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By the end of World War II, about 50 shops remained. The collection dates from more than years 56 back, and includes feathers that are rare or even banned. She selects ostrich and marabou feathers, aligns them on a board that passes through the sewing machine, then twists the scarf and uses steam to give it volume. Here, the feather-workers apply marabou feathers57 to Chanel shoes.

Each pair takes six hours and the order is for pairs. The basic material here is cloth, and it is worked in every possible way. Fringed, stitched, creased, ironed, folded Stored in paper and cardboard to keep out light and moisture, dyed feathers are protected from mites and can remain in perfect condition for over a century.

These dead birds are Mediterranean region. Other specimens of material remnants of the collecting practices interest from Malta include those collected by and transient careers of some of the British fellow imperial officials: Royal Navy officer, military officers in my study, just as they are William Jardine, son of Scottish naturalist Sir material evidence of historical avian William Jardine ; Reverend Henry ecologies of past places.

Photo by Kirsten Greer 25 July Mediterranean and pursued British imperial mostly passerine species, commonly known as interests in the region. The time, I am overwhelmed with excitement to Northern Wheatear, for example, makes one reconnect with familiar species from his travel of the longest journeys of any small bird, narratives, to handle their delicate bodies and crossing ocean, ice, and desert, from Sub- to touch their feathers, to make them real in Saharan Africa in spring over a vast area of my geographical imagination.

I note the the northern hemisphere that includes northern diversity of species, which range from a male and central Asia, Europe, Greenland, Alaska, Northern Wheatear Oenanthe oenanthe [iv] to and parts of Canada. Mediterranean region. Because I am not a I delicately remove the birds from the trained ornithologist or a curator of natural plastic coverings and place the dead bodies history, I rely upon the expertise of curators on the table for examination and and ornithological field guides to help me documentation with a digital camera.

The identify the Old World birds and their relations smaller birds are limp and fragile, with some to the museum. Most of the birds smell of the surrounding the acquisition of objects within a chemicals used in nineteenth-century postcolonial museum.

McGhie highlights the taxidermy practices such as arsenic and biography of nineteenth-century ornithologist formaldehyde. Some of the specimens smell Henry Dresser to help trace his complex of dead flesh; I flinch at the stench of a business and scientific networks in his migrant Squacco Heron Ardeola ralloides as I accumulation of ornithological knowledge, take it out of its bag.

I clearly see the specimens from museum collections, falsified ways in which Adams has recorded his name, their documentation, and relabeled them with species, date, and the locality of the different localities. These are While these studies help trace the the same labeling techniques found on his trajectories of scientific objects and their birds housed at the Museum of Zoology, collectors, they seldom focus on the ways in University of Cambridge.

British military culture and ideas and practices and draws attention to the need for of ornithology, reflecting the ideological and examining the different sites which scientists collecting practices of a network of occupy during their careers. Such an approach takes into account not only with textual sources e.

I address this challenge by temple of facts bequeathed by the untangling the avian imperial archive as a bureaucracy of empire. The collections and relations with other creatures — and their documentation of avian specimens bear mysteries.

For example, Sharon Kirsch service in the British Mediterranean. Bartholomew, Bartholomew's Physical Atlas Vol. By linking military establishment of many natural history and travel accounts, field journals, watercolours, ethnographic collections in the United and published articles to avian specimens, I Kingdom and in the colonies; their natural uncovered how the practices of British military history collections, as well as the birds field ornithology — a geographical collection commemorated with their names e.

Irby commented on how they the Mediterranean region. Captain Philip S. Many private collections of bird specimens from the collections room, to the mounts and private letters are still in the hands online catalogue systems of the museums. I of the families of British military officers. Other would not have been able to conduct my materials are circulating in private auction or research without their guidance and have been destroyed, never making it to expertise.

The new exhibition in was which makes the investigation of cross- based on the collection of groups of birds, imperial connections more difficult. What is and weather conditions all entered into a field revealed is how natural history museums journal. While to the bird specimens, eggs, and nests that I natural history museums use particular examined for my study Figure 4. Moroney, forms of sensory perception and their effect Bock, and Farrand; Peters; Sibley and on people and their memories.

When Monroe , many collections cater to the needs handling the original bird skins, I imagined of the museum and their curators. I could understand the appeal of them. This approach is eyes. My research British military culture and ideas and practices encounters with the British Mediterranean of ornithology. I recorded my first impressions of these sites Little brother, would I could much like the British military officers did in my Make it so far, the whole globe study when visiting different locales.

In Curling to the quick of your wing. Thanks to the staff with Fly-by-night, blind flight. My sensuous engagement with place included Now seasons migration without you the smell of the sea, the sounds of the birds, Flying south. The sea-grapes plump and darken. I decided to collect oak, elm, and naturalize their masculine, imperial presence linden-tree leaves, as well as cones from a in the region.

