Nature on Display
24. October 2008
Tøyen hovedgård, Naturhistorisk Museum
How has nature been put on display in different rooms and by different means? Speakers from various disciplines will elucidate this question by examples taken from museums, private collections, visual technologies and textbooks.
The seminar is arranged by the project “Nature and the natural”, IKOS, UiO. Questions may be directed to Liv Emma Thorsen, Sign up before 1. October to Anne Stovner, IKOS
Students are welcome. The proceedings will be held in Rokokkosalen, Tøyen hovedgård.
Programme
9.00-9.15
Nature on display: Introduction
Liv Emma Thorsen, Institute of Culture Studies and Oriental Languages, University of Oslo
9.15-10.00
Interpreting nature at The Manchester Museum – from ‘original modern’ to post-industrial.
Henry McGhie, The Manchester Museum, Manchester
10.15-11.00
In the cage: Images of alterity in the 19th century.
Alberto Tosi, Department of Art History, University of Pisa
11.15-12.00
A cyclone in my living room: John Aitken and the domestication of ‘outdoor physics’.
Ben Marsden, Department of History, School of Divinity, History and Philosophy, University of Aberdeen
12.00-13.00 Lunch
13.00-13.30
“Exotism” on display at La Specola Museum.
Gianna Innocenti, Department of zoology, La Specola Museum, Florence
13.30-14.00
Representing the basking shark.
Brita Brenna, Institute of Culture Studies and Oriental Languages, University of Oslo
14.00-14.15 Coffee and tea
14.15-15.00
School science and textbooks in Norwegian elementary school, 1889-ca 1960.
Jørund Falnes, Vestfold University College
15.15-16.00
Staging prehistoric worlds: Visual technology and literary technique in the nineteenth century.
Ralph O’Connor, Department of History, School of Divinity, History and Philosophy, University of Aberdeen
Abstracts
Interpreting nature at The Manchester Museum- from ‘original modern’ to post-industrial
Manchester, in the northwest of England, is commonly regarded as the first industrial city, having developed through technological innovation during the Industrial Revolution. This initial development was followed by a period of economic decline through the mid Twentieth Century and the subsequent emergence of a post-industrial economy. Given this history, Manchester is an interesting model with which to explore societal relations with nature and with natural objects. Written descriptions of early Manchester as a bleak, unhealthy society can be contrasted with Romanticist visions of nature and the collecting activities of local naturalists. The ‘culture of collecting’ that existed through Nineteenth Century Britain meant that large collections of natural objects were formed by those with the time, money and inclination to do so. These were brought together in Manchester in private collections and latterly in a private museum; this fell on financial difficulties and the collection became the property of Owens College, now The University of Manchester. This paper will explore a number of themes related to the natural history collections and displays, notably (1) the organisation of the collections, (2) the value systems that were attached to them at different times, (3) the relationship between display and other aspects of museum work, (4) the biographies of a selection of individual objects and the importance of the concept of the synecdoche in understanding museum displays and collections; (5) particular attention will be paid to the tensions that exist between the founding principles of the museum and contemporary approaches to museums and to nature and its interpretation.
Henry A. McGhie, Head of the ‘Natural Environments’ Team and Curator of Zoology, The Manchester Museum, The University of Manchester
In the cage: Images of alterity in the 19th century
Alessandro Tosi
A cyclone in my living room: John Aitken and the domestication of ‘outdoor physics’
This paper takes the work of John Aitken, meteorologist, to illustrate one facet of ‘nature on display’ in late nineteenth-century Scotland. Those evaluating Aitken’s career in the early twentieth century made him out to be an aficionado of ‘outdoor physics’. They recognised his profound and spiritual engagement with the ‘everyday’ phenomena of the natural environment, whilst understanding that his achievements in explain those phenomena (not least the formation of clouds) according to scientific canons was not to explain them away: in no sense did it diminish, for him, a sense of glory and wonder. A key feature of Aitken’s work, and my focus here, was his ambition to reduce complex phenomena on the largest natural scale (a beautifully coloured sky, a vast weather system) to the scope of his country house workshop laboratory. Trained as an engineer, Aitken used his fine mechanical dexterity to capture a cyclone in his living room. This process, labelled by Peter Galison ‘mimicry’, used models as suggestive analogies mimicking natural phenomena, from which useful inferences could be made. It was a scientific style intermediate between the reductive, analytical practices of the physical laboratory and the observation of untamed natural phenomena. In an age of ‘big science’, requiring large-scale international involvement and expense shouldered more often by the institution than the amateur, Aitken prided himself on a distinctive ‘test-tube kind of work’, devoid of mathematical complication, that nevertheless won him the Royal Society’s prestigious Royal Medal. For Aitken, glaciers, rainbows, and clouds could all be reduced to small-scale homely demonstrations fit for gentlemanly entertainment.
Ben Marsden
Department of History
School of Divinity, History and Philosophy,
University of Aberdeen
“Exotism” on display at La Specola Museum
The Florentine Museum “La Specola” was opened to the public of any social level in 1775, by order of the enlightened Grand Duke Peter Leopold of Lorraine who wished to put together all the “natural curiosities” from his collections, as well as from the Medici ones, with a didactical purpose.
The zoological collections consisted of many Italian and foreign specimens and among them, on display there were several amazing animals, peculiar for their provenance, rarity or dimension that gave rise to the social imaginary of the Museum visitors.
