The Art and Science of Species Revival
A hybrid symposium hosted by the
Leverhulme Centre for Anthropocene Biodiversity
University of York, United Kingdom
December 14–16 2022
Keynote Speakers
Matthew Chrulew, Curtin University, Australia
Michael Bruford, Cardiff University, UK
Artists in Residence
Ken Rinaldo
Maria Lux
Amy Cutler
Poet in Residence
Catherine Greenwood
Twitter: @AnthropoceneBio
Organizing Team
Lead Organizers: Sarah Bezan & Peter Sands
Administrative Support: Sally Howlett, Hannah Cooke, Helen Wood
Funding for this event is generously provided by The Leverhulme Trust.
Full Schedule
Day 1 – Wednesday, 14th December
9:30-10:30 – What is a Good Resurrection? An Arts & Humanities Roundtable on Thylacine De-Extinction (Speakers: Carol Freeman, Hannah Stark, & Rosie Ibbotson)
Roundtable Sponsored by the Anti-Disciplinary Animal Studies Network, a strand of The University of York’s Centre for Modern Studies
*Coffee and Tea provided
Eventbrite sign-up for online participants
Berrick Saul Building, B/S008
16:00-18:00 – We Are as Gods film screening, chaired by Erica Sheen
Berrick Saul Building, Bowland Auditorium, B/S005
Day 2 – Thursday, 15th December
Eventbrite sign-up for online participants
All panels will take place in the Berrick Saul building, seminar room B/S008. Coffee breaks and lunch will take place on the top floor of the building in the LCAB open space.
9:00-9:30 – Introduction from LCAB Director Chris Thomas and symposium organisers Sarah Bezan and Peter Sands
9:30-10:30 – Keynote 1: Michael Bruford, Mafalda Costa and Paul Evans, Experiences from the Frozen Frontier: Biobanking, outreach and lessons learned
10:30-10:45 – Coffee break
10:45-12:15 – Panel 1: Creative Practice in Species Revival
Laura Kim and Kevin Sweet, Towards Pigeonology: Speculative Interdisciplinary Synthesis Through Story-Telling on (De)Extinction
Adam Zaretsky, Speciation as Conservatism: Blind Mutagenic Flailing, Epic Waves of Loss
and the Revival of the Classics
Sally Ann McIntyre, Listening to Extinction memorialisation in study for an Elvis taxon: counterstrategy for a sonic rewilding
Milo Newman, Auk eggs and incubation: the importance of liveable worlds
12:15-13:15 – Lunch break
13:15-14:15 – Artist Showcase: Maria Lux, Amy Cutler and Ken Rinaldo
14:15-14.30 – Coffee break
14:30-16.00 -- Panel 2: The Technologies and Futures of Species Revival
Tobias Menely, A World Ready for Moa
Anna-Katharina Laboissiere, Prehistoric routes and oracular invasives: assisted
migration as a technology for revival
Veit Braun, In the shadows of the dead: Addressing extinction beyond economies of hype
Joshua Schuster, De-extinction Science, Transhumanism, and Existential Risk Criticism
16:00-16:15 – Coffee break
16:15-17:45 – Panel 3: The Shifting Values of De-Extinction
Sarah Bezan, Thylacinema: Aura and the Aesthetic Values of De-Extinction
Katie Prosser, On the Value of Revived Species
Guy Schofield, Bad Dinosaurs: Cinema and the Aesthetics of Vanished Species
Lisa Sideris, The Black Art of De-Extinction
19:00 – Conference dinner (The Olive Tree, 10 Tower St, York YO1 9SA *we will leave Berrick Saul together to catch the public bus at 18:15)
Day 3 – Friday, 16th December
Eventbrite sign-up for online participants
All panels will take place in the Berrick Saul building, seminar room B/S008. Coffee breaks and lunch will take place on the top floor of the building in the LCAB open space.