The military performances of travels. It speaks to the agency of the natural history museums. Gagen, H. Lorimer, and A. Practising the archive: reflections on method and practice in historical geography. Science, Space and Hermeneutics: Hettner Lecture Heidelberg: labels, lists, fieldnotes, visual culture, travel- University of Heidelberg, It also is found in Greenland and northeastern New Star Books, , Canada, and is one of the few bird species that migrates from North Africa to its wintering grounds in sub-Saharan Africa, crossing either the Atlantic Ocean or the continent of Eurasia.

Poole ed. Toronto Press, , New York: Verso, , 3. Manchester: University of Manchester Press, For an interesting interview [xxx] The catalogue included a list of all of the species collected from across the British on the use of avian specimens and biography, see You Tube: Jill Malusky and Henry Empire. Rasmussen and R. Porter, , Birdlife International has designated the Marbled Teal or Duck as a vulnerable species due to the loss of habitat and hunting.

Szerszynski, W. Heim, C. Waterton eds. Volume 1 London: Harper Collins, , Journal of Historical Geography 15, 1 January : See also: Joan M. Rojek and J. Urry [xli] Ibid. Lesser Yellowlegs, departed Boston August 28, shot : cciii. See: Douglas G. Russell, Mike Hansell, and Dr. She is 5th Int. Bird Curators, Nat. Vienna 77—96 Vienna, January Her [l] Ibid. Phillips eds. Nineteenth-Century North Atlantic," aims to understand how natural history knowledge of Canada, Bermuda, and [lii] Natural history museums use different taxonomic systems when organizing their Britain helped to produce a militarized maritime bioregion collections.

The primary concern History, , J. Moroney, W. Bock, and J. Farrand divide the Class Aves into genera, 36 tribes, subfamilies; with 6-digit numbers identifying each species: the first two of this study is how the production, circulation, and digits indicate the key order.

A more recent taxonomy is Charles Sibley and Burt Monroe, reception of natural history knowledge and material Distribution and Taxonomy of Birds of the World London: Yale University Press, , who culture by these individuals from maps, specimens, charts, devised 23 orders and 32 sub-orders and families out of species. Their work was based on their earlier classification developed by Sibley, Monroe, and Jon Ahlquist. Henry watercolours, and photographs helped to constitute the McGhie helped me to decipher the various taxonomic systems used in natural history British North Atlantic as a meaningful place and museums.

While the contemporary paradigm of scientific Maria Whiteman: As an artist, I am research on animals is founded on genetics, compelled by the ways in which animals are neurology and behavior, Whiteman traces visualized in contemporary culture in general, the history of the zoological sciences to the and by how distinct techniques of study taxonomy and anatomy. What does representation afford them differing degrees the historical practice of preserving and of cultural significance.

As soon as one classifying animal bodies tell us about the begins investigating animal representation, ways science mediates our philosophical one moves quickly from art and culture to the understanding of animal life? Her recent role played by systems and institutions of series, In Storage, takes the viewer through knowledge in the production and the ornithology section of the zoology lab at perpetuation of specific views of what the University of Alberta, Edmonton, constitutes the animal and our relationship to Canada.

Laboratories, museums, and scientific archives are sites that legitimate knowledge Amanda Boetzkes: Perhaps we should about animals; they are also sites and start by talking about your approach to your institutions whose verdict on the animals is artistic practice. It seems to me that one of infrequently challenged. So you are engaging the visual are on display, knowledge is generated and aesthetic dimensions of the preserved through viewing.

The relationship between the specimens at this zoology lab. So here we have drawers that questions about my relationship to them. Yet, what your photographs eternal captivity of time. They exist in these do so well is problematize this assumption of spaces as objects of science and no longer scientific transparency. We can see so with as much veracity as possible, but that each drawer identifies a certain group, which — unlike that world — can never and each specimen has a tag with a number change or transform.

In both cases, the lack and a written description. This is a photographs unsettle this scientific laboratory, so the preservation of the birds is organization and bring alternative readings visually different from that of the tradition of of the bodies.

Taxidermy is familiar about the crossing of the feet. The traditionally for hunting trophies or natural deliberate arrangement of the body history museums. It can range from the kitschy doubles the way we humans place the to the educational. How would you hands of the dead in a casket. For an characterize the space that you were working ornithologist, this positioning of the bird in, and the ways you first confronted these allows for a clear view of the shape, color birds?

But your photographs recover a different dimension to the bodies. Whiteman: As you point out, the birds are They recall our human conventions of stored in drawers in a manner that, at one posing, looking at, and paying last respects level, makes one think of a vast bureaucratic to the dead. It took accessed: the medium is the message… years for me to get comfortable with the But there are other visual resonances in this different floors and to remember which lab lab, too.

The drawers are set so they can be was where. The first floor is a working lab, easily taken out and just as easily hidden where all the birds are stored and where other away. Instead of animals mounted to be mammals of various species are sitting proudly displayed as hunting trophies, the around in the open.

It used to be that you drawers render these birds well and truly could visit with your art students, so that they dead: the cabinets and drawers are nothing could draw specimens—much more if not caskets. In some respects, this is interesting than staring at a still-life in an art actually the right conclusion to draw. Time is studio!

