Rich with archival detail and compelling characters, Life on Display uses the history of biological exhibitions to analyze museums’ shifting roles in twentieth-century American science and society. Karen A. Rader and Victoria E. M. Cain chronicle profound changes in these exhibitions—and the institutions that housed them—between 1910 and 1990, ultimately offering new perspectives on the history of museums, science, and science education. Rader and Cain explain why science and natural history museums began to welcome new audiences between the 1900s and the 1920s and chronicle the turmoil that resulted from the introduction of new kinds of biological displays. They describe how these displays of life changed dramatically once again in the 1930s and 1940s, as museums negotiated changing, often conflicting interests of scientists, educators, and visitors. The authors then reveal how museum staffs, facing intense public and scientific scrutiny, experimented with wildly different definitions of life science and life science education from the 1950s through the 1980s. The book concludes with a discussion of the influence that corporate sponsorship and blockbuster economics wielded over science and natural history museums in the century’s last decades. A vivid, entertaining study of the ways science and natural history museums shaped and were shaped by understandings of science and public education in the twentieth-century United States, Life on Display will appeal to historians, sociologists, and ethnographers of American science and culture, as well as museum practitioners and general readers.

In performances by Euro-Americans, Afro-Americans, Native Americans, and Asians, Richard Schechner has examined carefully the details of performative behavior and has developed models of the performance process useful not only to persons in the arts but to anthropologists, play theorists, and others fascinated (but perhaps terrified) by the multichannel realities of the postmodern world. Schechner argues that in failing to see the structure of the whole theatrical process, anthropologists in particular have neglected close analogies between performance behavior and ritual. The way performances are created—in training, workshops, and rehearsals—is the key paradigm for social process.

How can geckoes walk on the ceiling and basilisk lizards run over water? What are the aerodynamic effects that enable small insects to fly? What are the relative merits of squids' jet-propelled swimming and fishes' tail-powered swimming? Why do horses change gait as they increase speed? What determines our own vertical leap? Recent technical advances have greatly increased researchers' ability to answer these questions with certainty and in detail. This text provides an up-to-date overview of how animals run, walk, jump, crawl, swim, soar, hover, and fly. Excluding only the tiny creatures that use cilia, it covers all animals that power their movements with muscle--from roundworms to whales, clams to elephants, and gnats to albatrosses. The introduction sets out the general rules governing all modes of animal locomotion and considers the performance criteria--such as speed, endurance, and economy--that have shaped their selection. It introduces energetics and optimality as basic principles. The text then tackles each of the major modes by which animals move on land, in water, and through air. It explains the mechanisms involved and the physical and biological forces shaping those mechanisms, paying particular attention to energy costs. Focusing on general principles but extensively discussing a wide variety of individual cases, this is a superb synthesis of current knowledge about animal locomotion. It will be enormously useful to advanced undergraduates, graduate students, and a range of professional biologists, physicists, and engineers.

The Museum Environment, Second Edition deals with the behavior and conservation of the various classes of museum exhibit. This book is divided into six sections that provide museum specifications for conservation. This text highlights the three contributing factors in the deterioration and decay of museum exhibits, namely light, humidity, and air pollution. Each section describes the mechanism of deterioration and the appropriate “preventive conservation . The changes in this edition from the previous include the electronic hygrometry, fluorescent lamps, buffered cases, air conditioning systems, and data logging and control in historic buildings. This book is of great value to conservation researchers and museum workers.

South American ecosystems suffered one of the greatest biogeographical events, after the establishment of the Panamian land bridge, called the “Great American Biotic Interchange” (GABI). This refers to the exchange, in several phases, of land mammals between the Americas; this event started during the late Miocene with the appearance of the Holartic Procyonidae (Huayquerian Age) in South America and continues today. The major phases of mammalian dispersal occurred from the Latest Pliocene (Marplatan Age) to the Late Pleistocene (Lujanian Age). The most important and richest localities of Late Miocene-Holocene fossil vertebrates of South America are those of the Pampean region of Argentina. There are also several Late Miocene and Pliocene localities in western Argentina and Bolivia. Other important fossils have been collected in localities of Pleistocene age outside Argentina: Tarija (Bolivia), karstic caves of Lagoa Santa and the recently explored caves of Tocantins (Brasil), Talara (Perú), La Carolina (Ecuador), Muaco (Venezuela), and Cueva del Milodon (Chile), among others. The book discusses basic information for interpreting the GABI such as taxonomic composition (incorporating the latest revisions) at classical and new localities for each stage addressing climate, environments, and time boundaries for each stage. It includes the chronology and dynamics of the GABI, the integration of South American mammalian faunas through time, the Quaternary mammalian extinctions and the composition of recent mammalian fauna of the continent.

Taking as its premise that the proposed epoch of the Anthropocene is necessarily an aesthetic event, this collection explores the relationship between contemporary art and knowledge production in an era of ecological crisis. Art in the Anthropocene brings together a multitude of disciplinary conversations, drawing together artists, curators, scientists, theorists and activists to address the geological reformation of the human species. With contributions by Amy Balkin, Ursula Biemann, Amanda Boetzkes, Lindsay Bremner, Joshua Clover & Juliana Spahr, Heather Davis, Sara Dean, Elizabeth Ellsworth & Jamie Kruse (smudge studio), Irmgard Emmelhainz, Anselm Franke, Peter Galison, Fabien Giraud, & Ida Soulard, Laurent Gutierrez & Valerie Portefaix (MAP Office), Terike Haapoja & Laura Gustafsson, Laura Hall, Ilana Halperin, Donna Haraway & Martha Kenney, Ho Tzu Nyen, Bruno Latour, Jeffrey Malecki, Mary Mattingly, Mixrice (Cho Jieun & Yang Chulmo), Natasha Myers, Jean-Luc Nancy & John Paul Ricco, Vincent Normand, Richard Pell & Emily Kutil, Tomas Saraceno, Sasha Engelmann & Bronislaw Szerszynski, Ada Smailbegovic, Karolina Sobecka, Richard Streitmatter-Tran & Vi Le, Anna-Sophie Springer, Sylvere Lotringer, Peter Sloterdijk, Zoe Todd, Etienne Turpin, Pinar Yoldas, and Una Chaudhuri, Fritz Ertl, Oliver Kellhammer & Marina Zurkow. This book is also available as an open access publication through the Open Humanities Press: http: //openhumanitiespress.org/art-in-the-anthropocene.html"

Cities Made of Boundaries presents the theoretical foundation and concepts for a new social scientific urban morphological mapping method, Boundary Line Type (BLT) Mapping. Its vantage is a plea to establish a frame of reference for radically comparative urban studies positioned between geography and archaeology. Based in multidisciplinary social and spatial theory, a critical realist understanding of the boundaries that compose built space is operationalised by a mapping practice utilising Geographical Information Systems (GIS). Benjamin N. Vis gives a precise account of how BLT Mapping can be applied to detailed historical, reconstructed, contemporary, and archaeological urban plans, exemplified by sixteenth to twenty-first century Winchester (UK) and Classic Maya Chunchucmil (Mexico). This account demonstrates how the functional and experiential difference between compact western and tropical dispersed cities can be explored. The methodological development of Cities Made of Boundaries will appeal to readers interested in the comparative social analysis of built environments, and those seeking to expand the evidence-base of design options to structure urban life and development.

100 Atmospheres is an invitation to think differently. Through speculative, poetic, and provocative texts, thirteen writers and artists have come together to reflect on human relationships with other species and the planet.