10:00-10:30 – Reading from Poet in Residence Catherine Greenwood
10:30-11:30 – Keynote 2: Matthew Chrulew, Reanimating the Mammoth
11:30-11:45 – Coffee break
11:45-13.15 – Panel 4: Literary De-Extinction
Jennifer Schell, Decolonising the Science of De-Extinction and Re-Wilding:
Alaskan Mammoths, Arctic Storytelling, and Fantasies of Empty Wilderness
Jerika Sanderson, “What you’re leaving out”: Climate Fiction and Ecocentric Approaches to De-Extinction
Peter Sands, Extinction, Cut-Up: Species Revival and the Literary Avant-Garde
Jessica White, De-Extinction and Disability
13:15-14:15 – Lunch break
14:15-15:45 – Panel 5: Methods and Materials Between Art and Science
Hannah Star Rogers, Art, Science, and Technology Studies (ASTS): Methods and tools for considering the rhetorics and materialities of species revival
Ingeborg Reichle, Endangered Species: On the Loss of Biodiversity in Contemporary Art
Sandra Nelson and Kate O’Riordan, Mammoths and Tigers and Rhinos, Oh My:
Mapping de-extinction actors, methods, and materials
Evander Price, Killing Lazarus: On the Artifice and Pseudoscience of De-Extinction
15:45-16:00 – Coffee break
16:00-16:30 – Are You Clonesome Tonight? A conversation between Helen Pilcher and Maria Lux
16:30-17:00 – Closing remarks and plans for publication
Call for Papers for a hybrid (online and in-person) symposium at LCAB, 14-16 December 2022, which will bring together scholars and creative practitioners to consider the intersections of art and science that have been aroused by the prospect of species revival.
In the 5 minutes that it will take you to read this Call for Papers, a plant, bird, insect, or mammal species will have gone extinct. Yet in this same 5 minutes, geneticists in the Big Tech-funded Colossal lab will also be one step closer to programming strands of extinct mammoth DNA using CRISPR-Cas9. CRISPR (an acronym for Clustered regularly interspaced short palindromic repeats) is a gene editing tool that has quickly become touted as the “solution” to the mass extinction crisis, among a number of other global challenges.
Yet in addition to being a creative application in and of itself (producing everything from CRISPR babies to medical therapies) it is also a creative medium. In a popular article for The Atlantic in 2017, Pulitzer Prize-winning science journalist Ed Yong reported that Harvard geneticist Seth Shipman had used CRISPR to encode a five-frame GIF of English photographer Edward Muybridge’s famous galloping horse into microbial DNA. This tool has also been employed by other scientists, Yong writes, “to encode all of Shakespeare’s sonnets, a clip of Martin Luther King Jr.’s ‘I Have a Dream’ speech, and a PDF of the paper from James Watson and Francis Crick that detailed the structure of DNA.” It is perhaps no coincidence that the ever-expanding uses of CRISPR also reference the history of technological innovations and cultural movements, from the crafting of the sonnet to the making of the first moving images and the discovery of DNA’s codes and structures. Positioned at the vanguard of biotechnological innovation, CRISPR marks a fundamental shift in the way we think about the cross-dissemination of art and science.
The science of species revival, which aims to resurrect extinct species through a suite of tools including CRISPR along with back-breeding and reproductive cloning techniques, is likewise inspiring a wave of new artistic responses. In Resurrecting the Sublime, artist Daisy Alexandra Ginsberg collaborates with an interdisciplinary team at Ginko Bioworks who utilised synthetic biology to extract DNA from flowers that have gone extinct due to colonialism. From the samples collected from Harvard University’s Herbaria, selected genes from these flowers were then resynthesized by the team for fragrance-producing enzymes and reconstructed in the lab as a speculative smell of the botanical past. Earlier this year, the painter Clive Smith exhibited his de-extinction-inspired collection Speculative Bird Paintings, which blends natural scientific manuals of birds with what Smith calls the “DNA of painting” to recreate future species through the artistic styles of Mark Rothko, Jackson Pollock, and Claude Monet (to name but a few examples).