Their feathers get very dry with flakes of longer have access to the lab. The second skin breaking down. What a visitor is room middle floor is the bone floor, where engaged in is thus a wake—a place to see an inordinately huge amount of bones from their loved ones before their bodies various mammals are stored in a refrigerator. The lab temperature. This room is long, dust and becoming more brittle over time.

This reminds us that this all belongs to another room has an insipid smell of old wet skin time. The thousands of pickled reactions to the powder or dust that one creatures cover the range from of every could only imagine to be decades old. Each once living creature imaginable. The first type of bird in the lab is classified by its known floor is where I took the photographs of the identity and stored away in groups.

The birds. There bulging through small sockets and their feet appears to be logic to the organization and are tied and tagged. The room is large and open with old talons in many of the photographs. There are lots same time, here they are bound up and of notes, empty bowls, and plastic lifeless. In fact, hoping that through my artwork we can sense while the series shows laboratory as a a history, their loss, their resistance.

I want the bureaucratic system, it finds a palpable images to capture a past and present, and melancholy at the heart of it. Do you think offer an additional reality to the dead that your photographs undertake a process animals. I am attracted to subjects that symbolize a place and time that has passed, Whiteman: Yes, I think all my work has or is going to pass, and so for me, mourning something to do with mourning. What I gets drawn out in the images I create, i.

For example, the taxidermy animals mourning in the images. The photographs bring captured and rearticulated into an object us very close to the animals: I realize I can that looks as if they have returned to their only think of them in their death, and in their environment, but sadly had to be removed in death that I mourn, not knowing them in order to replicate exactly where they came their life.

These animals have a history of from. There is something in the disavowal of their own and then a transformation takes that very act that is a cause for mourning. The process of mourning might fail through visualizing them has been fast to reanimate their existence, but it does coming to an end, as science shifts from eyes highlight the complex mechanisms at work in to the invisibility of the double helix of DNA.

Students are now more likely to confront photograph is something like a re- these animals via changes of genetic codes mystification of the laboratory. I an extinction—the laboratory is reset as a video taped a zoologist skinning a songbird mortuary, or even an ancient embalming and a squirrel and talked to him about the chamber.

In other words, the fact that the process as he proceeded to rip the insides of birds are dead individuals, and not inert the animals out in a methodical and diligent objects, is undeniable. The falcon in the manner. It was rather impressive to witness his photograph entitled Alone, for example, skills in the treatment of the animal. His registers as a specific individual. Here, people know about any animal that we live we look down at a solitary creature, rigid, and so close to.

His knowledge of their bodies, flat on its back. There is a lot of excitation about art the gender, date, season of the feathers, and dealing with everything from genetic splicing location where the bird was found. While gene-based art is certainly a process of mummification involved lively avenue into questions of biopolitics, the symbolically cloaking the body in spells and discourse has the tendency to revolve around incantations, and for whom the body needed issues of technological manipulation, the to be accompanied with scrolls of text.

While moral responsibilities of science, and often the identifying tags here do not inculcate the enough, the simple description of the birds into a religious cosmology per se, they mechanics of new media. What get left do show how the scientific study of animal behind are philosophical questions of what bodies is ritualized and aestheticized. What you do so well collection of dead birds, the archive centre is pose these questions through an for dead animals. I think we often forget that time.

One of the things that is important to genetics is also a frame of knowledge that note is that the there is an ever-increasing has limits. The old practice in natural sciences of the previous three which information is gathered from species centuries could through taxonomy.

Her research focuses on the intersection of the biological sciences and artistic practices of the 20th and early 21st centuries. Her first book, The Ethics of Earth Art University of Minnesota Press, , considers the development of the earth art movement, focusing on how ecology shifted from a scientific discourse to a domain of ethical and aesthetic concern. She is currently working on a co-edited book with Maria Whiteman, entitled Refigurations of the Animal: Plasticity and Contemporary Art.

Her current art practice explores themes including art and science, relationships between industry, community and nature; and the place of animals in our cultural and social imaginary. In addition to her studio work, she conducts research in contemporary art theory and visual culture. She lives and works in London. Tens of thousands of bones are collected from restaurants, Rachel Poliquin: What inspired you to cleaned, and then patterned into an work with birds? But unlike feathers, wishbones evince animal death.

Yet despite Kate MccGwire: There's no single event I -- or perhaps because of -- the horrifying can point to. I grew up on the Norfolk wishbone pieces achieve a near spiritual Broads, a relatively remote area of England, lightness, which offers a dramatic famous for its wetlands and bird life, and as a counterpoint to the ominous vitality of her child spent many happy hours boating on its feather sculptures.

You're surrounded there by flocks of In this interview, MccGwire talks about native and migrating birds, by owls swooping the intimacy of her lifelong relationships with overhead at dusk, and you can't help but be birds, the relentless task of creating her moved as they wheel around you.

