In 1967, American biologist Adrian Wenner (1928-) launched an extensive challenge to Karl von Frisch's (1886-1982) theory that bees communicate to each other the direction and distance of food sources by a symbolic dance language. Wenner and various collaborators argued that bees locate foods solely by odors. Although the dispute had largely run its course by 1973 -- von Frisch was awarded a Nobel Prize, while Wenner withdrew from active bee research -- it offers us a rare window into mid-twentieth (...) century discussions about animals, language, and cognition. Historians, sociologists, and scientists have commented on the debate and its outcome, but none has seriously questioned why von Frisch and Wenner pursued such different explanations of the bees' dances. In this paper, I explore von Frisch and Wenner's differing visions of animals and their behaviors and show how these contributed to their respective positions. Von Frisch's early-twentieth-century training in experimental physiology disposed him to focus on individual animals, their abilities, and their behaviors' evolutionary significance. Wenner, by contrast, was trained in mathematics and statistics and the Schneirla school of behavior. He viewed the bees' behaviors probabilistically with an eye toward the entire hive and its surroundings and ultimately explained them in terms of simple stimulus--response conditioning. Finally, while the debate was resolved in von Frisch's favor, he neither waged nor won the battle by himself. Instead, I show that practitioners, whose agendas ranged from the nascent fields of sociobiology to cognitive ethology, took up the cause of the communicating bees. (shrink)

The playback experiment -- the playing back of recorded animal sounds to the animals in order to observe their responses -- has twice become central to celebrated researches on non-human primates. First, in the years around 1890, Richard Garner, an amateur scientist and evolutionary enthusiast, used the new wax cylinder phonograph to record and reproduce monkey utterances with the aim of translating them. Second, in the years around 1980, the ethologists Peter Marler, Robert Seyfarth, and Dorothy Cheney used tape recorders (...) in a broadly similar way to test whether the different predator calls of one monkey species, vervet monkeys, warn about different kinds of predator. This paper explores the circumstances leading to the ca. 1890 invention and the ca. 1980 reinvention of the primate playback experiment. In both instances, I show, the experiment served as a riposte to those arguing, on scientific grounds, that an unbridgeable gap divides human language from animal communication. I also consider how far progress in technology explains the timing of invention and reinvention. I conclude with some reflections on sifting contingent from inevitable aspects of the history of the primate playback experiment, and of scientific achievements more generally. (shrink)

This article engages with notions of conservation in the Anthropocene from a history-of-science perspective. It does so by looking at an iconic case of infrastructure development that since the 1970s continues to cause controversies amongst wildlife experts: the Trans-Alaska Pipeline System (TAPS). I examine how, from the 1970s onwards, the TAPS functioned as an experimental device for ecologists to test the adaptability of migratory caribou to changed environments and their dependency on unaltered ranges. Based on archival research, published reports and (...) interviews, I show that arguments about animal learning, despite assigning a more active role to caribou in the conservation process, did not result in more inclusive forms of development that respected ecological processes and the various stakes of the caribou. In fact, a focus on caribou crossings as an easily observable, yet sole, indicator of the pipeline's impact resulted in a simplified representation of environmental relationships, that was used by the oil industry to argue for additional extraction projects. Arguments based on the material interdependencies of caribou with their environment, though seemingly similar to traditional arguments about range preservation, emerged as part of conservationists’ attempts to account for the ecological stakes of caribou, other animals and people. (shrink)

This essay addresses the subject of animal representation via an historical account of the place of the animal in visual culture. It emphasizes the relationship between the animal as a visual image and the technology that produces this image. It explores three examples in a period covering c. 1895 to the 1930s, in Britain, that analyze the relations between animal representation, technology, and the public domain. These are film, zoo display, and slaughterhouse practice. The overall goal of the essay is (...) to move away from emphasis on the textual, metaphorical animal, which reduces the animal to a mere icon, to achieve a more integrated view of the effects of the presence of the animals and the power of its imagery in human history."[s]i l'animal a le temps, s'il est «constitué» par un «temps»" ["[w]hether the animal has time, whether the animal is 'constituted' by a 'time.'"]. (shrink)

