Extinct Monsters To Deep Time

Extinct Monsters to Deep Time is an ethnography that documents the growing friction between the research and outreach functions of the museum in the 21st century. Marsh describes participant observation and historical research at the Smithsonian’s National Museum of Natural History as it prepared for its largest-ever exhibit renovation, Deep Time. As a museum ethnography, the book provides a grounded perspective on the inner-workings of the world’s largest natural history museum and the social processes of communicating science to the public.

Identity, Culture, and the Science Performance, Volume 1: From the Lab to the Streets is the first of two volumes dedicated to the diverse sociocultural work of science-oriented performance. A dynamic volume of scholarly essays, interviews with scientists and artists, and creative entries, it examines explicitly public-facing science performances that operate within and for specialist and non-specialist populations. The book's chapters trace the theatrical and ethical contours of live science events, re-enact historical stagings of scientific expertise, and demonstrate the pedagogical and activist potentials in performing science in community settings. Alongside the scholarly chapters, From the Lab to the Streets features creative work by contemporary science-integrative artists and interviews with popular science communicators Sahana Srinivasan (host of Netflix's Brainchild) and Raven Baxter (“Raven the Science Maven”) and artists from performance ensembles The Olimpias and Superhero Clubhouse. In exploring the science performance as a vital but flawed method of public engagement, it offers a critique of the racist, ableist, sexist, and heteronormative ideologies prevalent across the history of science, as well as highlighting science performances that challenge and redress these ideologies. Along with its complementary volume From the Curious to the Quantum, this book documents the varied ways in which identity categories and cultural constructs are formed and reformed through science performances.

List of British localities where remains of the mammoth have been discovered p. [258]-260.

How did the earth look in prehistoric times? Scientists and artists collaborated during the half-century prior to the publication of Darwin's Origin of Species to produce the first images of dinosaurs and the world they inhabited. Their interpretations, informed by recent fossil discoveries, were the first efforts to represent the prehistoric world based on sources other than the Bible. Martin J. S. Rudwick presents more than a hundred rare illustrations from the eighteenth and nineteenth centuries to explore the implications of reconstructing a past no one has ever seen.

Does extinction have to be forever? As the global extinction crisis accelerates, conservationists and policy-makers increasingly use advanced biotechnologies such as reproductive cloning, polymerase chain reaction (PCR) and bioinformatics in the urgent effort to save species. Mendel's Ark considers the ethical, cultural and social implications of using these tools for wildlife conservation. Drawing upon sources ranging from science to science fiction, it focuses on the stories we tell about extinction and the meanings we ascribe to nature and technology. The use of biotechnology in conservation is redrawing the boundaries between animals and machines, nature and artifacts, and life and death. The new rhetoric and practice of de-extinction will thus have significant repercussions for wilderness and for society. The degree to which we engage collectively with both the prosaic and the fantastic aspects of biotechnological conservation will shape the boundaries and ethics of our desire to restore lost worlds.

Reimagining Dinosaurs argues that transatlantic popular literature was critical for transforming the dinosaur into a cultural icon between 1880 and 1920

Natural history is deservedly a popular subject. The manifestations of life in all its varied forms is a theme that has never failed to attract all who are not destitute of intelligence. From the days of the primitive cave-dwellers of Europe, who lived with mammoths and other animals now lost to the world; of the ancient Egyptians, who drew and painted on the walls of their magnificent tombs the creatures inhabiting the delta of the Nile; of the Greeks, looking out on the world with their bright and child-like curiosity, down to our own times, this old, yet ever new, theme has never failed. Never before was there such a profusion of books describing the various forms of life inhabiting the different countries of the globe, or the rivers, lakes, and seas that diversify its scenery. Popular writers have done good service in making the way plain for those who wish to acquaint themselves with the structures, habits, and histories of living animals; while for students a still greater supply of excellent manuals and text-books has been, and still continues to be, forthcoming.But in our admiration for the present we forget the great past. How seldom do we think of that innumerable host of creatures that once trod this earth! How little in comparison has been done for them! Our natural-history books deal only with those that are alive now. Few popular writers have attempted to depict, as on a canvas, the great earth-drama that has, from age to age, been enacted on the terrestrial stage, of which we behold the latest, but probably not the closing scenes.When our poet wrote “All the world's a stage,” he thought only of “men and women,” whom he called “merely players,” but the geologist sees a wider application of these words, as he reviews the drama of past life on the globe, and finds that animals, too, have had “their exits and their entrances;” nay more, “the strange eventful history” of a human life, sketched by the master-hand, might well be chosen to illustrate the birth and growth of the tree of life, the development of which we shall briefly trace from time to time, as we proceed on our survey of the larger and more wonderful animals of life that flourished in bygone times.

Museums flourished in post-apartheid South Africa. In older museums, there were renovations on the go, and at least fifty new museums opened. Most sought to depict violence and suffering under apartheid and the growth of resistance. These unlikely journeys are tracked as museums became a primary setting for contesting histories. From the renowned Robben Island Museum to the almost unknown Lwandle Migrant Labour Museum, the author demonstrates how an institution concerned with the conservation of the past is simultaneously a site for changing history.