Category Archives: Nature/ Animal

Contemporary Art (9) Nathalie Djurberg

Nathalie Djurberg (b. 1978 BirthLysekil, Sweden) – young multimedia artist, lives and works in Berlin. She has won the Silver Lion for a Promising Young Artist at this year’s 53rd Venice Biennale. She was awarded for her multimedia installation “Experiment” (above – first photo shows the work still in progress).

Gothic, rich, visceral and provocative work of this girl could not to leave any mark on the viewers’ collective and individual consciousness. I met people who hated it, yet still remained under its dark spell respecting the way this artist had teased their common sense of civilized, dignified beings.

Djurberg’s theater of absurd – devil’s Eden of huge, colorful wax vegetation was seasoned with caves of screens where the true drama of life, lust, violence and death went on over and over again. Sounds were those of some tribal ‘mysteria’ inter-weaved with some primordial  sub-resonance of deep earthy tones which went on creeping into one’s unconscious. Child-like fascination with this chaotic, pre-rational microcosm battled with one’s impulse to treat the entire spectacle as pure fiction, a theater performance with no or little valid reference to the ‘real’ life outside that extravaganza…

Nothing more deceptive… Djurberg’s worldview is hyper-real and indulgent in parts – indeed – yet it’s much more realistic in its portrayal of the human nature and the Nature in itself than many works of so-called ‘Realism’ in art, where polite and dull landscapes or family portraits were given to the public as the ‘truthful’ depiction of life and man…

‘It’s a strange world’ and ‘Owls are not what they seem’… Let’s Breughel’s, Goya’s, the Romantics and the Surrealists’ dreams go on …

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Hans Bellmer – subverted fragility

Bellmer considered his works to be a conscious act of defiance against German fascism with its cult of “the perfect body”. He created and photographed two life-size pubescent dolls, which he distorted, dismembered, or menaced in sinister scenarios that sometimes included himself. These scenarios seemed to be nightmarish manifestations of a journey into his unconscious.

I keep wondering what was there exactly that this Polish-born (1902 Katowice), German-blooded and French-based & buried (1975 Paris) artist had been trying to mutilate and to sodomize with such a passion… One or the other part of his multi-national identity? Surreal tragedy of his paranoid, violent times? Or maybe ‘just’ the black hole of his own psyche, the Jung’s ‘shadow’ – that ‘invisible saurian tail that man drags behind him’ and dreads the confrontation more than anything in his life?

I won’t find out for sure…perhaps all the questions bear a seed of an answer in them… What I find fascinating about Bellmer’s artistic exploits is how his dolls can function ambiguously in two contrasting realms: one is the sphere of extremely wounded, violated innocence and fragility – a dismal betrayal, some bestial deeds… The other side of the same coin is these dolls’ hyper-sexual appeal as they are misogynously portrayed as alluring and dangerous man-eaters, who need to be tamed by dismantling them to pieces… Transgressive and sexist odor of this art is as important as the normality (so-called) it yearns for by subverting it.


Human-Animal Hybrid Prohibition Act of 2009

WASHINGTON – U.S. Senator Sam Brownback with Senator Mary Landrieu (D-LA) introduced the Human-Animal Hybrid Prohibition Act of 2009.


This legislation works to ensure that our society recognizes the dignity and sacredness of human life.

Creating human-animal hybrids, which permanently alter the genetic makeup of an organism, will challenge the very definition of what it means to be human and is a violation of human dignity and a grave injustice.

This legislation is both philosophical and practical as it has a direct bearing upon the very essence of what it means to be human, and it draws a bright line with respect to how far we can go in attempting to create new creatures made with genes from both humans and animals.(Brownback)


The Human-Animal Hybrid Prohibition Act would ban the creation of human-animal hybrids. Human-animal hybrids are defined as those part-human, part-animal creatures, which are created in laboratories, and blur the line between species. The bill is modest in scope and only affects efforts to blur the genetic lines between animals and humans. It does not preclude the use of animals or humans in legitimate research or health care where genetic material is not passed on to future generations, such as the use of a porcine heart valve in a human patient or the use of a lab rat with human diseases to develop treatments.

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The question is:

What is there exactly, that those politicians are so scared of?

What is that protected and inalienable: dignity and sacredness of human life – that human dignity – they are ready to fight for?

Just take away all the religious and – yes – philosophical life-jacket out of their reasoning…what we are left with?

