scholarly journals Inklings and Tentacled Things: Grasping at Kinship through Video Games // Inklings y cosas con tentáculos: Aferrarse al parentesco a través de videojuegos

2017 ◽  
Vol 8 (2) ◽  
pp. 136-150
Author(s):  
Melissa Bianchi
Keyword(s):  
Video Games ◽  
Nonhuman Animals ◽  
Human Animal ◽  
Para Determinar ◽  
Nonhuman Species

      Connecting Haraway’s recent observations about “making kin” to video games, this essay examines how particular elements of the medium might cultivate nuanced considerations for multispecies relations. To fully grasp how video games broadly redefine relations between human and nonhuman animals, we must consider the role of game aesthetics and play mechanics in players’ experience of becoming-with. These elements of games fundamentally shape players’ engagements with the medium and are inextricably linked to their storytelling and production. Moreover, game aesthetics and play mechanics (in conjunction with storytelling) demand that players take specific actions and inhabit distinct roles during play, enabling players to not only think alternative kinships, but also enact making them. To demonstrate these points, I examine the aesthetics and gameplay of two tentacular video games, analyzing how they offer rhetorical models for productively thinking about humans’ relations to nonhuman species. I primarily focus on games that heavily feature cephalopod creatures because this specific animal class is often viewed as a rich site for phenomenological and ontological investigations (including in Haraway’s work). Thus, my research attends to specific video games and their tentacled characters to determine how they challenge players to entertain and enact alternative ontologies and human-animal relationships through play. Resumen      Conectando las observaciones recientes de Haraway sobre "hacer parentesco" con los videojuegos, este ensayo examina cómo elementos particulares del medio pueden cultivar consideraciones matizadas para las relaciones multiespecies. Para comprender plenamente cómo los videojuegos redefinen ampliamente las relaciones entre los animales humanos y los animales no humanos, debemos considerar el papel de la estética del juego y la mecánica del juego en la experiencia de convertirse en jugador. Estos elementos de juegos fundamentalmente conforman los compromisos de los jugadores con el medio y están inextricablemente ligados a su narración y producción. Además, la estética del juego y la mecánica del juego (junto con la narración) exigen que los jugadores tomen acciones específicas y ocupen roles distintos durante el juego, permitiendo a los jugadores no sólo pensar en parentescos alternativao, sino también promulgarlos. Para demostrar estos puntos, examino la estética y la jugabilidad de dos videojuegos tentaculares, analizando cómo ofrecen modelos retóricos para pensar productivamente sobre las relaciones de los humanos con las especies no humanas. Me centro primordialmente en los juegos que caracterizan fuertemente a las criaturas cefalópodas, ya que esta clase específica de animales se ve a menudo como un sitio rico para investigaciones fenomenológicas y ontológicas (incluso en el trabajo de Haraway). Así, mi investigación atiende a videojuegos específicos y sus personajes con tentáculos para determinar cómo desafían a los jugadores a entretener y promulgar ontologías alternativas y relaciones entre humanos y animales a través del juego.

Constructing the Biotech Nonhuman Animal: Instrumentalism and Ambivalence

2014 ◽  
Vol 22 (5) ◽  
pp. 439-458
Author(s):  
Sari Ung-Lanki
Keyword(s):  
Discourse Analysis ◽  
Moral Status ◽  
Scientific Journal ◽  
Science And Society ◽  
Nature Biotechnology ◽  
Animal Mind ◽  
Nonhuman Animals ◽  
Human Animal ◽  
Insight Into

This article was designed to give insight into the role of biotechnology in redefining the complex human-animal relations of our times. In particular, it is used to examine accounts of nonhuman animals and animal usage in the context of biotechnology, as covered in the leading scientific journalNature Biotechnology. Data consist of editorials, commentaries, and research news for four years (N= 104), and has been analyzed using discourse analysis. The journal constructs a consistent, yet one-sided, view on animals as they are represented through physico-material, technical and biomedical discourses, as well as discourses on human benefits and manageable risks. The biotechnological epistemology of the animal is positioned at the far end of the subjectification-instrumentalization continuum in our treatment of other animals. It also clashes with simultaneous discussions on animal mind, subjectivity, and moral status. These developments are likely to further intensify the discrepancies in human-animal relations in science and society.