Her something I can't escape. Do you have a distinctly unremarkable, their upper side is special relationship with any species made for show, with their iridescent and in particular? When I first core of my work. I enjoy the fact that the materials can't swan built on the slipway immediately be bought; they're not a commodity. It makes behind the boat. Courtesy of All Visual Arts Kate MccGwire ephemerality; I'm conserving something of natural experimentation with my materials others consider disposable.

I often find myself homing in on pigeons are. To the birds' keepers, the moulted serpentine, and in so doing blurs the line feathers are little more than rubbish, littering between man and beast, which is of course the floor of the loft; to me they're precious, an idea rooted in classical mythology. That and I appreciate every donation. Poliquin: Birds are surrounded by a I've always photographed statues but vast range of associations, but I it was when I was visiting the Pergamon Altar have never seen a correlation in Berlin in that I realized all my interests between birds and slithering, had come together.

It has a base decorated creeping things. This fusion in your with a frieze showing a battle between the feather sculptures is inspired. How giants and Olympian gods. The overriding did it come about? Another thing individual works and as a whole, is the that struck me was the way the Altar is the interplay of opposites, which runs like a bearer of so much dissent, of war and strife, leitmotif through everything I do.

It's as if the and all this expressed in a relatively slight work needs that tension to create its own marble frieze. There is confusion and power internal equilibrium. It's an expression for me in classical sculpture — a disturbing tension of the duality I see all around me; and the between the unblemished perfection of the materials I choose need to be able to marble surface and the treacherous events physically embody this dichotomy.

This is also true of nature and, I The other point to make here is that hope, of my work. I let my materials guide me — whether it's a wishbone Poliquin: Compared to this dark or a feather, all my materials require me to sensuous organism of your feather go through a painstaking process of sculptures, your wishbone pieces accumulation, and it can take months, if not display an almost reverentially years, to build up enough for a single patterned sparseness.

How do you sculpture. Once the materials are in, they understand the relationship between then need to be prepared, cleaned and these bodies of work? Meanwhile, I'm experimenting, immersing myself in the physical act of MccGwire: There are all sorts of making, which has an almost meditative connections I'm aware of, but these aren't quality to it. So you could say that whatever worked out at a conscious level. Courtesy of All Visual Arts Kate MccGwire Poliquin: The textural patterning in Do you see your work responding to your works reminds me of quilting, the history of such crafts?

I collected the bones from a today's art, such as the use of the catering company that supplies restaurants overlooked object, the transformation of with prepared meat. I don't see my work as having any and pick up a huge box of around 7, overt dialogue with the history of craft per se, fleshy bones.

I'd then have to boil, clean and but I've always had a love of handmade dry them ready for gluing. My hands were raw intricately hand-sewn cushion cover. By aesthetic power, as well as its ethical applying them, I've been able to develop dimension. By contrast, I've looked at the my own processes as well as experience the bones of organically farmed birds and they're immersive ritual of making that is a hallmark quite different — every one a different size, of many crafts.

It's also quite simply that I colour and shape. They haven't had their have a love of making things and am uniqueness farmed out of them. Patterning in constantly alert to the beauty of the nature is a beautiful thing; however, the handmade object. China; I'd see prostitutes sitting in their windows knitting between clients so they had Poliquin: Your pieces exhibit an something to sell at market the next extraordinary amount of meticulous morning. It's an image that's stayed with me physical labour.

Can you talk a bit — two of the oldest professions in the world, more about this repetitive and merchant and prostitute, side by side. It was intimate relationship with your timeless. Poliquin: Many of your pieces are MccGwire: I think being so in touch with my constructed from a superabundance materials enables me to understand them at of one animal part. The feathers a more intimate, instinctual level.

As a result, I might be moulted from living birds, feel physically connected to the work I'm but the wishbones can only be from about to make and the actual construction of dead birds. Are you ever challenged the work follows organically on from the — ethically, emotionally, or physically preparation stage.

It means I understand — by the sheer excess of your what my materials are capable of at a point materials? It means this is work MccGwire: You're right; my materials created and conceived not just in my head present all kinds of challenges. Because of but with my body, too. Doing repetitive work the small size of the materials relative to the has a very meditative effect; you can lose scale of the work, the sheer physical yourself in the act.

In I made a piece called my work. It's an farming. I often look back at a finished themselves. MccGwire: It depends. The pigeon There's no head, so it defies our idea of what feathers come from a network of pigeon- a creature is. It has creases and crevices that fanciers I've been building up over the last remind us of our own bodies but at the same five years. By necessity I've had to immerse time it is totally alien.

The feathers from their pigeon lofts and in return body of the sculpture — I like to think of it as a got their names put into a hat to win a work. Both are by the farmers whose crops they destroy, but overwhelmingly ominous. Are we their feathers are — at least by me. The meant to see these works as warnings? Relying on the goodwill They're designed to unsettle, to unseat old of all these individuals gives a human certainties; it's about the unseen brought dimension to the collection process, which is visibly to the surface or walking that line mirrored in the many hands required to between beauty and dread or repulsion.

