Making Sense? Visual Cultures Of De-Extinction And The Anthropocentric Archive,
2017
University of Canterbury, New Zealand
Making Sense? Visual Cultures Of De-Extinction And The Anthropocentric Archive, Rosie Ibbotson
Animal Studies Journal
This article examines the operations of visual representations within discourses advocating deextinction. Images have significant agency within these debates, yet their roles, and the assumptions they naturalise, have not been critiqued. Demonstrating the affective, triumphant and subversive potentials of these representations, this article then turns to the implications of relying on images made by and for humans within the expressly multispecies space of de-extinction. Discourses around de-extinction tend to place undue weight not just on how candidate species look(ed), but on how they appear to human eyes after the mediating processes of representation, and the notion of recreating a nonhuman …
We Are Not Equals: Socio-Cognitive Dimensions Of Lion/Human Relationships,
2017
University of Notre Dame
We Are Not Equals: Socio-Cognitive Dimensions Of Lion/Human Relationships, Marcus Baynes-Rock, Elizabeth Marshall Thomas
Animal Studies Journal
This article documents a peaceful, albeit tense relationship between Ju/’hoan and lions in the Nyae Nyae region of the Kalahari during the 1950s.1 Unlike contexts where lions kill livestock and people and are persecuted in return, the Ju/’hoan and lions of the Nyae Nyae shared waterholes without conflict. The recorded and oral histories, and cultural traditions of the Ju/’hoan suggest that this peaceful relationship had evolved over centuries. Lions were recognised as powerful creatures but unlike hyenas and leopards in the region, they were not killers of humans. Lions were seen as social superiors, and addressed with respect but this …
[Review] Robert Garner And Siobhan O’Sullivan (Eds). The Political Turn In Animal Ethics. Rowman And Littlefield, 2016.,
2017
Queen's University, Canada
[Review] Robert Garner And Siobhan O’Sullivan (Eds). The Political Turn In Animal Ethics. Rowman And Littlefield, 2016., Will Kymlicka
Animal Studies Journal
In the 40 years since Peter Singer’s Animal Liberation, philosophers have developed a rich and sophisticated literature on the ethics of how we treat animals. Much of this literature has implicitly assumed that our ethical duties to animals are a matter of public responsibility, not merely personal ethics. While modern societies operate with a division of moral labour – leaving some ethical responsibilities to individuals while others fall upon the state – animal ethicists have typically assumed that our most important ethical responsibilities to animals are indeed a legitimate matter for public regulation and state law.
[Review] Peta Tait. Fighting Nature: Travelling Menageries, Animal Acts And War Shows. Sydney University Press, 2016.,
2017
University of Wisconsin-Milwaukee
[Review] Peta Tait. Fighting Nature: Travelling Menageries, Animal Acts And War Shows. Sydney University Press, 2016., Nigel Rothfels
Animal Studies Journal
On October 23, 1903, William Temple Hornaday, the director of the New York Zoological Park, wrote to a Mr C. L. Williams, then responsible for ‘Hagenbeck’s Animal Show,’ which was touring the United States. At the time, the show was to be seen at the Grand Opera House in Philadelphia, Pennsylvania, but it was missing one of its star performers, the famous lion-tiger hybrid ‘Prince’ who had been part of the show for over a decade, making his debut in the United States as part of Hagenbeck’s exhibit at the World’s Columbian Exposition in Chicago in 1893. Prince was in …
Sun Path,
2017
Boise State University
Sun Path, Brandon Washington
Journey's End (2017) - Lighting
The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.
Storyboard: Act I, Scene I,
2017
Boise State University
Storyboard: Act I, Scene I, Brandon Washington
Journey's End (2017) - Lighting
The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.
Lighting Section: Circle Moment Front Light,
2017
Boise State University
Lighting Section: Circle Moment Front Light, Brandon Washington
Journey's End (2017) - Lighting
The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.
Research Analysis: Act Ii, Scene I,
2017
Boise State University
Research Analysis: Act Ii, Scene I, Brandon Washington
Journey's End (2017) - Lighting
The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.
Storyboard: Act Iii, Scene Ii,
2017
Boise State University
Storyboard: Act Iii, Scene Ii, Brandon Washington
Journey's End (2017) - Lighting
The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.
Electrical Equipment List,
2017
Boise State University
Electrical Equipment List, Brandon Washington
Journey's End (2017) - Lighting
The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.
Wish List,
2017
Boise State University
Wish List, Brandon Washington
Journey's End (2017) - Lighting
The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.
Storyboard: Act Ii, Scene I,
2017
Boise State University
Storyboard: Act Ii, Scene I, Brandon Washington
Journey's End (2017) - Lighting
The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.
Research Analysis: Act Iii, Scene Ii,
2017
Boise State University
Research Analysis: Act Iii, Scene Ii, Brandon Washington
Journey's End (2017) - Lighting
The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.
Research Analysis: Act Iii Scene I,
2017
Boise State University
Research Analysis: Act Iii Scene I, Brandon Washington
Journey's End (2017) - Lighting
The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.
Scene Breakdown,
2017
Boise State University
Scene Breakdown, Brandon Washington
Journey's End (2017) - Lighting
The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.
Lighting Section: Chilling Toner Front Light,
2017
Boise State University
Lighting Section: Chilling Toner Front Light, Brandon Washington
Journey's End (2017) - Lighting
The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.
Research Analysis: Act Ii, Scene Ii,
2017
Boise State University
Research Analysis: Act Ii, Scene Ii, Brandon Washington
Journey's End (2017) - Lighting
The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.
Electrical Equipment List,
2017
Boise State University
Electrical Equipment List, Brandon Washington
The Flick (2017) - Lighting
The realistic environment, story, dialogue, and characters fed the ideas of light that would help tell this story. Later in the show, the movie theater called “The Flick” is taken under new ownership and is remodeled into “The Venue.” Changes in color accents and temperature of light within the theater provided us with the larger visual switch and passage of time that happens towards the last quarter of the play.
Channel Hookup,
2017
Boise State University
Channel Hookup, Brandon Washington
Journey's End (2017) - Lighting
The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.
Rhythm Analysis,
2017
Boise State University
Rhythm Analysis, Brandon Washington
The Flick (2017) - Lighting
The realistic environment, story, dialogue, and characters fed the ideas of light that would help tell this story. Later in the show, the movie theater called “The Flick” is taken under new ownership and is remodeled into “The Venue.” Changes in color accents and temperature of light within the theater provided us with the larger visual switch and passage of time that happens towards the last quarter of the play.
