一袋袋的故事:与人类世的家庭持卡人一起思考

IF 0.2 2区 艺术学 0 ART
ARTMargins Pub Date : 2023-11-29 DOI:10.1162/artm_a_00364
Tan Zi Hao
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引用次数: 0

摘要

家庭病例携带者是一种蛾属,其主要特征是它们在幼虫期携带和生活在纺锤形的病例中。这些盒子由家庭灰尘编织而成,通常由一系列材料组成,从纺织纤维到死去的昆虫部位。由于它们在热带气候的家庭空间中茁壮成长,它们通常被视为家庭害虫。这样的人类中心主义导致了对这些生物的认识的根本不平衡:我们对它们破坏的能力的了解比我们对它们如何生活的了解更多,即使我们在家里与它们非常密切地同居。在展示一系列关于它们幼虫的微距摄影作品时,本项目邀请读者关注它们错综复杂的创作中所展示的物质和生态纠缠。我们的家已经是一片荒野,因为家庭搬运工在我们尘土飞扬的废墟上重建了他们的房子。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Bags of Stories: Thinking with Household Casebearers in the Anthropocene
Household casebearers are a genus of moths primarily distinguished by the spindle-shaped cases they carry and live in throughout their larval life. The cases, woven from household dust, typically comprise an array of materials from textile fibers to dead insect parts. As they thrive in domestic spaces in tropical climates, they are commonly viewed as a domestic pest. Anthropocentrism as such has led to a fundamental imbalance of knowledge concerning these creatures: we are more knowledgeable in their capacity for damage than we are in understanding how they live, even as we cohabit with them very closely, at home. In presenting a series of macro photography of their larval cases, this project invites readers to be attentive to the material and ecological entanglements on display on their intricate creations. The home is already a wilderness as household casebearers rebuild their houses from the dusty ruins of ours.
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来源期刊
ARTMargins
ARTMargins ART-
CiteScore
0.10
自引率
0.00%
发文量
16
期刊介绍: ARTMargins publishes scholarly articles and essays about contemporary art, media, architecture, and critical theory. ARTMargins studies art practices and visual culture in the emerging global margins, from North Africa and the Middle East to the Americas, Eastern and Western Europe, Asia and Australasia. The journal acts as a forum for scholars, theoreticians, and critics from a variety of disciplines who are interested in art and politics in transitional countries and regions; postsocialism and neo-liberalism; postmodernism and postcolonialism, and their critiques; and the problem of global art and global art history and its methodologies.
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