It is becoming increasingly clear, as Hannah Star Rogers argues, that the tools of art and science “are not as different from each other as we might assume.” Indeed, de-extinction science is itself a creative enterprise, drawing not from the discovery of extinct species in the form of ancient DNA, but on the ability of scientists to produce living animals using this genetic information: as Beth Shapiro writes in the 2020 edition of How to Clone a Mammoth, “If we want a living mammoth cell, we’re just going to have to make one ourselves.” In responding to mass extinction, how and why certain species come to be selected for revival often comes down to the conservational and cultural values that are forged through, and co-constituted by, the exchange of artistic and scientific practices.
With these ideas in mind, the aim of this interdisciplinary symposium is to bring together scholars and creative practitioners from across the arts, humanities, social sciences, and biotechnological and natural sciences to consider the intersections of art and science that have been aroused by the prospect of species revival. We particularly invite papers that address any aspect of the following questions:
How can perspectives from the arts aid in navigating the ethics of species revival, and how can the arts function beyond their role as an ethical check on the excesses of science (Heather Browning, Elizabeth Stephens)?
To what extent does the production of hybrid creatures (such as the “mammophant”) or the culturing of cell fusions to create “dragons” draw from an aesthetic or artistic impulse (Erika Szymanski et al.)?
What does it mean to look backwards in time to the supposed authenticity of “pristine nature,” while simultaneously forwards to the new natures imagined through their creative resurrection (Elizabeth Hennessy)?
How does the artifice of de-extinction transform the genes of extinct species into “lively inscriptions” imbued with creative and affective potency, or “commodifiable matter” subject to the speculative enterprises and Promethean dreams of techno-optimists (David Jaclin, Charlotte Wrigley, Leslie Thiele)?
How can breaking down the barriers between the realities and fictions of species revival help to interrogate the science’s role in engineering a “good Anthropocene”?
Abstracts of 300 words along with a 50-word bio can be sent to Sarah Bezan and Peter Sands by 1 November 2022. A special issue of the journal Configurations: A Journal of Literature, Science, and Technology will be the proposed outcome of this meeting.
Animal Remains
Biennial Conference of
The University of Sheffield Animal Studies Research Centre (ShARC)
April 29-30th, 2019
Humanities Research Institute, The University of Sheffield, United Kingdom
Keynote Speakers:
Lucinda Cole, The University of Illinois at Urbana-Champaign, USA
Thom van Dooren, The University of Sydney, Australia
Artist in Residence:
Steve Baker, The University of Central Lancashire, UK
Animal remains are everywhere. From the cryogenically-preserved DNA of the extinct Po’ouli bird held in storage at the Frozen Zoo to the ivory tusks of African elephants that flood the market of the illegal wildlife trade, animal bodies have been fashioned into commodities, fetishized visual objects, colonial artifacts, meat, carrion, taxidermic trophies, and biotechnological innovations. Decomposed organic compounds that were once ancient animal and vegetable remains are also converted into fuel and an array of petro-products, while dinosaurs and other prehistoric species make frequent appearances in recent science fiction films like Jurassic World.
The fossil in particular has emerged as contested theoretical terrain, as Elizabeth Povinelli suggests in her critique of settler late liberalism (Geontologies: A Requiem to Late Liberalism). The fossil is regarded as the “endpoint” of the biological image in W.J.T. Mitchell’s Image Science, and as the threshold that marks the crossover of living things into the “world of rocks” (Manuel DeLanda). Meanwhile, for speculative realists like Timothy Morton, it is a “hyperobject” characterized by its “sensuous connectivity” and withdrawal from humans (Hyperobjects). As Elizabeth Kolbert points out in The Sixth Extinction, the fossil has only relatively recently afforded animals a history, because prior to the seventeenth century, the “category of extinction didn’t exist.” In studies of the Anthropocene, the fossil gestures to the geological as well as the “intersecting biological and chemical” transformations that “intermesh human and natural histories,” according to Stacy Alaimo (“Your Shell on Acid”). Indeed, the fossil — and animal remains more broadly conceived — hover at the periphery of a number of critical inquiries across the arts, humanities, natural sciences, and social sciences, but have yet to receive sustained and thoughtful engagement.