In the early twentieth century, ornithology underwent significant changes. So far, these changes, basically, have been studied by focussing on the elite of professional biologists working at universities or state museums. However, important developments also occurred in what Lynn Nyhart has called "the civic realm" of science - the sphere given form by private naturalist associations, nature writers, taxidermists and school teachers. This article studies the changing dynamics of civic ornithology, by looking at one particular case: the influential orinthological observatory (...) in Rossitten, East-Prussia. This observatory, the first of its kind, was founded in 1901 and led, for the first three decades of its existence, by the minister Johannes Thienemann. This article analyses the ornithological practices Thienemann developed in Rossitten and the rhetoric he used to defend these practices. In both, so it is argued, one finds a mixture of the traditional, locally anchored naturalist approach with the new ideals of the "modern" and "experimental" university laboratories. The innovations which Thienemann introduced in this hybrid form of ornithology called for specific spatial strategies which made optimal use of the natural chatacteristics of his workplace and which mobilized a large civic network of geograhically scattered amateurs. At the same time, his work also altered the space he shared with the birds - materially, conceptually and culturally. Thus, this article maintains Thienemann's ornithology can only be understood by acknowledging its continuous interaction with the geographical and civic context in which it arose. (shrink)

Place, practice and status have played significant and interacting roles in the complex history of primatology during the early to mid-twentieth century. This paper demonstrates that, within the emerging discipline of primatology, the field was understood as an essential supplement to laboratory work. Founders argued that only in the field could primates be studied in interaction with their natural social group and environment. Such field studies of primate behavior required the development of existing and new field techniques. The practices and (...) sites developed by American primatologist Clarence Ray Carpenter were used to demonstrate that scientific standards could be successfully applied to the study of primates in the field. In an environment in which many field biologists fought for higher scientific status, Carpenter gradually adopted increasingly interventionist techniques. These techniques raised epistemological problems for studies whose value rested on the naturalness of the behaviors observed. Thus, issues of status shaped field practices and subsequently altered Carpenter's criteria for what constituted natural primate behavior. (shrink)

This article focuses on practical, ethical and political issues that arise in the context of cetacean conservation. Our point of departure is the controversy surrounding plans to assist J50, an ailing member of the southern resident orca population, during the summer of 2018. A brief history of cetacean captivity provides context for the current backlash against captivity. We then argue that, in many cases, interventions aimed at capture, rehabilitation and release are practically feasible and that such interventions are ethically justifiable. (...) Moreover, the political context highlights the importance of engaging a broad range of stakeholders in conservation decision making. (shrink)

This article proposes an ecophilosophy of the cinema. It builds on Martin Heidegger’s articulation of art as ‘world-disclosing,’ and on a Whiteheadian and Deleuzian understanding of the universe as a lively and eventful place in which subjects and objects are persistently coming into being, jointly constituted in the process of their becoming. Accordingly, it proposes that cinema be considered a machine that produces or discloses worlds. These worlds are, at once, anthropomorphic, geomorphic, and biomorphic, with each of these registers mapping (...) onto the ‘three ecologies,’ in Felix Guattari’s terms, that make up the relational ontology of the world: the social, the material, and the mental or perceptual. Through an analysis of Andrei Tarkovsky’s Stalker (1979), I suggest that cinema ‘stalks’ the world, and that our appreciation of its potentials should similarly involve a kind of ‘stalking’ of its effects in the material, social, and perceptual dimensions of the world from which cinema emerges and to which it returns. (shrink)

Can empathy be a tool for obtaining scientific knowledge or is it incompatible with the detached objectivity that is often seen as the ideal in scientific inquiry? This paper examines the views of Austrian ethologist Konrad Lorenz and American comparative psychologist Daniel Lehrman on the role of intuition and empathy in the study of animal behavior. It situates those views within the larger project of establishing ethology as an objective science. Lehrman challenged Lorenz and Niko Tinbergen, the main founders of (...) this field, to clarify their epistemological positions regarding how to deal with the subjectivity of the animals they studied as well as the scientist’s own subjectivity. I argue that there was a tension between their desire to eliminate the subjectivities of ethological researchers (and of their subjects) and the public perception that Lorenz had a remarkable ability to enter into the lives of the animals he studied. I explain why Lorenz rejected empathy as valid in scientific inquiry, showing that his epistemological position was grounded in his ideal of science and his proposed ontology for ethology. Yet, Lehrman insisted that full detachment was neither possible nor desirable. (shrink)

