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Contributors are: Sayansk Da Silva, Joe Feinglass, Scott W. Hegerty, Joseph E. Hibdon, Jr, Arkadiusz Michał Kowalski, Małgorzata Stefania Lewandowska, Dawid Majcherek, Ewelina Nojszewska, Izabela Pruchnicka-Grabias, Agata Sielska and Julian Smółka.
Contributors are: Sayansk Da Silva, Joe Feinglass, Scott W. Hegerty, Joseph E. Hibdon, Jr, Arkadiusz Michał Kowalski, Małgorzata Stefania Lewandowska, Dawid Majcherek, Ewelina Nojszewska, Izabela Pruchnicka-Grabias, Agata Sielska and Julian Smółka.
Abstract
One Health seeks the optimal health of people, animals, and the environment through an integrated approach to the treatment and prevention of disease. While cats and other animals can be vectors of zoonotic diseases, the “moral panic” over free-roaming cats should be viewed with great skepticism. We should instead manage our relationship to cats, wildlife, and their environments with an eye to preventative measures that manage risk while respecting the well-being of individual cats and wildlife.
Abstract
This article outlines the emergence and development of human-animal studies in Israel (HASI). It sketches the changes the field has undergone and its accomplishments to date, identifying key challenges and opportunities. The article highlights two major shifts that HASI has undergone throughout the years: the first, an initial focus on animal-assisted therapy (AAT) that eventually gave way to a multidisciplinary approach to human-animal relations; and the second, a transition from a humanistic perspective to growing critical involvement in HAS and partial post-humanistic epistemology. The past and current institutional state of human-animal studies in Israel is traced, characterized by ongoing infrastructure changes, alongside a growing group of scholars that aim to develop the field. We conclude with a contemplation of future directions and prospects for HASI.
Abstract
Accurate information about the number of cats living outdoors and how they respond to different kinds of management are necessary to quell debates about outdoor cat policy. The DC Cat Count will develop the tools and methodologies needed to realize this possibility and make them available for broader use. This three-year initiative represents a major collaboration between animal welfare organizations and wildlife scientists. Its unique and innovative approach is to use the best scientific methods to quantify all subpopulations of cats in the District of Columbia (outdoor, owned, and shelter cats), concurrently test and optimize simpler methods that can be used to measure cat populations by diverse users at scale, and identify the types of interventions that are likely to accomplish desired outcomes most efficiently. Ultimately, we believe that this approach is more likely to improve outcomes for both cats and wildlife than a continuation of the status quo.
Abstract
Empathy is a psychologically significant phenomenon. It plays a key role in the development of the self, sociality, and prosocial behaviour. The term empathy originated in 19th-century aesthetics, where the concept was seen as an explanation for aesthetic experience. Despite renewed interest in the relation between empathy and aesthetic experiences, investigations into how empathy shapes experiences of art are still scarce. Given this situation, we ask the following three questions: What does one experience when experiencing a work of art empathetically? What is given during such moments? How is consciousness structured in aesthetic empathetic experience? To answer these questions, we analysed five different experiences with visual art using a phenomenological psychological methodology. We found that a complexity of psychologically significant meaning arises from the empathic experience of art. The core aspects of this meaning are captured in a structure incorporating experience of a foreign subjective sense, reliving and affective adherence, interiorisation, pleasure in sharing, and affective understanding. Based on this structure, we argue that aesthetic empathy features a sense of otherness to a degree not previously recognised and that aesthetic empathy is an inherently intersubjective experience in which the spectator is invited to participate and share feelings expressed in the work of art in moments of aesthetic presence.