is worth noting recent research on the brains of whales particularly humpback and finback as it has revealed a close similarity to the structures of the human brain. Large quantities of spindle cells considered to link us humans to a higher cognitive awareness and allow us to feel love and suffer emotionally have been identified (Patrick R. Hof, 2006). Hof quoted in the New Scientist says: “We must be careful about 1 anthropomorphic interpretation of intelligence in whales" (Coghlan, 2006). Considering that these faculties have developed in whales for considerably longer time than in humans could thus possibly mean that their skills of communication including the application of intuition and instincts are developed beyond human understanding. These scantily understood faculties within ourselves, despite their sophistication and precision are indeed subjugated and marginalised by our dependence on ‘our’ language and as a consequence whilst continuing to serve us and our survival in more ways daily than is comprehendible, are all too often considered to be it seems, residual, archaic and primitive. Art practice, that positions itself between subject and audience, in order to raise questions about routine behaviour and habitual thought, offers a way forward which may fly in the face of acceptable logic but in so doing, asks disturbing and/or constructively disorienting questions. Beyond the strictures of the spoken and written word, its capacity is to deploy image, sound or more generally, the speculative juxtaposition of disparate elements and to gather and compare observations through an encounter. It does not aim to find reductive solutions or conclusions but to instigate the possibility that we, individually or collectively, may practically look again and see with new eyes how things in the world are configured. In our own (Snæbjörnsdóttir/Wilson’s1) art practice we apply relationality as a keystone of our methodology to encourage within the viewer/audience, a greater sense of connectivity and hopefully as a consequence, a more holistic understanding. In this respect we acknowledge the philosophy of the eco feminist Val Plumwood as exercised in her article Being Prey (O´Reilly, 2000). Here she places human animals on a par with non-human animals in that just as other species are prey to us, humans may equally be objectified as prey, from the perspective of the animal. Similarly, Bruno Latour (2004) in his theories on the collective, proposes that we turn the clock back to a time before humans began classifying some beings as belonging to nature and others as belonging to societies or culture. In defining non- humans, amongst other phenomena he includes; species, water currents, machines, documents and so on and proposes in his Actor Network Theory or ANT that human and non-human be treated alike. His theories and writings have also contributed to our keenness to promote relationality as being part of our art practice. The themes we explore in our artwork therefore and indeed which are developed in part in this paper, are intended to clear a space for the conceptualization of a new lens by which such scrutiny and analysis 1 Snæbjörnsdóttir/Wilson is the collaborative art practice of the authors, Bryndís Snæbjörnsdóttir and Mark Wilson. Their art practice is research-based and relational. 2 might be conducted. In fact in contemporary art in general, the presentation of an effective framework by which questions are configured is often the most specific intention, allowing a plurality of responses to occupy the vacuum that is thereby created. In this article we hope to unravel the methodologies employed by our collaborative practice in which we propose challenges to the anthropocentric systems of convenience that sanction a daily acceptance of loss-through-representation, suggesting instead as a way of investigation, the alternative idea of ‘parities in meeting’. Furthermore we hope to explore what drives our shifting regard for non-human animals (such as it is), the degree to which this too is ultimately self-serving and whether it be a fleeting or a growing phenomenon. Through the work we ask to what extent any true or ‘better’ understanding of non-human animals is related to closeness, empathic alignment or indeed immersion with those we have traditionally regarded as the ‘other’. And in ‘looking’ at animals, are we looking towards a closer understanding and engagement with non-human species or are we really only productively able to scrutinize ourselves as detached, rather than participatory observers? The human supremacist: a journey into darkness Maehle and Tröhler (1987) recorded that the experiments of one of Vesalius’ pupils, Realdo Colombo (1516–59), involving pregnant dogs, were greatly admired by members of the Catholic clergy: Colombo pulled a foetus out of the dog’s womb and, hurting the young in front of the bitch’s eyes, he provoked the latter’s furious barking. But as soon as he held the puppy to the bitch’s mouth, the dog started licking it tenderly, being obviously more concerned about the pain of its offspring than about its own suffering. When something other than the puppy was held in front of its mouth, the bitch snapped at it in a rage. The clergymen expressed their pleasure in observing this striking example of motherly love even in the ‘brute creation’ (Maehle N.R, 1987,18) In relation to accounts such as these which in today’s terms, for many of us seem unequivocal in their cruelty, we would want to orientate the reader at some distant point on a spectrum of human/non-human animal encounters – to begin in other words with 3 closeness of kinship rather than with the objectification that is required in order to enact such cruelty and abuse. When imagining encounters of any kind in respect of other species it may be useful to re- examine definitions in order for us to clarify, the nature of what is going on. We need to look at issues such as contrivance and spontaneity. In terms of the encounter; who if any has arranged the meeting; are both parties equally caught unawares – has it happened by chance? To answer these questions considerations regarding captivity, domestication, wildness and the parameters of contact might be helpful.
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