It's actually make the work. It is specific works, so were made to respond to sinister but also fragile and their environments. What is the source of its sewer-like opening in the wall of a crypt that unnerving vitality? Pancras Church, London. Add the feathers environment, not usually given to show, streaming out of a brick orifice and the result reminds us of the sheer scale of indulgence is something that takes the viewer beyond and consumption that went on in these his usual frame of reference.

It's one of those houses, and the huge numbers of staff works that seems to have an almost visceral required to keep them going. Hundreds of effect on its viewers — people tell me that just birds would have passed through these looking at it makes them retch or shudder. I kitchens, plucked for the pot, their feathers like the idea of that reflex reaction, of discarded in the name of food.

This work is in something unstoppable that creates its own some respects a tribute to the beauty of movement. In spite of all the work required, they partridge and duck to its wealthy owners only exist as long as the exhibition does. They and their guests. Courtesy of All Visual Arts Kate MccGwire time and generate this vortex of feelings than from an awareness of the division that and thoughts that only occur because of exists — and which prevailed in the Victorian the complex interplay of the work with its era, too — between man and nature; animals environment.

Where they do, they are fetishized, bought as Poliquin: Why do you think so many commodities, as fashion accessories and contemporary artists are using status symbols. I don't see my own work as taxidermied animals and animal parts taxidermy — that would imply some attempt to in their art? Do you think some genres resurrect life. For me, the urge to use of animal art are more successful materials provided by the natural world is than others? To some extent they were using their illusionist skills as taxidermists to Poliquin: What are you currently cheat death in an era in which death was working on?

But it was also a way of preserving for show animals that people MccGwire: I'm getting ready for my first wouldn't otherwise come into contact with, solo show at All Visual Arts in November next of bringing the exotic into their daily orbit, year. The gallery's in an old bus depot — a whether in the context of their local museum huge space — so I'm busy exploring new or living room.

I think much of the media such as video and projections. Since she has been using bird feathers as sculptural material and creates elaborate large-scale, site-specific work in unexpected venues, such as Evacuate, made for the kitchen at Tatton Park from thousands of locally sourced game-bird feathers. Her work also includes animation, film and drawings. Text by Hayden Lorimer 92 Fig 1.

Mostly these trawls need for greater understanding of exactly are to do with on-going biographical how natural sounds were captured and the research. For each lot item, illustrative ambient conditions necessary for their proper photographs and an instantaneously appreciation in recorded form. The possibility of snapping up a first figured an experimental means to commune edition, long sought after, only slightly foxed with nature.

But the Songs of Wild Birds realized was the first search system sometimes gives way all too audiovisual book to be mass-produced for a easily in my experience to more speculative British market. More personally, it was a guesswork and a freer kind of associational positive outcome of troubling geopolitical surfing that can lead to the obscure, circumstance.

An outspoken critic of the Nazi overlooked and the out-of-the-way. Their actions had the desired effect. Shaken First on sale in , Songs of Wild up, he left his native Germany. Soon after Birds originally retailed at fifteen shillings. Alas, he had been unexplored sound world populated by the unable to arrange safe passage for the bulky nightingale, song-thrush, robin, blackbird wax cylinders and discs. Greater dismay was and cuckoo. Latterly, the birds in the box to follow.

The German authorities had seemed to have endured a strange kind of destroyed almost everything. On learning of captivity. Bird watcher, nature parts for Kawasaki motorbikes. A him, I conservationist, prolific author and socio- imagined. He was based in Newport, South political advisor, Nicholson was prominent in a Wales. He proposed gathering dust and occupying precious a collaborative venture to revive the storage space in a suburban garage.

No competitor bids surfaced in opera singer and recording artist. Gifted with cyberspace. Safely re-settled in my bronchitis caused irreparable damage to his attic study, the bird box has taken pride of vocal chords. Later, as a promoter of music place. Appointed head of the Nicholson. The emergence of the gramophone metropolitan life. Source: Songs of Wild Birds.

In Memoirs of a addition. The eventual transition were difficult to gauge whilst in situ, but nor from private pastime to public project was could recordings be reviewed critically on effected by mounting commercial success. Landscapes full of noise — the din of a However, professional practice, passing goods train or the drone of distant technological advances and emerging traffic — were unhelpful and unacceptable.

Exacting in his demand for mammalian grunts, squeaks or roars discipline, precision and well-drilled to serve as a foil to its freshness and technique, Koch choreographed and exuberance. This custom-built truck side temperature.

None of this came cheap. Koch and electricians and a trusty driver Mr Harry Nicholson were protective of trade secrets in Hands it required a strengthened sound. Limited technical information was undercarriage. During recording sessions, it offered on the inner workings of the mobile needed to be parked and jacked up on unit, or the studio-based treatment and level ground so as not to disturb the sensitive editing of recorded sound itself an emerging machinery inside.

