The Australian White Ibis (Ibis) (Threskiornis molucca) is one of three endemic Ibis species in Australia. In a short time frame beginning in the 1970s, this species has moved from inland waterways to urban centres along the eastern and southeastern seaboards, Darwin and the Western Australian southwest. Today Ibis are at home in cities across the country, where they thrive on the food waste, water resources and nesting sites supplied by humans. In this article, the authors focus on Sydney to argue that the physical and cultural inroads of Ibis, and the birds’ urban homeliness, are resignifying urban surfaces and the multispecies ecologies in which contemporary Australians operate. They explore how the very physical and sensory presence of Ibis disrupts the assumptions of many urban Australians, and visitors from overseas, that cities are human-centric or human-dominant, non-hybrid assemblages. They also introduce to this discussion of disrupted human expectations a cultural parallel, namely, the recent rise of Ibis in popular culture as an icon-in-the-making of the nation and as a totem of the modern Australian city itself. This trend exemplifies an avian-led revisualization of urban spaces, and is notable for its visual appeals to Ibis kitsch, and to working class or ‘bogan’ sensibilities that assert their place alongside cosmopolitan visions of being Australian. Sometimes kitsch Ibis imagery erupts across the urban landscape, as occurs with many Ibis murals. At other times it infiltrates daily life on clothing, on football club, university and business logos, as tattoos on people’s skin, and as words in daily idiom, confirmed by terms such as ‘picnic pirates’, ‘tip turkeys’ and ‘bin chickens’. The article uses a visual vignette methodology to chart Ibis moves into Sydney and the realms of representation alike, and thus to reveal how new zoöpolitical entanglements are being made in the 21st century.

中文翻译：

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宜必思与城市：波甘媚俗和悉尼的鸟类重新形象化

澳大利亚白鹮 (Ibis) (Threskiornis molucca) 是澳大利亚三种特有的宜必思物种之一。在 1970 年代开始的短时间内，该物种已从内陆水道迁移到东部和东南沿海、达尔文和西澳大利亚西南部的城市中心。如今，宜必思遍布全国各地的城市，它们依靠人类提供的食物垃圾、水资源和筑巢地茁壮成长。在这篇文章中，作者重点关注悉尼，认为宜必思的物理和文化入侵，以及鸟类的城市朴素，正在重新定义当代澳大利亚人所处的城市表面和多物种生态。他们探索了宜必思的物理和感官存在如何破坏许多澳大利亚城市人和来自海外的游客的假设，城市是以人为中心或以人为主导的非混合组合。他们还为这次关于被打乱的人类期望的讨论引入了一种文化平行，即最近在流行文化中崛起的宜必思作为国家的象征和现代澳大利亚城市本身的图腾。这种趋势体现了以鸟类为主导的城市空间再视觉化，并以其对宜必思媚俗、工人阶级或“博根”情感的视觉吸引力而著称，这些情感在澳大利亚的国际化视野中占据一席之地。有时媚俗的宜必思图像会在城市景观中爆发，就像许多宜必思壁画一样。在其他时候，它渗透到日常生活中的服装、足球俱乐部、大学和商业标志上，作为人们皮肤上的纹身，以及日常习语中的词语，被“野餐海盗”等术语证实，“小费火鸡”和“垃圾鸡”。这篇文章使用了一种视觉小插曲方法来描绘宜必思进入悉尼和其他代表领域的活动，从而揭示 21 世纪新的动物政治纠葛是如何形成的。