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Darwin's Camera tells the extraordinary story of how Charles Darwin changed the way pictures are seen and made. In his illustrated masterpiece, Expression of the Emotions in Man and Animals (1871), Darwin introduced the idea of using photographs to illustrate a scientific theory--his was the first photographically illustrated science book ever published. Using photographs to depict fleeting expressions of emotion--laughter, crying, anger, and so on--as they flit across a person's face, he managed to produce dramatic images at a time when photography was famously slow and awkward. The book describes how Darwin struggled to get the pictures he needed, scouring the galleries, bookshops, and photographic studios of London, looking for pictures to satisfy his demand for expressive imagery. He finally settled on one the giants of photographic history, the eccentric art photographer Oscar Rejlander, to make his pictures. It was a peculiar choice. Darwin was known for his meticulous science, while Rejlander was notorious for altering and manipulating photographs. Their remarkable collaboration is one of the astonishing revelations in Darwin's Camera. Darwin never studied art formally, but he was always interested in art and often drew on art knowledge as his work unfolded. He mingled with the artists on the voyage of HMS Beagle, he visited art museums to examine figures and animals in paintings, associated with artists, and read art history books. He befriended the celebrated animal painters Joseph Wolf and Briton Riviere, and accepted the Pre-Raphaelite sculptor Thomas Woolner as a trusted guide. He corresponded with legendary photographers Lewis Carroll, Julia Margaret Cameron, and G.-B. Duchenne de Boulogne, as well as many lesser lights. Darwin's Camera provides the first examination ever of these relationships and their effect on Darwin's work, and how Darwin, in turn, shaped the history of art.
Greg Bear’s Nebula Award–winning novel, Darwin’s Radio, painted a chilling portrait of humankind on the threshold of a radical leap in evolution—one that would alter our species forever. Now Bear continues his provocative tale of the human race confronted by an uncertain future, where “survival of the fittest” takes on astonishing and controversial new dimensions. Eleven years have passed since SHEVA, an ancient retrovirus, was discovered in human DNA—a retrovirus that caused mutations in the human genome and heralded the arrival of a new wave of genetically enhanced humans. Now these changed children have reached adolescence . . . and face a world that is outraged about their very existence. For these special youths, possessed of remarkable, advanced traits that mark a major turning point in human development, are also ticking time bombs harboring hosts of viruses that could exterminate the “old” human race. Fear and hatred of the virus children have made them a persecuted underclass, quarantined by the government in special “schools,” targeted by federally sanctioned bounty hunters, and demonized by hysterical segments of the population. But pockets of resistance have sprung up among those opposed to treating the children like dangerous diseases—and who fear the worst if the government’s draconian measures are carried to their extreme. Scientists Kaye Lang and Mitch Rafelson are part of this small but determined minority. Once at the forefront of the discovery and study of the SHEVA outbreak, they now live as virtual exiles in the Virginia suburbs with their daughter, Stella—a bright, inquisitive virus child who is quickly maturing, straining to break free of the protective world her parents have built around her, and eager to seek out others of her kind. But for all their precautions, Kaye, Mitch, and Stella have not slipped below the government’s radar. The agencies fanatically devoted to segregating and controlling the new-breed children monitor their every move—watching and waiting for the opportunity to strike the next blow in their escalating war to preserve “humankind” at any cost.
The Child is father of the Man; And I could wish my days to be Bound each to each by natural piety. William Wordsworth, "Ode: Intimations of Immortality" Wallace Stevens said somewhere that the theory of poetry is the life of poetry.l Charles Darwin, who likes poetry, "recognized that at the eost of losing his appreciation of poetry and other things that delighted him in his youth, his mind had become a 'machine for grinding generallaws out of large colleetions of facts.' "2 Somewhere in between the polar positions of Stevens' extreme aesthetic belief and Darwin's extreme meehanistic belief lies the aesthetics of empirical thought and the whole modem Romantic tradition. There have been men in between who were both meehanists and poets, who both beIieved in automatic material meehanisms and tried to use the imagination. Erasmus Darwin was one of these "in between" figures. and since he lived early (1731-1802) in the modem scientific era he was one of the first. This older Darwin, the grandfather of Charles, has not been given due credit as a transitional figure in the development of the literature of our scientific era. Although historically and in terms of intelleetual stature the grandfather was a fanciful child compared to the giant grand soo, Erasmus Darwin's habits of thought anticipated one of the most distinguishing charaeteristics of his grandson. (The genetic suggestive.