But turned off, table lamps heavily shaded, but listening at home could be a troubling sufficient natural light remains for the face of business too. Encounters with foreign sounds a timepiece to remain visible.

Seating in domestic space led some to fear the arrangements should allow a relaxed but uncanny. Others needed to be made attentive posture, for it was just as necessary observant of certain technical rudiments. Thus the act of listening was figured as a end. Towards its close a woodpigeon is private, pure, and quite probably solitary, cooing in the background, and at 45 pleasure. Instruction extended to readying the With confidence mounting, the studious room for the sound-event.

So galvanized, listeners rounded and analytical. He considered song were encouraged to put on records at the a promising medium for learning more of same time as allowing natural birdsong from relationships between birds and humans, their the garden to drift through an open window.

Julian and delivery. This males, were recommended as the most neat asymmetry of expertise — one man promising settings to tempt retorts from wild biologically-minded, the other boasting a birds. On air, a long of repairs, a replacement sound was sought association with BBC broadcasting to herald the evening news bulletin on Radio confirmed him status as a wireless 4. Different archive recordings of birdsong personality. His foreignness of voice was to were chosen daily for the fanfare; to mixed become an unmistakable sound for nature reception.

In photographs, wearing his diagnostic self-testing. But the original signature black beret, woolen sweater and instructional guidelines retain considerable heavy trenchcoat, Koch seems to have appeal. His face lined by a models lovingly buffed up by antique dealers. But wild bursts of feedback are no longer guaranteed. One audible song line remains. Our paths cross on the days when I walk to work early. Directly opposite, across the road and behind a strip of shrubs, are the old BBC studios, vacated a few years back, in favour of a flash new riverfront complex.

References Huxley, A. Songs of wild birds Witherby London. Koch, L. Nicholson, E. In recent work he has considered the geographical dimensions of a series of themes: landscape, nature, fieldwork, science, memory, mobility and biography. At present he is writing, variously, about ruins, scarecrows, perfumery and long-distance running.

Some of these themes have been featured in his work for BBC radio broadcasts. He has collaborated with artists, scientists and musicians, and has received research funding from the Arts and Humanities Research Council, and, Economic and Social Research Council. Text by Perdita Phillips Fig 1. Photographed here in , Houdini was first banded as an adult about 12 years earlier and his bower is much photographed by visitors to the Broome Bird Observatory. M ale birds build bowers and collect but also that individual birds had subtly small display objects.

Different types differing preferences. The individuality of birds of objects are grouped in specific was also reflected in their bowers. Some birds areas of the bower and the male spends preferred bones to shells; some preferred time each day arranging and re-arranging lumps of grey mud and others collected his collection, renovating his bower, and quantities of green leaves.

Each bowerbird species prefers do so to minimise variation so as to achieve different coloured materials; the Great meaningful results. I pondered whether it was Bowerbird prefers green, grey or dull silver. The male then performs for the female variation in merely anthropomorphic terms. At the same act as a conduit for their active natures. I time he calls and fans out his pinky-mauve tried to capture this in the field drawings and nuchal crest.

The male makes a spectacular photography that I did see overleaf. I left variety of noises including mimicry. The arrays of objects at the bowers and waited to female visits a number of bowers before see how they would be moved around, choosing a mate and then raising her young hoping to receive in return spatial poems, as alone.

Birds at BBO have Umwelt of the bowerbird? I was For the former, I worked in a interested in their mimicry and wanted to see conversational mode, as a way of if I could record an example, or provide a transforming the position of the artist from distinctive sound that could be absorbed potentially voyeur and protagonist, to back into their vocabulary. Fortunately the birds are a exchange. As individual coloured or shaped objects to see what kind organisms they carry around a relatively of preferences they had.

Using a scientific flexible perceptual world. Bowerbirds are protocol, identically weighted green adaptable and readily appropriate human coloured cylinders, cubes and rectangular items including spoons, toys, nails, glass, golf prisms were placed near bowers. Birds could balls, light globes and aluminium foil from choose to accept or discard. From a small abandoned campfires. Fig 3: bower 1 Houdini Bower.

Fig: 4 is bower 2 Spoon with a view. Birds compete by stealing objects from neighbouring bowers. Given a choice of cubes, rectangular prisms and cylinders of equal weight and colour, the occupant s preferentially retrieve cylinders and transferred them to high status locations. I things the world of the Great Bowerbird see worked on the experimental design with a overleaf.

The work featured two stereo behavioural ecologist. I also worked with the soundtracks and two opposing shelves. The BBO Warden and staff to initiate colour different classificatory systems of bowerbirds banding of bowerbirds so that they could be and humans were contrasted.

One shelf individually identified at their bowers. Visiting showed typical objects collected from a birdwatchers and ornithologists were inviting bower. I envisaged my role then as a extend his system of biological classification conversational intermediary between to the mineral kingdom. Linnaeus classified bowerbirds and scientists and birdwatchers, crystals depending upon their external angles in the sense that I was working to generate and the model objects on one of the shelves interest in bowerbirds as well as putting related to this work.