Building on these emerging developments, this international and cross-disciplinary conference will examine the material histories and futures of animal remains. In which ways, and to what effect, are animal remains figured in narratological frameworks (David Herman, Susan McHugh)? Can animal remains incite us to imagine extinction (Ursula Heise, Thom Van Dooren), and if so, how? What are the material, affective, philosophical, ecological, and biological afterlives of dead animals (Rachel Poliquin, Samuel J.M.M. Alberti)? With the sixth mass extinction underway, how do we apprehend the sheer scale and scope of animal remains, given the hyper-visibility of some, and the invisibility of others? What are the political and ethical stakes involved in our treatment of animal remains? This conference invites a broad exploration of these kinds of questions. Possible topics or sub-fields include petrocultures, zooarchaeology, dinosaur iconology, zoological gardens, museological/memory studies, cryptozoology, wildlife conservation, de-extinction movements, bio-/cryopolitics, neo-vitalist philosophy, ecologies of putrefaction (see Lucinda Cole), spatial geographies of rot (see Jamie Lorimer), new materialisms (inclusive of what Kim Tallbear calls “an indigenous metaphysic”), decolonizing animals, animal remains and art, extinction studies, and beyond.
Abstracts of 350 words, along with a 50-word bio (in email body or in doc.x), can be sent to Sarah Bezan (s.bezan@sheffield.ac.uk) and Robert McKay (r.mckay@sheffield.ac.uk) by November 23rd, 2018. Early career scholars and post-graduate researchers are expressly encouraged to submit abstracts, and will be eligible to apply for ShARC Travel Awards to defray the costs of travel. Confirmed participants will be notified by late December 2018. An edited volume on ‘Animal Remains’ will be one of the anticipated outcomes of this meeting, and will be considered for publication in the Palgrave Studies in Animals and Literature series.
This conference is generously supported by BIOSEC
and the White Rose College of the Arts and Humanities
***FULL CONFERENCE SCHEDULE***
Animal Remains
Biennial Conference of
The University of Sheffield Animal Studies Research Centre (ShARC)
Humanities Research Institute
The University of Sheffield, United Kingdom
April 29 - 30th 2019
Keynote Speakers
Lucinda Cole, The University of Illinois at Urbana-Champaign, USA
Thom van Dooren, The University of Sydney, Australia
Artist in Residence
Steve Baker, The University of Central Lancashire, UK
Twitter: @ShefAnimals @biosec_erc
#AnimalRemains
Organizing Team
Lead Organizers: Sarah Bezan & Robert McKay (ShARC)
Partnering Organizers: Lucy Dunning, Rosaleen Duffy (BIOSEC)
Postgraduate Organizers: Christie Oliver-Hobley, Peter Sands, Ming Panha
Postgraduate Volunteers: Daniel Bowman, Alice Higgs, Charlotte O'Neill, Cecilia Tricker-Walsh, Diana De Ritter, Emily-Rose Baker, Rosamund Portus, Sophia Nicolov, Mauro Rizetto
Day 1 – Monday, 29th April
8:30-9:15 – Registration & Coffee
Humanities Research Institute (HRI), 34 Gell Street
9:15-9:30 – Welcome from Sarah Bezan & Robert McKay (HRI)
9:30-10:50 – Plenary Session (HRI)
Chairs: Sarah Bezan and Robert McKay
Jane Desmond, ‘Up in Smoke: Creating and Caring for “Cremains”’
Mario Ortiz-Robles, ‘Staging Nature’
Michelle Bastian, ‘Whale Falls and Extinctions Never Known’
11:10-12:30 – Parallel Panels, Session 1
Panel 1.1 – Petrocultures & Beyond I: Roadkill(s) & Oil Spills
Jessop Building, Ensemble Room 2 (Chair: Peter Sands)
Josephine Taylor, ‘Vulnerability and Exposure: Road Kill and Oil Spills’
Dion Dobrzynski, ‘Roadkill Elegies: Mourning Structural Violence’
Megan Green, ‘Home Décor’ [videolink]
Panel 1.2 – Gendered Remains
Richard Roberts Building, Pool Seminar Room A85 (Chair: Christie Oliver-Hobley)
