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An account of the American Museum of Natural History expedition to the Dzanga Sangha Rain Forest in the Central African Republic to collect specimens for an exhibit.
With more than 600 tree species and 10,000 animal species, the world's second largest rainforest, the Congo rainforest in Central Africa, is truly a lively place to be. In this thoughtful text, various settlements, villages, and indigenous peoples are introduced to readers as well as fascinating, and sometimes dangerous, forest creatures. In fact, hippos cause the most human deaths of any large animal in Africa! The narrator of this Congo adventure explores not just this wild landscape but also safety tips, natural history, and conservation concerns about this important part of the world.
Extending from west Africa to Madagascar, from the vast lowland Congo Basin to the archipelago of forest islands on its eastern rim, the African rain forest is surpassed in size only by the Amazon. This book sheds light on the current efforts to understand and conserve the African rain forest, an area in need of urgent action to save its biological wealth, cultural heritage, and economic potential. Written by conservation scientists and practitioners based in the African rain forest, the book offers a multidisciplinary perspective that integrates many biological and social sciences. Early chapters trace the forces--from paleoecological factors to recent human actions--that have shaped the African forest environment. The next chapters discuss the dominant biological patterns of species ranging from the distinctive elephants, gorillas, and okapi to the less well known birds, butterflies, and amphibians. Other chapters focus on how such different groups as hunter-gatherers, forest farmers, bushmeat hunters, recent immigrants, and commercial foresters have used the forests. Several authors stress the need for tighter links between research and conservation action. The final section draws lessons from the collective experience of those working in an Africa wracked by political strife and economic hardship.
Colorful macaws fly gracefully between trees while monkeys howl or chatter from high branches overhead. Many plants and animals display vibrant colors, while others like the sloth hide in plain sight. The tropical rain forest biome is chock full of life, and there are still many questions to be answered about this mysterious region. This informative book invites you to learn about the inner workings of this unique biome where every living thing plays a part in this biome community. Come see how the web of life thrives in the tropical rainforest biome.
Presents a photographic introduction to the land, history, government, economy, people, and culture of the African country of Central African Republic.
From the architectural spectacle of the medieval cathedral and the romantic sublime of the nineteenth-century panorama to the techno-fetishism of today's London Science Museum, humans have gained a deeper understanding of the natural world through highly illusionistic representations that engender new modes of seeing, listening, and thinking. What unites and defines many of these wondrous spaces is an immersive view-an invitation to step inside the virtual world of the image and become a part of its universe, if only for a short time. Since their inception, museums of science and natural history have mixed education and entertainment, often to incredible, eye-opening effect. Immersive spaces of visual display and modes of exhibition send "shivers" down our spines, engaging the distinct cognitive and embodied mapping skills we bring to spectacular architecture and illusionistic media. They also force us to reconsider traditional models of film spectatorship in the context of a mobile and interactive spectator. Through a series of detailed historical case studies, Alison Griffiths masterfully explores the uncanny and unforgettable visceral power of the medieval cathedral, the panorama, the planetarium, the IMAX theater, and the science museum. Examining these structures as exemplary spaces of immersion and interactivity, Griffiths reveals the sometimes surprising antecedents of modern media forms, suggesting the spectator's deep-seated desire to become immersed in a virtual world. Shivers Down Your Spine demonstrates how immersive and interactive museum display techniques such as large video displays, reconstructed environments, and touch-screen computer interactives have redefined the museum space, fueling the opposition between public and private, science and spectacle, civic and corporate interests, voice and text, and life and death. In her remarkable study of sensual spaces, Griffiths explains why, for centuries, we keep coming back for more.
The Anthropocene’s urgent message about imminent disaster invites us to forget about history and to focus on the present as it careens into an unthinkable future. To counter this, Louise Green engages with the theoretical framing of nature in concepts such as the “Anthropocene,” “the great acceleration,” and “rewilding” in order to explore what the philosophy of nature in the era of climate change might look like from postcolonial Africa. Utilizing a practice of reading developed in the Frankfurt school, Green rearranges narrative fragments from the “global nature industry,” which subjugates all aspects of nature to the logic of capitalist production, in order to disrupt preconceived notions and habitual ways of thinking about how we inhabit the Anthropocene. Examining climate change through the details of everyday life, particularly the history of conspicuous consumption and the exploitation of Africa, she surfaces the myths and fantasies that have brought the world to its current ecological crisis and that continue to shape the narratives through which it is understood. Beginning with African rainforest exhibits in New York and Cornwall, Green discusses how these representations of the climate catastrophe fail to acknowledge the unequal pace at which humans consume and continue to replicate imperial narratives about Africa. Examining this history and climate change through the lens of South Africa’s entry into capitalist modernity, Green argues that the Anthropocene redirects attention away from the real problem, which is not human’s relation with nature, but people’s relations with each other. A sophisticated, carefully argued call to rethink how we approach relationships between and among humans and the world in which we live, Fragments from the History of Loss is a challenge to both the current era and the scholarly conversation about the Anthropocene.
This is the sixth volume in the Birds of Africa series, covering the rich avifauna of the world's second largest continent. Universally recognised as by far the most authoritative work ever published on the subject, The Birds of Africa is a superb multi-contributor reference work, with encyclopaedic species texts, stunning paintings of all species and numerous subspecies, hundreds of informative line drawings, detailed range maps, and extensive bibliographies. Each volume contains an Introduction that brings the reader up to date with the latest developments in African ornithology, including the evolution and biogeography of African birds. Diagnoses of the families and genera, often with superspecies maps, are followed by the comprehensive species accounts themselves. These include descriptions of range and status, field characters, voice, general habits, food, and breeding habits. Full bibliographies, acoustic references, and indexes complete this scholarly work of reference. This sixth volume in the series deals comprehensively with picathartes, babblers, long-tailed tits, tits, penduline tits, nuthatches, creepers, sunbirds, white-eyes, sugarbirds, true shrikes, bush-shrikes, bulbuls, helmet-shrikes, orioles, drongos, crows, starlings and oxpeckers. The editors and artists have worked closely with other authors - all acknowledged experts in their field - to produce a superb reference in which comprehensive texts on every species are complemented by accurate and detailed paintings and drawings of the birds themselves.