From the author of Death and the Maiden and other works that explore relations of power in the postcolonial world comes the story of a man whose distant past comes to haunt him. Is the sordid story behind human zoos that flourished in Europe in the nineteenth century connected somehow to a boy's life a hundred years later? On Fitzroy Foster's fourteenth birthday on September 11, 1981, he receives an unexpected and unwelcome gift: when his father snaps his picture with a Polaroid, another person's image appears in the photo. Fitzroy and his childhood sweetheart, Cam, set out on a decade-long journey in search of this stranger's identity—and to reinstate his own—across seas and continents, into the far past and the evil and good that glint in the eyes of the elusive visitor. Seamlessly weaving together fact and fiction, Darwin's Ghosts holds up a different light to Conrad's "The horror! The horror!" and a different kind of answer to the urgent questions, Who are we? And what can we do about it?
Why do men's testicles hang outside the body? Why does our appendix sometimes explode and kill us? And who does the Designer like better, anyway--us or squid? These and other questions are addressed in The Not-So-Intelligent Designer: Why Evolution Explains the Human Body and Intelligent Design Does Not. Dr. Abby Hafer argues that the human body has many faulty design features that would never have been the choice of an intelligent creator. She also points out that there are other animals that got better body parts, which makes the Designer look a bit strange; discusses the history and politics of Intelligent Design and creationism; reveals animals that shouldn't exist according to Intelligent Design; and disposes of the idea of irreducible complexity. Her points are illustrated with pictures, wit, and erudition.
Camera Lyrica navigates the intersection between realism and naturalism, locating moment by moment--the only way it can--the artful, necessary, and always mysterious transformation that occurs between the perceiver and perceived. Amy Newman's subjects range from Audubon's drive for precision, Michelangelo's unfinished Pietá, Darwin and forty-year old Barbie, to a meditation on the diversity of Type itself. With grace and dexterity, her intelligent eye dips into Catholic Mysteries, and the quiet but momentous domesticity of a backyard quince tree. Hers is a language both lush and spare, as she filters it and the world through a lucid imagination, transforming both into something beautiful, challenging, and wholly new.
Horace Darwin's Shop traces the early years of one of the most famous and best respected instrument companies in the world - the Cambridge Scientific Instrument Company, at the forefront of the industry for more than half a century. The book is largely about people, many of them famous engineers and scientists who became closely involved with "Horace's Shop", about the forging of links between industry and university and above all about the ability of one man, Horace Darwin, youngest son of Charles Darwin, to create beauty and elegance in simple, clever design. The account of the early history of the Cambridge Scientific Instrument Company is presented in two parts: the first is a historical account of those instruments particularly relevant to the growth of the Company and the second is devoted to individual instruments and topics. The book will be of interest to students of the history of instrumentation as well as to readers who may already be familiar with the Company and its products. About the authors Arthur F Wolfe began his career at the age of 14 as an office boy at the Cambridge Scientific Instrument Company, where he worked until retirement in 1966. In 1932 he became Assistant Accountant of the company and ten years later was appointed Chief Accountant and Assistant Secretary, becoming Company Secretary in 1947, a post he held for 17 years Michael J G Cattermole joined the Cambridge Instrument Company research department in Cambridge in 1959 where he worked on the design of gas analysis and industrial instruments until 1966. After a two year break he rejoined in 1968 as the head of the Muswell Hill development laboratory and was with the company during the takeovers by George Kent and Brown Boveri in 1968 and 1974. In 1970 he was appointed Technical Manager of Foster Cambridge Ltd, a post held until leaving in 1981 to become a teacher.