Caitlin Stobie, ‘Two Billboards in Niagara, Ontario: Animal Abortions, Animal Remains’
Corey Wrenn, ‘Animal Spirits and Their Gendered Earthly Remains: Summoning Masculinity and Femininity Norms in the Human-Nonhuman Relations of Ghost Stories’
Pandora Syperek, ‘Excessive Animal Remains: Queering Hummingbird Taxidermy in the Natural History Museum’
Panel 1.3 – Politics, Conservation & Industrial Commodities
HRI, Seminar Room 1 (Chair: Rosaleen Duffy)
Daniel Bowman, ‘Muck Raking: Waste and Animality in Upton Sinclair’
Karin Gunnarsson Dinker, ‘Animal Remains in Primary School’
Brock Bersaglio & Jared Margulies, ‘The political afterlives of lively commodities’
Panel 1.4 – Extinction Narratives & Representations
HRI, Seminar Room 2 (Chair: Sophia Nicolov)
Jody Berland, ‘Noah’s Archive in the Sixth Extinction’
Rosamund Portus, ‘Absent Remains: Bees, Extinction, and Colony Collapse Disorder’
Sarah Wade, ‘The Extinction Effect: Ethical Animal Bodies in Contemporary Art’
12:30-14:00 – Lunch
13:00-13:45 – Artist in Residence Showcase with Steve Baker (curated by Maria Lux)
Jessop West Building Foyer
14:00-15:20 – Parallel Panels, Session 2
Panel 2.1 – Necrozoosemiotics
Richard Roberts Building, Pool Seminar Room B79 (Chair: Emily-Rose Baker)
Daisy Lafarge, ‘Idiomatic Remains’
Melissa Yang, ‘Gossamer Skeins and Gooseflesh/Take a Gander, Silly Goose’
Sarah Bezan, ‘The Virtual Realities of Species Revivalism: Restoring the Kaua’i Bird in Jakob Kudsk Steensen’s Re-Animated’
Panel 2.2 - Blue Humanities: The Remains of Whales
Richard Roberts Building, Pool Seminar Room A84 (Chair: Michelle Bastian)
Sophia Nicolov, ‘Scourge of the Red Tide: The 2015 Sei Whale Mass Stranding in Chilean Patagonia and Its Cultural Representations’
Elspeth Tulloch, ‘Deathly Poetics: Conflating the One, the Many, and the “I” in a Whale of Remains’
Amy Wardle, ‘Moby Doll's House: Killer Whales/Killed Whales in Contemporary Documentary Films’
Panel 2.3 – The Remains of Companion Species
HRI, Seminar Room 1 (Chair: Ming Panha)
Ang Bertram, ‘Dogs and the Elderly: significant cohabitation and companionship towards the end of life’
Stephanie Howard-Smith, ‘Alternatives to Heaven: Dead Dogs in Eighteenth-Century Europe’
Carolin Eirich, ‘Untethered – A Fictocritical Account of Human-Canine Cohabitation, Mourning, and Melancholic Attachment’
Panel 2.4 – Fur, Leather, and Commodities
HRI, Seminar Room 2 (Chair: Alice Higgs)
John Miller, ‘The Selkie and the Fur Trade: Eliza Keary’s “Little Sealskin”’
Rachel Webb Jekanowski, ‘From Labrador to Leipzig: Me’dia and Exhibition Cultures Along the Fur Trail’
Charlotte O’Neill, ‘“You kid-gloved rotten-headed paralytic world”: Leather, animality, and queerness in the writing of Edward Carpenter’
15:40-17:00 – Parallel Panels, Session 3
Panel 3.1 – Staging Disappearance
Richard Roberts Building, Pool Seminar Room B79 (Chair: Charlotte O’Neill)
Anna Banks, ‘Grandfather Cuts Loose the Ponies: Material and Narrative Remains of Wild Horses in the American West’
Joshua Barnett, ‘Vigilant Mourning: Staging Disappearance and Destruction’
Eva Spiegelhofer, ‘Beyond Parchment: Textual Materiality and Traces of Animals in Early Modern Book Production’
Panel 3.2 – The Fossil Bestiary
HRI, Seminar Room 2 (Chair: John Miller)
Peter Sands, ‘Fossilised Futures, Dead Worlds and Animal Remains in the Fiction of J.G. Ballard’
Ana María Gómez López, ‘Photographing Dead Animals: Taphonomy and Its Inheritances’ [videolink]
Ida Olsen, ‘How the Dead (Make Us) Dream: Envisioning Species Extinction Through Encounters with Animal Remains in Contemporary Fiction’
Panel 3.3 – Insect/Invertebrate Remains
HRI, Seminar Room 1 (Chair: Steve Baker)
Ally Bisshop, ‘Invertebrate Architectures: What of the Spider Remains in the Web?’
