ABSTRACT

This article explores deterritorialisation of the human gaze and negotiations of animal life and environment through nonhuman vision. The article focuses on the aerial view and aesthetics of the wildlife documentary series Earthflight and the nature of the gaze in a more-than-human sense. Wildlife documentaries tend to represent animals in a way that imitates human vision while the anthropocentric gaze produces speciesed animals. However, the series Earthflight produces a perspective of a bird's-eye view through small cameras attached to birds' backs or drones gliding among a flock, providing images of flying in close proximity to birds' movements and bodies. I argue that with the concept of the ‘more-than-human gaze,’ it is possible to examine a perspective that binds together technology, nonhuman animals, and human viewers. The aerial filming extend a perceived territory towards nonanthropocentric vision. The bird's-eye view as the more-than-human gaze deterritorialises the human ways of looking, while showing that birds are not just objects to be looked at but rather active subjects to gaze with. This kind of assembled gaze produces new unfoldings of the environment, perceived not merely as a distant landscape to be admired but as a lived, material environment shared with other nonhuman animals.

摘要

本文探讨了通过非人类视角对人类凝视的域化以及对动物生命和环境的谈判。本文着重于非人类意义上的野生动物纪录片系列Earthflight的鸟瞰图和美学以及凝视的本质。野生动物纪录片往往以模仿人类视觉的方式来代表动物，而以人为中心的凝视则产生了物种动物。但是，系列Earthflight通过附在鸟类背部或无人机之间的小型摄像头，可以鸟瞰鸟瞰图，提供与鸟类运动和身体非常接近的飞行图像。我认为，借助“超越人类的目光”的概念，可以检验将技术，非人类动物和人类观看者联系在一起的观点。空中拍摄将感知区域扩展到非人类中心视野。鸟瞰图是比人类更多的注视，它区分了人类的注视方式，同时表明，鸟类不仅是被观察的对象，还是凝视的活跃对象。这种凝视的视线产生了新的环境展现，它们不仅被视为值得欣赏的遥远风景，而且还被视为有生命的事物，