Moby-Dick and Compassion

2004 ◽  
Vol 12 (1) ◽  
pp. 19-37 ◽  
Author(s):  
Philip Armstrong
Keyword(s):  
Literary Criticism ◽  
Detailed Analysis ◽  
Animal Studies ◽  
Shape Representations ◽  
Cultural Contexts ◽  
Moby Dick ◽  
Nonhuman Animals ◽  
Structures Of Feeling ◽  
Human Animal ◽  
Nonhuman Species

AbstractBecause the notions of "anthropomorphism" and "sentimentality" often are used pejoratively to dismiss research in human-animal studies, there is much to be gained from ongoing and detailed analysis of the changing "structures of feeling" that shape representations and treatments of nonhuman animals. Literary criticism contributes to this project when it pays due attention to differences in historical and cultural contexts. As an example of this approach, a reading of the humanization of cetaceans in Herman Melville's Moby-Dick - and more broadly in nineteenth-century whaling discourse - demonstrates how radically human feelings for nonhuman species are affected by shifting material and ideological conditions.

scholarly journals Hungry Unlike the Wolf: Ecology, Posthumanism, Narratology in Fred Vargas’s Seeking Whom He May Devour

2012 ◽  
Vol 3 (2) ◽  
pp. 145-160 ◽  
Author(s):  
John Parham
Keyword(s):  
Human Subject ◽  
Popular Fiction ◽  
Point Of View ◽  
The Novel ◽  
Crime Novel ◽  
Nonhuman Animals ◽  
Ecological Complexity ◽  
Human Animal ◽  
Self Examination ◽  
Nonhuman Species

   This paper examines posthumanism as a philosophical position equipped to inform ecocriticism and the potential of popular fiction to articulate ecological complexity. Posthumanism will be reappraised as a dialectical model that decentres the human in relation to ‘evolutionary, ecological, or technological coordinates’ (Wolfe 2010: xvi) while nevertheless retaining a sense of the integrity of, and boundaries between, human and nonhuman species or phenomena. It will be argued that a novelistic emphasis on human being, agency, and action, coupled with devices of genre, plot, and narrative – are consistent with the process of human self-examination engendered by posthumanism. The essay will, thereafter, illustrate and examine this approach through the French crime writer Fred Vargas’s1999 novel Seeking Whom He May Devour. Identifying two human protagonists – the Canadian conservationist Johnstone and his girlfriend Camille – an initial decentring of the human subject will be examined in relation to two equivalent, nonhuman protagonists, the French Alps and the wolf. Utilising newspaper interviews that highlight Vargas’s own posthumanist perspective (grounded in her profession as an archaeologist), I will examine a) how the novel explores appropriate relationships between human and nonhuman animals; b) how Vargas utilises both the generic features of the crime novel – e.g. the resolution of a ‘crime’ – and the subtle narrative manipulations of character focalisation to construct (via the preferred ‘point of view’ offered by Camille) a posthumanist position on human/animal relations which Vargas explicitly opposes to the inhumanism represented by Johnstone.   Resumen             Este artículo examina el posthumanismo como una posición filosófica dotada para contribuir con la ecocrítica y el potencial de la ficción popular para articular la complejidad ecológica. El posthumanismo será revaluado como un modelo dialéctico que descentra al ser humano en relación con “las coordinadas evolutivas, ecológicas o tecnológicas”  (Wolfe, Posthumanism xvi), mientras que aún así retiene un sentido de la integridad de, y de las fronteras entre, las especies o fenómenos humanos y no-humanos. Se argumentará que un énfasis novelístico en el ser humano, la agencia y la acción, junto con los recursos del género, argumento y narración, son consistentes con el proceso del auto-examen engendrado por el posthumanismo.         Después, este ensayo ilustratá y examinará este enfoque a través de la novela Seeking Whom He May Devour (1999), del escritor francés de novela policíaca Fred Vargas. Identificando a los dos protagonistas humanos, el conservacionista canadiense Johnstone y su novia Camille, el de-centramiento inicial del sujeto humano será examinado en relación a los dos protagonistas no-humanos equivalentes: los Alpes franceses y el lobo. Usando entrevistas en periódicos que destacan las perspectiva posthumanista de Vargas (basada en su profesión como arqueólogo), examinaré: a) cómo la novela explora las relaciones apropiadas entre animales humanos y no-humanos; b) cómo Vargas utiliza tanto las características genéricas de la novela policíaca (e.g. la resolución de un crimen) y las sutiles manipulaciones narrativas en la focalización de los personajes para construir (a través del favorecido “punto de vista” que ofrece Camille) una posición posthumanista en las relaciones humanas/animales que Vargas explícitamente opone al inhumanismo que Johnstone representa.