Heather Lynch, ‘The Violence of Affirmative Biopolitics: When the Extinct Return to the Home’
Eva Giraud & Greg Hollin, ‘Estranged Companions: Bedbugs and Biology in Multispecies Worlds’
17:30-18:30 – Keynote with Thom van Dooren, ‘Moving Birds in Hawai’i: Assisted colonisation in a colonised land’
HRI
19:00-21:00 – Conference Dinner
INOX, Level 5, Students’ Union Building, Durham Road
Day 2 – Tuesday, 30th April
9:00-9:30 – Coffee (HRI)
9:30-10:50 – Parallel Panels, Session 4
Panel 4.1 – Petrocultures & Beyond II: Roadkill(s) & Oil Spills
Portobello Centre, Pool Seminar Room B57c (Chair: Daniel Bowman)
Khatijah Rahmat, ‘There is Buried Here a Wild Elephant: Reframing the 1984 Teluk Anson Elephant-Train Collision Through Animal-Made Materialisms’
Tim Cooper, ‘Women and Children First?: The Feminist Art of Caring for the Dying Animal’
Panel 4.2 – Remains & Their Contexts
HRI, Seminar Room 1 (Chair: Christie Oliver-Hobley)
Robert McKay, ‘Carniveracity’
Helen List, ‘Spectral Envelopes: Remaining Animal Amongst Fashion’
Ming Panha, ‘The unforgiveable, yet innocent birds: The irony of bird rendering in the rise of consumerism in “The Adventure of the Blue Carbuncle” by Sir Arthur Conan Doyle’
Panel 4.3 – Aliens, Androids, and Archaeologies of the Future
HRI, Seminar Room 2 (Chair: Peter Sands)
Kristin Gupta, ‘Death Futures’
Alex Bunten-Walberg, ‘Inherting the Inhuman: (Post)humanism, Ethics and Historicity in Philip K. Dick’s Do Androids Dream of Electric Sheep?’
Brian McCormack, ‘Speculative Alien Encounters and Techno-Utopian Value Practices: Alien Planet and Future Animal Remains’
11:10-12:50 – Parallel Panels, Session 5
Panel 5.1 – Multispecies Proximities
Portobello Centre, Pool Seminar Room B57c (Chair: Cecilia Tricker-Walsh)
Andrea Feeser, ‘Where Life and Death Meet: Jimmie Durham’s God’s Children, God’s Poems’
Catherine Fairfield, ‘Spaceships, Butterflies, and Plastic Bags: Confronting Change in Contemporary North American Novels’
Gemma Curto, ‘Interspecies Relationality in Jonathan Safran Foer’s Tree of Codes’
Panel 5.2 – Osteobiographies & The Skeletal Assemblage
HRI, Seminar Room 1 (Chair: Mauro Rizetto)
Ben Greet, ‘Chukar Partridge Remains as Expressions of Identity in Prehistory’
Alex Fitzpatrick, ‘Should We Respect Rover's Remains?: A Discussion on Ethics, or the Lack Thereof, in Zooarchaeology’
Emily Hull, ‘Sexual and Reproductive Vulnerabilities in Wild Rinnish Reindeer’ [videolink]
Panel 5.3 – The Absent Referents/Remains of Meat
HRI, Seminar Room 2 (Chair: Alasdair Cochrane)
Christie Oliver-Hobley, ‘“Meat” and “Flesh”: Merleau-Ponty and the Mime Artistry of Trygve Wakenshaw
Eve Kasprzycka, ‘What Remains After Livestock: Deadstock, Discourse and Biocapital’
Simon Ryle, ‘Xenoflesh: Zoopolitics/poetics of Meat’