It featured ornithological The process of bird banding has been notes read by a human on one side with the developed and refined over the last century rich oration of a male bird in full recital so that it is a skilled procedure that including mimicry of a Black-Faced Cuckoo- minimising distress and injury to the bird.

As a Shrike on the other. Drifting through the entire beginner my role was to assist by handing gallery space was a layered soundscape of equipment over and recording results. I took the BBO. Whilst conveying the full Umwelt of photographs of the process. Just below: when birds are banded they are measured and their statistics are recorded and the size of the nuchal crest is noted. Held firmly and safely in the hands of a Class A bird bander, this is one of the few occasions where I was able to touch a bird.

Opposing shelves held taxidermy specimen, objects exchanged from actual bowers, and mineralogical crystal system teaching models. Working with wild animal behaviour in the field as either a scientist or artist takes considerable time and resources and there is much more that could be done with Green, Grey or Dull Silver. Nevertheless the project has led to further discussions with researchers on bird vision and artistic perspective Great Bowerbirds use forced perspective at their bowers.

My impact on behavioural ecology or on research at Broome Bird Observatory has been most effective at the level of individual engagement and much potential still remains. I would see the effect of this project as being a persistent tugging at how the human-nonhuman boundary is thought of in society, via the affective dimension of socially based pieces and gallery-based artworks.

Perdita Phillips is a contemporary artist from Western Australia. Working across the media of drawing, installation, video and sound, she has investigated feral rabbits, termites, salinisation and salmon gum trees, cane toads and bowerbirds. Her current spatial sound project, The Sixth Shore, involves exploring the environment at scales from microbes to waders to landscapes, including human histories and environmental problems, developing further her ideas about ecosystemic thinking and connecting ecological theories of complexity and resilience with art as social action.

Her interest in where human and nonhuman collide sets the scene for artworks that work with hearing, taking heed of and conveying all the voices that will play a role in shaping the coming environmental futures. Text by L iz Gomez T he images from this period are evidence into the sensory relationship between humans of the interactivity between human and and birds. While it is symbolic and representational issues and tempting to write a survey of birds in art, this engages with histories of the senses.

While it article aims to get at the intricacies of has been argued that these still life paintings approach. Located within this murky fit into the seventeenth century world of enterprise, there are the imaginary spaces Dutch symbolisms found in emblem books constructed by artists and ornithologists alike from the same time period, it has also been that require further investigation.

By stated that this genre of painting was, in part, examining the larder or cantarero images of created to appeal to the senses of smell and the seventeenth century, eighteenth century touch Schneider That these works were works by George Edwards, and those by produced to evoke an olfactory and tactile nineteenth century naturalist James response is of significance as the scenes Audubon, it becomes clear that a pictorial combine true to life hunting practices with a history of birds is very much a human history.

This notion of the suspended Paintings with titles like Still life with bird is also doubled through the idea that it is Dead Bird are numerous and, aside from the stuck in time between the states of wild absurdity of their shared title, reveal a great animal and food. This partridge is shown at deal about the social history of hunting and the end of its living life, while also unplucked corresponding cultural attitudes. However and unbutchered, existing in between. The these paintings also show something else intimacy or close proximity constructed by more personal and proximal.

The images Weenix creates a space that is inhabited by contain the possibility of a historical window the bird-object. Dead Partridge. This pause given to the bird permits an are on display. Philadelphia Museum of Art. Philadelphia, Pennsylvania, USA. John G. Johnson Collection, Cat. The a trend in seventeenth-century Dutch compositional elements of this genre were painting. As a about how people interacted with these practical part of cooking, the hanging of displays of knowledge and materiality.

The vegetables and game from strings was done baroque theatrically of the seventeenth to prolong the shelf life of perishable items. It constructs a fictive space that is fundamentally changed. The nature morte detached from the notion of food, while it larder paintings fit into this move towards conceals the human intervention that tied theatricality with their dramatic poses and the strings.

While this statement image and the surface now become a may make a significant observation about predetermined place in which the how food can be objectified, it also raises relationship between man as a subject of the two additional points. First, it can also be gaze and of knowledge — the object and asserted that these images covertly indicate order of knowledge — is renegotiated Felfe touch and tactile manipulation. The Second, the images evoke a Ornithologica Nova Figure 3.

He was the hapticities reliant on the texture of feathers librarian at the Royal College of Surgeons and the shape of bird bodies. He got the attention of Sir The touch of the artist, although Hans Sloane and was placed in charge of difficult to measure, is also connected to painting and illustrating the specimens from practices of display.

Knowledge and display his museum. Here, Edwards is as much genuine interest in knowledge acquisition to on display as his practice and the the aristocratic desire of public image contribution his work made to knowledge.

One issue that arises, when The space of this image is also telling in terms finding a critical frame to put around the of how inapplicable contemporary practice of collecting, stems from how disciplinary boundaries are when thinking collections are known to contemporary about branches of knowledge.