The talk will show a selection of the unusual animals on display and give an account of their arrival at La Specola Museum as many specimens have a “story” to tell the visitor.
One of the most ancient specimens, still on display in a Museum Hall, is the skeleton of an Indian elephant that was kept alive and exhibited to the Florentine people in the Loggia dei Lanzi, near Palazzo Vecchio in Florence till 1655, the year of its death. Champollion’s expedition to Egypt in 1828-29 brought back to La Specola a mummy of the Nile crocodile, still exhibited in the Reptilian room. First Adolfo Targioni Tozzetti and later Enrico Hillyer Giglioli, through exchanges with foreign institutions, researchers and relevant personalities of the time or through expeditions abroad increased the collection with specimens that were prepared for the public exhibit in characteristic “dioramas”, sometimes representing their behaviour, exceptionality or weirdness.
Among them, the rare big Mediterranean fishes, the fragile Venus flower basket sponge (Euplectella aspergillum) that arrived to the Museum from unusual catches, the giant salamander (Andrias japonicus) donated alive to the Director of the Museum by the Italian ambassador in Japan in 1875 and kept for more than 40 years in an aquarium, or the Tasmanian wolf, a gift of the Australian Museum, presently an extinct species.
Gianna Innocenti
Museo di Storia Naturale, Sezione Zoologica “La Specola”, via Romana 17 – I-50125 Firenze, Italy
Representing the basking shark
This paper will discuss the work involved in making a basking shark into a scientifically valuable representation. Basking sharks are enormous animals living in the North Sea, and they are particularly valuable for their content of oil. By the mid-1700 century they were increasingly sought by fishermen of the North Sea coast. In the 1760s the basking shark had not been described scientifically, and the naturalist-bishop of Trondheim diocese in the Northern part of Norway made it his duty to make an accurate description of this animal. Commonly these giant fishes would be killed and the liver cut out, while at open sea. On the behest of the bishop fishermen tried to observe and represent the fish – wooden models were made to represent it. Later written descriptions were delivered by the local schoolteacher. Thereafter fishermen were asked to bring the head and the gills of the fish to the bishop, and finally they succeeded in stuffing a fish with moss and bringing the whole animal to his home in Trondheim. At last when the whole fish were present in his house, the bishop could make an accurate scientific description, which also accounted for the hardship and work involved in bringing the fish to his collection where it could be studied scientifically. My interest in this paper is to trace the work involved in making the fish representative for the scientific community and to investigate what role the fish was to play in the writings of the bishop.
Brita Brenna
Institute of Culture Studies and Oriental Languages
University of Oslo
School science and textbooks in Norwegian elementary school, 1889 – ca 1960
The lecture I will give at this seminar is based on what I have come up with so far in my PhD project which is an historical study of textbooks used in the compulsory school in Norway from ca 1900 – ca 1970. I am looking at textbooks in physics and chemistry (Naturlære) and zoology, botany and health – hygiene (Naturhistorie). Very little research has been done in the field of history of textbooks, especially at lower levels in the education systems, and the focus has for the most been on history, ethnicity, identity and gender. Very little is done on school science. I have chosen to concentrate my study on the influential, and broadly used textbooks written by the Norwegian teachers (and later headmasters) Andreas Strøm and Ole Strøm. The first book they wrote together came in 1902, and their textbooks came to be used for about 60 years in the Norwegian elementary school (folkeskole). In the foreword of Naturlære for folkeskolen (1902) the authors emphases the importance of THE EXPERIMENT, not only as teachers demonstrations, but also as an activity done by the pupils themselves, so that they could get first hand experience, and discover the ”law”. However, the gap between visions and realities was considerable, not only in the beginning of the 20th century, but for several decades. The spokesmen- and women of the radical reform pedagogy around 1900 saw the subject naturkunnskap, nearly as ’the ultimate’ subject to up fill several moral (and other) educational goals. This is reflected in articles in teacher magazines, and in a broad range of texts from regularly arranged (3-5 years) assembly for Nordic teachers. In the discourse of educational contents, methods and aims, we also find tensions between ”sterile” object lessons versus more modern ”nature study” orientations such as excursions, and bringing relevant material into the classroom. Different opinions about the systematized and classified (God’s) nature versus adjustments (life forms, habitat and so on) in the nature will also be dealt with in my analysis.
Jørund Falnes
Vestfold University College
Staging Prehistoric Worlds: Visual Technology and Literary Technique in the Nineteenth Century
The decades following the French Revolution saw the development of a range of visual technologies by which the natural world was displayed to increasingly diverse urban audiences across Europe and America. Panoramas, dioramas, stage scenery and new forms of magic lantern represented landscapes on a grand scale and with minute attention to verisimilitude, designed to produce the illusion of being present at the scene depicted. This paper examines how these technologies were drawn on by science writers in the nineteenth century in order to popularize the new science of geology, transporting readers into the landscapes of the vanished past. Visual displays themselves (such as the monsters in the Crystal Palace Gardens, or pictorial representations in museums and books) have attracted more attention from historians, but until the end of the century words played a more sustained role than images in enabling audiences to imagine these lost worlds and their monstrous denizens.
Ralph O’Connor
Department of History
School of Divinity, History and Philosophy,
University of Aberdeen
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