scholarly journals Animals and Attachment Theory

2014 ◽  
Vol 22 (4) ◽  
pp. 415-433 ◽  
Author(s):  
Ben Rockett ◽  
Sam Carr
Keyword(s):  
Attachment Theory ◽  
Recent Literature ◽  
Attachment Quality ◽  
Nonhuman Animals ◽  
Human Animal

The study of nonhuman animals in the context of attachment theory is steadily growing. This paper sought to pull together recent literature in order to review, summarize, and discuss (a) animals as attachment figures, (b) the conceptualization of attachment quality in human-animal bonds, and (c) the role of animals in assisting the development of human-human attachment.

scholarly journals Human–Animal Relations in Business and Society: Advancing the Feminist Interpretation of Stakeholder Theory

2021 ◽  
Author(s):  
Linda Tallberg ◽  
José-Carlos García-Rosell ◽  
Minni Haanpää
Keyword(s):  
Stakeholder Theory ◽  
Business And Society ◽  
Feminist Interpretation ◽  
Nonhuman Animals ◽  
Human Animal ◽  
Care Relationships ◽  
Human Actors ◽  
The Impact ◽  
Animal Care ◽  
Scholarly Attention

AbstractStakeholder theory has largely been anthropocentric in its focus on human actors and interests, failing to recognise the impact of nonhumans in business and organisations. This leads to an incomplete understanding of organisational contexts that include key relationships with nonhuman animals. In addition, the limited scholarly attention paid to nonhumans as stakeholders has mostly been conceptual to date. Therefore, we develop a stakeholder theory with animals illustrated through two ethnographic case studies: an animal shelter and Nordic husky businesses. We focus our feminist reading of Driscoll and Starik’s (J Bus Ethics 49:55–73, 2004) stakeholder attributes for nonhumans and extend this to include affective salience built on embodied affectivity and knowledge, memories, action and care. Findings reveal that nonhuman animals are important actors in practice, affecting organisational operations through human–animal care relationships. In addition to confirming animals are stakeholders, we further contribute to stakeholder theory by offering ways to better listen to nontraditional actors.

scholarly journals Play! A Special Issue

Sexualities ◽  
2021 ◽  
pp. 136346072110136
Author(s):  
Caroline Bem ◽  
Susanna Paasonen
Keyword(s):  
Video Games ◽  
Sexual Pleasure ◽  
Special Issue ◽  
Sexuality Studies ◽  
The Past ◽  
Sexual Representation ◽  
The Social ◽  
Sexual Play ◽  
Sex Toys

Sexuality, as it relates to video games in particular, has received increasing attention over the past decade in studies of games and play, even as the notion of play remains relatively underexplored within sexuality studies. This special issue asks what shift is effected when sexual representation, networked forms of connecting and relating, and the experimentation with sexual likes are approached through the notion of play. Bringing together the notions of sex and play, it both foregrounds the role of experimentation and improvisation in sexual pleasure practices and inquires after the rules and norms that these are embedded in. Contributors to this special issue combine the study of sexuality with diverse theoretical conceptions of play in order to explore the entanglements of affect, cognition, and the somatic in sexual lives, broadening current understandings of how these are lived through repetitive routines and improvisational sprees alike. In so doing, they focus on the specific sites and scenes where sexual play unfolds (from constantly morphing online pornographic archives to on- and offline party spaces, dungeons, and saunas), while also attending to the props and objects of play (from sex toys and orgasmic vocalizations to sensation-enhancing chemicals and pornographic imageries), as well as the social and technological settings where these activities occur. This introduction offers a brief overview of the rationale of thinking sex in and as play, before presenting the articles that make up this special issue.

scholarly journals Representing nonhuman animals as equals: An ecolinguistic analysis of vegan campaigns

2021 ◽  
Vol 0 (0) ◽  
Author(s):  
Alena Zhdanava ◽  
Surinderpal Kaur ◽  
Kumaran Rajandran
Keyword(s):  
Social Action ◽  
Physical Environment ◽  
Action Theory ◽  
Social Actor ◽  
Nonhuman Animals ◽  
Ecological Philosophy ◽  
Social Action Theory ◽  
Image Shape ◽  
The Relationship ◽  
Nonhuman Species