A common, yet never -to -be -admitted fear of a pandemonium of being truly ‘human’ with the messed-up animal DNA?…


How is it then – are we so frail in our human identity, are we so insecure in it that we have to ban all the attempts of disturbing that ‘sacred’ purity of the dominating species?

But – if there is any system, any reality which knows only one ‘correct’ answer, only one possible scenario – is it not yet another case (or possibility, at least) of an intellectual, spiritual and – factual – dictatorship?

To dictate one and only solution to a highly intricate problem/phenomenon – this is all what this sort of politics are about…

What are they so scared of? What are we so scared of?

Ourselves?…



Human vs. Animal (3)

Captivating. Stirring. Uncanny. Bewitching. Bone-chilling.

Nature is genius even or – especially – when it goes wrong…

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Materials shown for educational and inspirational purposes. Double-click on vids to access their original upload and to learn about the authors.


Human vs. Animal (2)

Anthropomorphobia is the fear of acknowledging in nonhumans qualities we wish to consider only human. Anthropomorphobia is traditionally associated with anxiety responses to fictional animal characters displaying human behavior in works of fiction like “The Secret of NIMH”. However, with the development of androids and robots that mimic human behavior, the concept of anthropomorphobia has been adapted to include nonliving stimuli.

Interesting neologism with some profound possible consequences: the abject sphere of human psyche denying its roots which have been always deeply existing within the womb of Mother-Nature.

Humans excel in being humans; ‘humane’ means ‘divine’ – a step beyond this illuminated Olympian circle of ‘humanity’ – one is in a grave danger to slip into that chaotic inferno of natural world – of Beasts and Monsters, of Wild Creatures and unpredictable Elements…

Humans dread being ‘inhuman’ more than they dread being dead. There can be hardly any fear more deep-seated and penetrating and more repressed at the same time.

Yet – let’s beware my fellow human animals – ONLY what is HUMAN can be INHUMAN. In countless records – from simple myths and folk legends to complex ideologies and works of art – we are faced with the fact that the most alienating, monstrous forces are shown to reside not in some intergalactic spaces but deeply within the fabric of the human species itself…


Human vs. Animal (1)

Anthropogenic effects, processes or materials are those that are derived from human activities, as opposed to those occurring in biophysical environments without human influence.

The term is often used in the context of environmental externalities in the form of chemical or biological wastes that are produced as by-products of otherwise purposeful human activities.

The term anthropogenic designates an effect or object resulting from human activity. The term was first introduced as “anthropocene” in the mid-1970s by the atmospheric scientist Paul Crutzen.

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Anthropomorphism is the attribution of human characteristics to non-human creatures and beings, phenomena, material states and objects or abstract concepts. Examples include animals and plants depicted as creatures with human motivation able to reason and converse and forces of nature such as winds, rain or the sun. The term derives from the combination of the Greek ἄνθρωπος (ánthrōpos), “human” and μορφή (morphē), “shape” or “form”.

It is strongly associated with art and storytelling where it has ancient roots. Most cultures possess a long-standing fable tradition with anthropomorphised animals as characters that can stand as commonly recognised types of human behaviour.

Anthropomorphic animals are often used as mascots for sports teams or sporting events, often represented by humans in costumes.

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Anthropocentrism (from Greek: άνθρωπος, anthropos, “human being”; and κέντρον, kentron, “center”) or anthrocentrism is the belief that humans must be considered at the center of, and above any other aspect of, reality. This concept is sometimes known as humanocentrism or human supremacy. It is especially strong in certain religious cultures, such as the Old Testament stating that God gave man dominion over all other earthly creatures.

Anthropocentrism has been posited by some environmentalists,  in such books as Confessions of an Eco-Warrior by Dave Foreman and Green Rage by Christopher Manes, as the underlying (if unstated) reason why humanity dominates and sees the need to “develop” most of the Earth. Anthropocentrism has been identified by these writers and others as a root cause of the ecological crisis, human overpopulation, and the extinctions of many non-human species.

Anthropocentrism, or human-centredness, is believed by some to be the central problematic concept in environmental philosophy, where it is used to draw attention to a systematic bias in traditional Western attitudes to the non-human world. Val Plumwood has argued, that anthropocentrism plays an analogous role in green theory to androcentrism in feminist theory and ethnocentrism in anti-racist theory. Plumwood calls human-centredness “anthrocentrism” to emphasise this parallel.

