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Figure 4. David Green, Frame from ‘Parietal’, 2017, a single channel video, from the video installation, Emergence. Not Know What It Is |Am Like'?, writing that the wild animal exterior is presented as the frontier that can never be crossed (even as we dolly in, slowly, wistfully, until we are close enough to see our own technological manifestation reflected in their full screen eye). We bear down on them. We know they can see us. Yet, they are inscrutable; we cannot know what they make of us, or what it is like to be them. Noting that wild animals never welcome our attention, Burt describes John Huston’s film version of Moby Dick'? as an example of a narrative built entirely around an intimate relationship between a man and an animal. Despite the complex anthropomorphic intentions and emotions projected onto a single white whale by the bitter Ahab, their on-film relationship can only play out as a collision of surfaces.

Figure 4 David Green, Frame from ‘Parietal’, 2017, a single channel video, from the video installation, Emergence. Not Know What It Is |Am Like'?, writing that the wild animal exterior is presented as the frontier that can never be crossed (even as we dolly in, slowly, wistfully, until we are close enough to see our own technological manifestation reflected in their full screen eye). We bear down on them. We know they can see us. Yet, they are inscrutable; we cannot know what they make of us, or what it is like to be them. Noting that wild animals never welcome our attention, Burt describes John Huston’s film version of Moby Dick'? as an example of a narrative built entirely around an intimate relationship between a man and an animal. Despite the complex anthropomorphic intentions and emotions projected onto a single white whale by the bitter Ahab, their on-film relationship can only play out as a collision of surfaces.

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Fisure |.A multiple exposure photo of flying pelican taken by Etienne-Jules Marey circa 1882. https://upload.wikimedia.org/wikipedia/commons/e/e0/Marey_-_birds.jpg
Figure 2. David Green, Emergence, 2017, partial view video projection installation, Dunedin School of Art Gallery. Photograph: Mark Bolland. The idea of the soul, of course, is at the heart of much of religious thought in countless permutations, but from the anthropocentric revolution at the heart of the Enlightenment, as soon as the Cartesian apartheid split the human organism into body and soul, we began to break earth on the superhighway to the Great Acceleration. The other animals paid first and most dearly when they lost their souls and transformed into mere mechanisms in the eyes of Western culture.
Figure 2. David Green, Emergence, 2017, partial view video projection installation, Dunedin School of Art Gallery. Photograph: Mark Bolland. The idea of the soul, of course, is at the heart of much of religious thought in countless permutations, but from the anthropocentric revolution at the heart of the Enlightenment, as soon as the Cartesian apartheid split the human organism into body and soul, we began to break earth on the superhighway to the Great Acceleration. The other animals paid first and most dearly when they lost their souls and transformed into mere mechanisms in the eyes of Western culture.
Figure 3. Chauvet Cave drawings of rhinoceros. Screenshot from Werner Herzog’s film Cave of Forgotten Dreams.’ PARIETAL ART As | paired back images from the ninety-year-old, compressed, and otherwise degraded film footage captured in colonial Rhodesia, now Zimbabwe, | was reminded of the images captured in Werner Herzog’s film shot in the Chauvet Caves.’
Figure 3. Chauvet Cave drawings of rhinoceros. Screenshot from Werner Herzog’s film Cave of Forgotten Dreams.’ PARIETAL ART As | paired back images from the ninety-year-old, compressed, and otherwise degraded film footage captured in colonial Rhodesia, now Zimbabwe, | was reminded of the images captured in Werner Herzog’s film shot in the Chauvet Caves.’
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Animals in Contemporary ArtMax ErnstArt and the Anthropocene
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