This article analyses the production and reception of the natural history film seriesSecrets of Nature(1919–33) and its sequelSecrets of Life(1934–47), exploring what these films reveal about the role of cinema in public discourses about science and nature in interwar Britain. The first part of the article introduces theSecretsusing an ‘intermedial’ approach, linking the kinds of natural history that they displayed to contemporary trends in interwar popular science, from print publications to zoos. It examines how scientific knowledge was communicated in the (...) series, especially the appeal to everyday experience as a vehicle to engage mass audiences with scientific subjects. The second part examines theSecretsseries through the lens of knowledge co-production, detailing how a range of different figures, including academic scientists, nature photographers, producers and teachers, became entangled in making the films. Recovering the term ‘ciné-biology’, it argues thatSecretsdeveloped a unique style of filmmaking that generated cultural space for the life sciences in British popular culture. The third part analyses two interwar cinema experiments to explore how audiences, imagined and real, shaped the kinds of natural knowledge characterized by theSecretsfilms. (shrink)

This essay examines the relationship between the display of non-human animal trophies and masculinity through an analysis of progressive-era American wildlife photography. In the 1890s, North American animal photographers began circulating their images in sporting journals and describing their practice as a form of hunting. These camera hunters exhibited their photographs as proof of sportsmanship, virility, and hunting prowess.

Explorations of the boundaries between human culture and non-human nature have clear ethical dimensions. Developing both from philosophical arguments about the value of such boundaries and recent empirical work following the traffic across them, we seek to complement these discussions through a consideration of how these boundaries can be enacted by ourselves, as researchers, and the methods we employ. As part of an agenda seeking to reconsider organic agency within geographical narrative, we have been exploring different techniques for documenting the (...) ways in which such agencies are encountered. Specifically, we are interested in plants and the ways in which they might be researched in new ways by human geographers. Based on two particular pieces of research into human-plant dealings, our aim is one of exploring their lively presence as part of a performative environmental ethics enacted, in part, through the very practice of the research encounter. (shrink)

Late nineteenth‐century public museums in the United States were intentionally built to be modern, guided by administrators like George Brown Goode toward scientific goals that included preservation, research, and education. Self‐consciously preoccupied with the management of museums, intent on attaining mastery over the objects that constituted their museums, and persuaded that meaning derived not just from the objects themselves but from their explanation and configuration by experts, museum masters led a “new museum” movement. A century later, the critiques of postmodern (...) scholars attest to the museum directors’ effective establishment of a modern profile. Historians of science, who once could take these institutions for granted as a lightly marked center of authority, now may use methods of social and cultural studies to open their institutional and intellectual frames. While cautious about theory‐driven arguments, such scholars benefit from the issues raised by cultural critics even as they rely on their own documentary methods to ensure that science is an integral component when examining ideas, language, and practice in context. (shrink)

In May 1965, in the midst of Franco's dictatorship in Spain, four bottlenose dolphins travelled from Miami to Barcelona Zoo. These became the inhabitants of one of the first dolphinariums in Europe. The arrival of the dolphins was preceded by two trips of the zoo's director, accompanied by an architect and a politician, to visit the installations at the Miami Seaquarium, Sea World San Diego, and Marineland of the Pacific in California. In this paper, I reflect on how knowledge and (...) practices about a completely new animal and its keeping were acquired in the Barcelona Zoo. This was a time when exhibitions, popular perception, and scientific research regarding marine mammals were being developed. The training and exhibition of dolphins was shaped by a mixture of circus-like practices and scientific knowledge. Dolphins arrived in Europe with “knowledges” and practices attached, but also with a lot of uncertainty. However, circumstances like geography, logistics, and the corporate character of American aquaria prevented a straightforward flow of information from the United States to Europe. How did Barcelona Zoo keepers manage to gather information on the building and maintenance of a dolphinarium? And how did they gather information on how to feed, care, train, and exhibit the dolphins? This paper seeks to understand how the particular setting of Barcelona Zoo, as well as its social, scientific, and political context shaped the exhibition of and creation of knowledge about animals at the zoo. (shrink)

