Jacques by Rene Descartes regarding “the animal”. His debate


Jacques Derrida’s book The Animal That Therefore I Am is a ten hour address on the notion
of the “autobiographical animal”. The book 
has acquired significance in communicating his approach to ideas and
questions around concepts enclosing the ontology of nonhuman animals. He also
focuses on the ethos of animal slaughter and the unlikeness between nonhuman
animals and humans. In this book Derrida discusses essays by Rene Descartes regarding
“the animal”. His debate is implicated to the inspection  the animal returns. As he stood nude and
exposed in front of his pet cat the theorist notices the animal looking
directly back at him. But now, if we consider the bilateral approach of a video
by Vanessa Renwick, the probability crops up to anticipate in regards of
females and animality. After there is an effort to back  up an idea, thinking of the animality by  means of just one work by Renwick


9 is a
2002, 6 minutes, 16mm &

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This video was made when she was at a low
point in her life, Renwick’s friend was dying when she all of a sudden realised
there was a great presence of crows. The black creatures one after another
point her towards  the practise of
counting crows. It is a practise of both a fortune telling in which the amount
of black birds advocate possible future happenings and  a children’s rhyming game. Eight crows
predict death; nine crows hang on a secret. She integrates these two elements
with brief looks of imagery, the birds caught as silhouettes, a bed, a males
distorted body, to command an emotional and affecting essay that works its
power through poetic build up instead of a narrative sense.

In The Animal That Therefore I Am Derrida
examines Descartes reflections on the first Philosophy in 1641. At the very beginning
of these meditations in order to talk about the first concern in great detail,
he wants to share his aforementioned expertise. Descartes acknowledges the  origin of his wisdom of a piece of wax. Every
little thing that is established by means of the senses. Derrida writes

“all that sensible exteriority is something that
animals are capable of”

What exactly do we note to be the importance
of this scrutiny? Why does this really concern Descartes whether or not things
can be acknowledged or accomplished by nonhuman animals? For Jacques Derrida
there is a lengthy list of theorists e.g. Immanuel Kant, Jacques Lacan,
Heidegger etc.. Each Philosopher are interested only in the idea of “animal of
theory”.  They at no point induce the
likelihood of being encountered or looked at by the nonhuman, that instead for
their involvement, they observe and only they speak. The animal of theory is continuously
the thing of observation, an inanimate material object as distinct from a
living sentient being but never as a another consciousness being aware of and
present with them.

Alexandre made a unique metaphorical language, and alongside of it, a world of
extraordinary allegorical characters who’s past and circumstances are as enigmatic
as the impression they leave on us.

Bom Boys


Fiberglass, clothing, oil paint, wood, synthetic clay,

105x360x360cm  overall


creatures, most of them humanoids, bear the burden of a heritage of a different
species, or a metamorphosis frozen midstream. In many instances their anatomies
are distorted, their spines visible through their skin, a nakedness that leaves
them vulnerable of prying eyes and aspects. These creatures sit or stand and
look perplexed, as if they are despondent to be saved from their state of
entity, or at least to be implicit and approved. They seem to be inflicted with
trauma by their transfiguration and the idea that it has transformed them into
parades. For Descartes,
the principle chartering existence of a being from the fact of its thinking or consciousness
must derive along with a differentiation from this animal he encounters. The
animal is to be renowned from who he isn’t limited to all the things it is that
animals are able to perform. Descartes is pursued by Derrida at other moments
of the last mentions, bringing up a notably to many letter 1638, in which Descartes
demonstrates in opposition to the animals competency to anticipate,
comprehend  or experience as of the way humans
do. He does this by the means of chance. We need to bring to thought a
discussion, maybe we argue that nonhuman animals encounter happenings and
experiences like our own on the foundation for belief  of correspondences amidst their seeable
behaviour and that of human animals. This is what Descartes would refer to as
an “infantile opinion”, as Derrida depicts Descartes, the “belief in the
possibility of inducing from his exterior resemblance (to man) an interior
analogy”, is visible for the flaw it is we conceptualise an earth inhabited by
a male who hasn’t ever encountered any other animals other than human ones.

At this moment rather than proceeding in
accordance with Descartes’ lessons for the interest, it has a somewhat logical argument.
Derrida writes about the possibilities of itself, about what precisely it is
to  be created or imagined. For Descartes
it actually serves more than this purpose, we are also to conceptualise such a
being assembling automatons who conduct oneself as animals do.  But for Derrida and for my own aspiration, we don’t
even need to finish the ideas discussed in Descartes. It is adequate to stop because
of the hypothesis.

We’ll not get as far
as the opportunity in Renwick’s work, the convenience comes up to think in
terms of animality and women. Bride is one of a series of large-scale works in pastel Paula Rego made in 1994 which
she called the Dog Women. The discrepancy in what discourse could
deduce a conclusion from this artwork regarding what is possible and what isn’t.


on paper

x 1606 mm


Rego had formerly used mostly oil
paints and water colour, but learned that using pastel on paper, lined with
canvas and laminated onto a sheet of aluminium for help, enabled her a
redeeming inspiration. Many of Rego’s works in the Dog Woman series represents an individual monumental female in an
array of animal-like positions while she is concurrently accommodating and boldly

 “To be a dog woman is
not necessarily to be downtrodden, that has very little to do with it. In
these pictures every woman’s a dog woman, not downtrodden but powerful”

 To be
brutish is satisfactory, It is physical. To imagine a painting of a woman as an
animal is entirely believable. It highlights the physical side of a woman’s
being. What is significant 
is that the dog is the animal most like us humans. A dog is trained to accommodate
people’s ways and performs a person. Women are trained by whomever is around them;
they are trained to do particular things, but women are also part animal. They
freedom of body, freedom of heart and their tastes can be pretty disgusting..
The opportunity’s projected is, Derrida
says ” the horizon of a real hypothesis”, 
the spectacle of an earth after animality,
following a kind of widespread destruction, a world from which animality at
first experience to human, might have at one point vanished.



Maher’s Dog Island  leaves open even if the nightmare heard of in
its sound is madeup. There’s no optical admission of the holocaust conveyed. Rather
than the dogs Maher says we only  see
camels. The land itself only replies to what is shown,  the animals are misguided. They are met  by boat and located on an island that
intimately echoes what we have encountered in the voiceover. The narrator
communicates  in the tongue of Britain
with the accent of a person from India, and she discusses a thing called Dog
Island. Here is where abandoned or lost dogs have disclosed to have been
brought and where they are said to be living adequately and well. Nevertheless
the dogs studied by Maher in masses were in pain and suffering awfully. A dreadful
picture is narrated in the sound track of Dog Island. The spectators in the
boat had went directly  to land to
encounter this for themselves, to confirm the guarantees they had established
about the destiny of the strays. But then what they ended up finding sways them
to turn around prior to reaching the shore, distraught by an visualisation of
animals failing to climb aboard, sinking before them, bleeding from contact to
the sun, and screaming a horrendous noise. But thus far we see only strong
camels. In his 1638 memo, Descartes had made use of the French for “to witness”
(temoignage). Derrida shows enthusiasm in Descartes’s selection of linguistics.
Descartes  aimed to be comprehensible to
his audience who would’nt be assumed proficient of following theoretical ideas.
Derrida comments on this specific verb of its part in considerate demonstration,
which is also fundamental to the autobiography. Descartes, then, the fact that non
humans still havin’t came up with means to make themselves clearly comprehended
“witnesses to” the idea that animals have no reason at all.