In science-fiction, Humanocentrism is the idea that humans, as both beings and a species, are the superior sentients. Essentially the equivalent of race supremacy on a galactic scale, it entails intolerant discrimination against sentient non-humans, much like race supremacists discriminate against those not of their race. This idea is countered by Anti-Humanism. Such an ideology echoes a potential (but not certain) future for Neo-fascism (especially Neo-Nazism).

Humanocentrism is a central theme in the science-fiction comic book series Nemesis the Warlock in which humanity (here referred to as Terrans) have conquered much of the galaxy and seek to enslave all alien life. Humans are here depicted as antagonists, an unusual plot device in science-fiction.

In the Star Wars universe, the Galactic Empire is shown to be humanocentric, ruthlessly subjugating alien worlds, enslaving many of them, and only employing humans in its military. Grand Admiral Thrawn is a notable exception to this rule, likely because of both his immense talent and his partially human bloodline.

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Source: Wikipedia


Chaos Theory, Fractals and the complexity of existence…

I’ve promised you few notes on “Fractal Ontology”. Well, here they go…

The term bridges philosophical notion of ‘ontology’ -(Greek meaning: ‘theory/science of being’) with the phenomenon of ‘fractals’ taken from the natural sciences and maths. Going deeper – ‘fractals’ originate from the Chaos Theory, and this is where one probably should start all the explanations.

Chaos Theory is a dark horse of contemporary science. Two hundred years ago  it would be unthinkable – Newtonian perfectly organized world-view, with its deliciously logical mechanics, was too strong to allow any serious benefit of a doubt.  A hundred years ago Einstein’s genius abolished the rule of determinism, reductionism and objective knowledge in science – his contribution was so revolutionary and complex that it hasn’t been fully digested yet; practically, one can easy predict, that our 21st century would be a completely different fairy-tale if it wasn’t for that one man and his theories…

The ‘scandal’ of Chaos in science had started to develop in maths (with regular experiments being conducted in 1920s onwards), then had been followed by physics, chemistry and biology  – where scientists observed irregularities, even randomness in the dynamics of systems considered as ‘ordered’ by the traditional views. From various chemical reactions in micro and macro-cosmos to weather and climate – universe has started to display itself as – in fact – infinite chaos, rather than the absolute order, as humankind was keen to believe for ages.

In natural world, there have always existed structures and phenomena, which proved to be impossible to describe by traditional Euclidean geometry or Newtonian dynamics… Mountains ranges, clouds, coastlines, crystals, lightning, blood vessels –  boundless, captivatingly beautiful, unpredictable in its evolution though fairly self-similar, they generate themselves forever expanding accordingly to the rules, which cannot be completely captured or explained, simply because they’re no definite rules… Epitomes of Life per se – the face of Nature in its most primordial, creative and self-sustaining structure… These are FRACTALS – children of the organized chaos of the Universe. Yet “chaos” here doesn’t simply mean ‘anarchy’ but ‘a higher order’ – out of confusion and complexity life emerges as a functioning organism, it may be unpredictable and extremely sensitive to any stimulants – yet – it displays that innate tendency to form into patterns and structures – it fosters and commands order despite of all forces that act against it.

Fragmented, ‘broken’, complex, inexhaustible – this is the ‘fractal’ theory of existence (transplanting scientific concepts on the philosophical field). One of those very few examples where the nature of the human thought and the nature of the physical world interweave so closely and creatively.

Focusing on the creativity- ‘fractal’ world-view belongs to the oldest, most pre-thought, deeply spiritual as the example from the ancient “Book of Kells” (above) shows. There are many symbols and primitive art images created by ancient civilizations, which show their intuitive reading of nature as fragmented, ‘fractured’.

Picasso’s portrait of A. Vollard (above), just like many cubists works from its analytical period picture the fractal vision of reality – looks like art preceded science in its practical applications of the Chaos and Fractal Theory (though calling it with different names)… In many abstract and abstract expressionist works, from P. Klee and J. Pollock to postmodern works (look above -work from the “Fractal Gallery”), often digitally generated one can easily noticed how that chaotic, ‘broken’, non-linear (as opposed to ‘classical’ ordered) representation of reality prevails presenting itself with innovative spirit, confidence and haunting beauty.

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Note: Due to the immense complexity of the issues presented and the brief nature of blogging, one cannot consider this article as ‘informative’ in a scientific sense (due to simplifications and the fragmented outlook). Its intent is mainly that of promoting science and its theories. Care will be taken in my further research to develop this, here introduced, art-science affinity concept. Extended information on fractals can be found online – here are some of the links: FractalOntologyWikipedia, Chaos Intro, EnchantedMind and many more…


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