ABSTRACT This essay presents a historical epistemology of the nineteenth‐century controversy concerning a scientific hoax, the Cardiff giant. My focus is on the shifting meanings given to the giant, which were based on epistemologies derived from scientific authority, religious belief, and market relations. In 1869 a farmer in Cardiff, New York, claimed to have discovered the fossilized remains of a prehistoric, perhaps biblical, giant on his property. While some scientists stressed the need to cooperate with commercial showmen, enthusiasm for the (...) giant incited the ire of others, who sought to debunk it and the culture that sustained it. Drawing on local newspaper reports, memoirs, nineteenth‐century exposés, and publicity materials associated with the giant’s display, I link the episode to the history of popular and scientific observation. The giant was a particularly troubling spectacle because as an object of inquiry it blurred the modern boundaries separating nature, society, and religion. (shrink)

This essay is a postcolonial reading of the recently republished auto/biography A Lion Called Christian , written by two Australians, Anthony Bourke and John Rendall. The book narrates the unlikely story of raising a lion in Chelsea and discusses his eventual repatriation and new life in East Africa. The essay argues that the representation of the animal in the metropolitan and African spaces as portrayed in the book can be read critically in the context of the cultural legacy of British (...) colonialism and the role of exotic animals in particular. The essay shows that the function of the animal in the book is to problematize the naturalized division of space into human and animal spaces. As a result, the book deconstructs colonialist and anthropocentric hierarchies in modern society by revealing moments of hybridity when the values of colonial discourse are open to disruption and critique. (shrink)

ArgumentI argue through an analysis of spectacle that the relationship between wildlife documentary films’ entertainment and educational mandates is complex and co-constitutive. Accuracy-based criticism of wildlife films reveals assumptions of a deficit model of science communication and positions spectacle as an external commercial pressure influencing the genre. Using thePlanet Earth(2006) series as a case study, I describe spectacle's prominence within the recent blue-chip renaissance in wildlife film, resulting from technological innovations and twenty-first-century consumer and broadcast market contexts. I connect spectacle (...) in contemporary wildlife films to its relevant precursors within natural history, situating spectacle as a central feature of natural history display designed to inspire awe and wonder in audiences. I show that contemporary documentary spectacle is best understood as an opportunity for affective knowing rather than a constraint on accuracy; as a result, spectacle contributes to the virtuous inter-reinforcement of entertainment and education at work in blue-chip wildlife films. (shrink)

ArgumentFilm scholars have long posed the question of the specificity of the film medium and the apparatus of cinema, asking what is unique to cinema, how it constrains and enables filmmakers and audiences in particular ways that other media do not. This question has rarely been considered in relation to scientific film, and here it is posed within the specific context of cell biology: What does the use of time-based media such as film coupled with the microscope allow scientists to (...) experience that other visualization practices do not? Examining three episodes in the twentieth-century study of the cell, this article argues that the apparatus of microcinematography constitutes what might be thought of as a technical portal to another world, a door that determines the experience of the world that lies on the other side of it. In this case, the design of apparatuses to capture time-lapsed images enabled the acceleration of cellular time, bringing it into the realm of human perception and experience. Further, the experience of the cellular temporal world was part of a distinct kind of cell biology, one that was focused on behavior rather than structure, focused on the relation between cells, and between the cell and its milieu rather than on cell-intrinsic features such as chromosomes or organelles. As such, the instruments and technical design of the microcinematographic apparatus may be understood as a kind of materialized epistemology, the history of which can elucidate how cinema was and is used to produce scientific knowledge. (shrink)