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MACHINE DREAMS

Alexei Taylor, Author

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Effect on viewer (continued)


The spectacle is different than the sharp edged blocks and buildings of New York – they are airy, move erratically, and some even tower above humans. No one sees such animals on the streets of New York City (excluding the ones we are un-phased by, such as rats, dogs, cats, or birds).  Freud's word on the uncanny are fitting: “this uncanny is in reality nothing new or foreign, but something familiar and old – established in the mind that has been estranged only by the process of repression” (Freud). Animals are often times grounding figures within a concrete jungle (apt term, no?). The concrete jungle of humans is not accustomed to other forms of life or lifelike movement on the streets. Cars. Harsh buildings. Concrete. Streetlights. Neon signs. 

Seeing an animal sculpture on the sidewalk, in a city environment, pulls the passerby's brain into a less comfortable state, forcing it to reevaluate the environment in a more critical way. The thought process may follow as, "I never thought I'd see that on the street. I wonder if I've been missing stuff." The observer will then continue on his or her walk in the city, looking with eyes a bit wider than before at their surroundings, vowing not to miss a cool sighting. The individual arrived at Harris' artwork a passive spectator, and left an observer, a person more open to his or her surrounding environment. 

Passersby, who are jarred into acting as observers, especially children, connect to the artwork on another level as a representation of an animal. The fact that the sculpture is an animal and has a face makes one little girl form an emotional connection with the bear sculpture. Enough so, that when the bear deflates, the little girl is sad. When the bear inflates again, the girl walks away waving to the bear as if it is alive and can acknowledge her farewell.
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