In the researchers. The collections themselves eighteenth century, the display of objects Museum Wormarien, Museum Calcolarium, was based on an overt theatricality, to the Museum Richterianum, etc… no longer exist extent the frontispiece engravings and cannot serve as reference points. However, while the painted image can easily be removed from its specific context, it is nonetheless tied to ideas about museology, collecting and an impulse to control nature. The careful arrangement of each taxidermied specimen is an overt statement about natural history collecting, and despite the dazzling array of birds that can be seen, it is also a conflation of art, science, and display.

The birds in this scene serve those outside of the frame in that they are not labelled, but create a kind of compositional Fig 3. Georgii Eduardi; Ornithologica Nova. Like many similar images, this one lies and gilded frame. The image combines the somewhere between truth and fiction, as it ambitions of the ornithologist with classical can be interpreted as a historical evidence antiquity, within a frame within a frame.

The for the practices of natural history display. This bird cabinet is yet another gives us a glimpse into an imposing space framed space — an attempt at framing and where bird specimens are ordering a natural history, which is, of course, compartmentalized. Leroy de Barde a human history. The guillotine. Each shelve specimens at the Bullock Museum in London. This posed. Image taken from: Valerie Chansigaud. Princeton: Princeton University Press, Again, this image is about the quite striking, as there is a clear difference of human history of intervention on animal ferocity and action between the works.

The bird was Audubon Edwards French-American naturalist who made his commented on his encounter with the bird: career from detailed bird illustrations. Maffey] kept it many years at his Audubon was an auto-didact and his most house at Stepney, near London, where I famous work, The Birds of North America, was made the drawing from which the print was published in Britain in Edwards could not considered one of the best quality historical observe the bird in its natural habitat and ornithological references from North although he used a live Eagle as a model, America.

Aside from the elaborate his drawing could have easily referred to a illustrations, Audubon also identified a stuffed bird. The bird is not in flight and number of new bird species that were not yet conveys its status as a living trophy quite known in the first half of the nineteenth effectively. It is the enthusiasm, his method of portraying them illustrations and his well-documented was incredibly grim.

He patented a method practice that are the culmination of all of drawing that involved positioning the body themes introduced throughout this article. The birds were secured with pins duality of ornithology, and an artistic practice and wires and their bodies manipulated into that he developed in isolation.

Because of poses that Audubon felt portrayed the this situatedness, his illustrations again bring highest level of naturalistic excitement. His own written through various visual cultures. This brief documentation of his interactions with his history of bird imagery, if nothing else, illustrated birds is incredibly complex, as teaches that formal knowledge in previous each account reads as his own personal centuries was a supple category.

This idea is different than those of his ornithological perhaps most vividly articulated in his predecessors, as by comparison, they were account of the Golden Eagle. Audubon much more dynamic. His attempt to create recounts the capture of the bird and his a sense of movement natural to the each overseeing of its torturous demise. While the bird species resulted in an end product that following excerpt is long, it is a highly filled the space of a page with convincing engaging look into the violent practices of veracity.

Golden Eagle. From: John James Audubon. The Birds of America. Published by the author I waited, sulphur fumes that nearly kill both expecting every moment to hear him combatants. There is an unusual relationship fall down from his perch; but after between this practice as written and the listening for hours, I opened the door, illustrated final product. There stood the Eagle on his not have escaped Audubon and the perch, with his bright unflinching eye flagrant embellishment of the bird in its turned towards me, and as lively and pictorial life are seemingly chasms apart.

Instantly reclosing Audubon admired the manner in which the every aperture, I resumed my station at Eagle died at the same level that he the door, and towards midnight, not admired it alive in nature. He was still images contain a high level of violence, as injured, although the of closet was can be seen in how the Eagle clutches its insupportable to my son and myself, prey Irmscher.

The violence of the image and that of the adjoining apartment and its counterpart, violence of practice, began to feel unpleasant. Taxidermied specimens and effect, I retired to rest wearied and bird skins would have been limiting in the disappointed. His killed birds whose bodies were pinned and fierce demeanour precluded all wired to a grid likely prior to rigor mortis. The internal application, and at last I was pitiable Golden Eagle that was a source of compelled to resort to a method reverence for the artist, emerges in the always used as the last expedient, and image with its body shaped to fill the page.

However, after he was image itself. The images discussed here are haptic. They are also References ambiguous in that they conceal and reveal Allen, Richard. Ornithological biography, or, An account of the habits of the imaginary spaces for viewing. Volume 2. Philadelphia, London: Reaktion Books, A natural history of birds. Most of which have not been figur'd or describ'd, and others very little known from obscure or too brief Descriptions their separation.

One hopeful outcome of without Figures, or from Figures very ill design'd. Containing the figures of this brief exploration is that it becomes clear sixty birds and two quadrupedes, engrav'd on fifty-two copper plates, after curious Original Drawings from Life, and exactly colour'd. With full and that it is the non-discursive aspects of the accurate Descriptions.

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