Abstract Ecolinguistics studies the interactions between language and ecology. It investigates whether the stories created by language are destructive or beneficial to all the constituents of the environment. In search of positive stories for our environment, this article focuses on vegan campaigns which generally bring awareness about veganism that, in turn, advocates protection of nonhuman animals and abstention from their exploitation. Nonhuman animals are part of the ecosystem and the way they are portrayed in language may determine the relationship between human and nonhuman animals. As vegan campaigns refer to nonhuman animals as sentient living beings, it is important to analyze whether the language and image of these campaigns articulate their purposes and create beneficial stories for nonhuman species. This article explores the stories regarding nonhuman animals in 27 posters of the vegan campaign “Go Vegan World” and examines how these stories are shaped and whether they are aligned with vegan values. The study is approached from an ecolinguistic perspective with a focus on multimodality where the language was analyzed through van Leeuwen’s Social Actor and Social Action theory, and the image was analyzed with Kress and van Leeuwen’s Grammar of Visual Design. Further, the analysis involves the ecosophy defined as a personal ecological philosophy of relationships between human and nonhuman animals, plants, and the physical environment. The findings suggest that the campaign language and image shape three stories: salience where nonhuman animals are individuals with their own feelings and lives; conviction that nonhuman animals matter as much as humans; ideology where biocentrism is promoted. By comparing these stories with the article’s ecosophy, an ecolinguistic analysis showed that they are largely beneficial in representing nonhuman animals as sentient living beings who are equal to humans.

Canine Rescue as a Social Movement: The Politics of Love

2018 ◽  
Vol 28 (5-6) ◽  
pp. 670-687
Author(s):  
Anna L. Peterson
Keyword(s):  
Social Context ◽  
Public Sphere ◽  
Animal Rights ◽  
Animal Advocacy ◽  
The Social ◽  
Human Animal Bond ◽  
Nonhuman Animals ◽  
Political Approach ◽  
Human Animal ◽  
Politics Of Love

Abstract Canine rescue is a growing movement that affects the lives of tens of thousands of nonhuman animals and people every year. Rescue is noteworthy not only for its numbers, but also because it challenges common understandings of animal advocacy. Popular accounts often portray work on behalf of animals as sentimental, individualistic, and apolitical. In fact, work on behalf of animals has always been political, in multiple ways. It is characterized both by internal political tensions, especially between animal rights and welfare positions, and by complex relations to the broader public sphere. I analyze canine rescue, with a focus on pit bull rescue, to show that an important segment of canine rescue movements adopts an explicitly political approach which blurs the divide between rights and welfare, addresses the social context of the human-animal bond, and links animal advocacy to social justice.

scholarly journals The Animation of Gamers and the Gamers as Animators in Sierra On-Line’s Adventure Games

Animation ◽  
2021 ◽  
Vol 16 (1-2) ◽  
pp. 83-95
Author(s):  
Raz Greenberg
Keyword(s):  
Video Games ◽  
Digital Games ◽  
Free Play ◽  
Digital Gaming ◽  
Adventure Game ◽  
Adventure Games ◽  
Software Publisher ◽  
On Line ◽  
The Relationship

Produced throughout the 1980s using the company’s Adventure Game Interpreter engine, the digital adventure games created by American software publisher Sierra On-Line played an important and largely overlooked role in the development of animation as an integral part of the digital gaming experience. While the little historical and theoretical discussion of the company’s games of the era focuses on their genre, it ignores these games’ contribution to the relationship between the animated avatars and the gamers that control them – a relationship that, as argued in this article, in essence turns gamers into animators. If we consider Chris Pallant’s (2019) argument in ‘Video games and animation’ that animation is essential to the sense of immersion within a digital game, then the great freedom provided to the gamers in animating their avatars within Sierra On-Line’s adventure games paved the way to the same sense of immersion in digital. And, if we refer to Gonzalo Frasca’s (1999) divide of digital games to narrative-led or free-play (ludus versus paidea) in ‘Ludology meets narratology: Similitude and differences between (video) games and narrative’, then the company’s adventure games served as an important early example of balance between the two elements through the gamers’ ability to animate their avatars. Furthermore, Sierra On-Line’s adventure games have tapped into the traditional tension between the animator and the character it animated, as observed by Scott Bukatman in ‘The poetics of Slumberland: Animated spirits and the animated spirit (2012), when he challenged the traditional divide between animators, the characters they animate and the audience. All these contributions, as this articles aims to demonstrate, continue to influence the role of animation in digital games to this very day.

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