Natalie Joelle, ‘Gleaning Lean Culture: On Lean Logic’
13:00-14:00 Lunch (HRI)
14:00-15:20 – Parallel Panels, Session 6
Panel 6.1 – The Life/Death Divide
Portobello Centre, Pool Seminar Room B57c (Chair: Thom van Dooren)
Diana DeRitter, ‘“A sopping wet lake of red slush”: Erasing Animal Remains in A Day No Pigs Would Die’
Greg Hollin, ‘Consider the Woodpecker’
Elysia French, ‘Visualizing Remains; Thinking Through Absence’
Panel 6.2 – De-Extinction Forms and Fictions
HRI, Seminar Room 1 (Chair: Sarah Bezan)
Adam Searle, ‘De/extinction: Liminality in the Anabiosphere’
Dominic O’Key, ‘Entering Life: Literary De-Extinction and Multispecies Love in Mahasewata Devi’s “Pterodactyl, Puran Sahay, and Pirtha”’
Charlotte Wrigley, ‘Time-Travelling the Anthropocene: Permafrost and Planetary Redemption’
Panel 6.3 – Taxidermic Afterlives
HRI, Seminar Room 2 (Chair: Robert McKay)
Racheal Harris, ‘In the Skin: Memorialising Animals in Taxidermy and Tattoo’
Maria Lux, ‘Famous Monsters’
Cecilia Tricker-Walsh, ‘Environmental Documents: Practicing Taxidermy in Joy Williams’
15:40-17:00 – Parallel Panels, Session 7
Panel 7.1 – Dinosaurs (Past, Present, Future)
Portobello Centre, Pool Seminar B57c (Chair: Diana De Ritter)
Verity Burke, ‘The Evolving Museum: Reading the Lapworth Museum and Archive of Geology’
Will Tattersdill, ‘The Evaporation and Precipitation of Brontosaurus, or, On the Isues Raised By Beloved, Extinct Animals’
Jonathan Osborne, ‘Domesticating Evolution: Animate Visions of Speculative Life in “The Future is Wild”’
Panel 7.2 – Memory and Memorialization
HRI, Seminar Room 1 (Chair: Sophia Nicolov)
Emily-Rose Baker, ‘“There was somethin goin on behind his eyes”: Holocaust and Animal Zombies in Igor Ostachowicz’s Night of the Living Jews (2012) and Stephen King’s Pet Sematary (1983)’
Ulrike Seifert, ‘Victims, bodies, playthings: Children and Animal Death in Francois Boyer’s Forbidden Games (1947)’
Julia Schlosser, ‘An Examination of Pet Death Through the Corporeal Remains of Companion Animals in the Photographic Artwork of Nobuoshi Araki, Shannon Johnstone, Hyewon Keum and Julia Schlosser’
Panel 7.3 – Museums & Institutional Remains
HRI, Seminar Room 2 (Chair: Pandora Syperek)
Justin Mullis: ‘Bones of Leviathan: Albert Koch and the Making of the First Creationist Museum’ [videolink]
Katla Kjartansdóttir, ‘The garefowl affect – The changing symbolic meanings of the great auk and its afterlife as a museum object in Iceland and in Denmark’
Michael Lawrence, ‘Death and Durability: Animal Remains and the “Life” of the Banknote’
17:30-18:30 – Keynote with Lucinda Cole, ‘Poisons, Plagues, Dead Rats: In Search of a Medical Posthumanities’
HRI
18:30-18:45 - Final Wrap-Up (Sarah Bezan & Robert McKay, with ShARC Co-Directors John Miller and Alasdair Cochrane)
HRI
End of Conference