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The Hominid Gang explores a search for man's roots that extends Alex Haley's saga by millions of years. Delta Willis, who rode "shotgun" with some of modern paleontology's most famous fossil-finders, brings to life these scientific safaris into the lands and times of our ancestors. "Always engaging . . . a delightful piece of work".--The Washington Post. Full-color and black-and-white photographs throughout.
In this dynamic account, award-winning science writer Ann Gibbons chronicles an extraordinary quest to answer the most primal of questions: When and where was the dawn of humankind?Following four intensely competitive international teams of scientists in a heated race to find the “missing link”–the fossil of the earliest human ancestor–Gibbons ventures to Africa, where she encounters a fascinating array of fossil hunters: Tim White, the irreverent Californian who discovered the partial skeleton of a primate that lived 4.4 million years ago in Ethiopia; French paleontologist Michel Brunet, who uncovers a skull in Chad that could date the beginnings of humankind to seven million years ago; and two other groups–one led by zoologist Meave Leakey, the other by British geologist Martin Pickford and his French paleontologist partner, Brigitte Senut–who enter the race with landmark discoveries of their own. Through scrupulous research and vivid first-person reporting, The First Human reveals the perils and the promises of fossil hunting on a grand competitive scale.
What should the average person know about science? Because science is so central to life in the 21st century, science educators and other leaders of the scientific community believe that it is essential that everyone understand the basic concepts of the most vital and far-reaching disciplines. Human Origins 101 does exactly that. This accessible volume provides readers - whether students new to the field or just interested members of the lay public - with the essential ideas of the origins of humans using a minimum of jargon and mathematics. Concepts are introduced in a progressive order so that more complicated ideas build on simpler ones, and each is discussed in small, bite-sized segments so that they can be more easily understood. Human Origins 101 enables students and the general public to understand the basic concepts underlying our knowledge of our evolution as a species. This small volume covers: ; A brief history of paleoanthropology, and the discovery of human's place in nature ; Evolution and the Origin of Life ; Clues to human origins from genetics ; The fossil and archaeological records ; The distinctive traits that makes us human ; The diversity of modern humans With a bibliography, glossary, and discussion of hoaxes, fringe theories, and hot-button issues, Human Origins 101 provides the perfect starting point for anyone wishing to understand how scientists know how humans evolved.
This book focuses on the development of the National Museum of Natural History’s David H. Koch Hall of Human Origins. As one of the most visited human evolution exhibits in the world and the largest such exhibit in the United States, it has tremendous influence on public perception and knowledge of human evolution. The chapters explore how this exhibit came about, how it has changed since opening, and the associated educational and public outreach activities of members of the Smithsonian’s Human Origins Program. The author uses the term “adaptive resilience” to describe a central theme of the exhibit, our species’ adaptation to changing environments as a key feature of our success, and to refer to the resilience of Richard B. Potts in creating his vision for the hall. Contextual sections situate the hall’s development within the history of paleoanthropology, the politics of evolution and climate change, and African contributions. The book will be of particular interest to scholars of anthropology and museum studies as well as the history of science and science communication.
"To be human means to need things. Even more human is to need more and more of them. In this engaging, charming book, archaeologist, curator, and writer Chip Colwell takes us around the world, covering topics as wide-ranging as the dawn of tool making, the earliest cave paintings, the complexities of clothing, the Industrial Revolution, the torrent of gizmos invented to bring us closer and supposedly make our lives easier, and, finally, the mountains of unwanted stuff in dumps. Along the way, he raises questions such as: Why is a treasured keepsake sacred to one person but meaningless to another? What do we go through when we clean out the belongings of the dearly departed? And what is the point of storing things in museums? The book is organized around three historical phases: (1) the invention of tools; (2) the dawn of the belief that things mean something beyond their immediate use (around 50,000 years ago); and (3) the Industrial Revolution and the age of mass consumption. Colwell takes us on a tour across millions of years to explain how humans have arrived at this moment-a world that both requires things and is suffering because of them"--
As co-founder of the expedition that discovered Lucy, and leader of most of the first site-surveys in the Afar Depression in Ethiopia, Jon Kalb has years of experience with the region, its politics, and the scientists involved in the excavations. A participant himself in the "bone wars" that accompanied these discoveries, Kalb recounts the cutthroat competition and back stabbing that were often part of the media-highlighted race to find the oldest hominid fossil. He weaves this story in the rich fabric of Ethiopian society and politics, the plight of the regions peoples, and the international maneuverings for control of the fossil finds.
Selected and introduced by Richard Dawkins, The Oxford Book of Modern Science Writing is a celebration of the finest writing by scientists for a wider audience - revealing that many of the best scientists have displayed as much imagination and skill with the pen as they have in the laboratory.This is a rich and vibrant collection that captures the poetry and excitement of communicating scientific understanding and scientific effort from 1900 to the present day. Professor Dawkins has included writing from a diverse range of scientists, some of whom need no introduction, and some of whoseworks have become modern classics, while others may be less familiar - but all convey the passion of great scientists writing about their science.
Senses of Touch anatomizes the uniquely human hand as a rhetorical figure for dignity and deformity in early modern culture. It concerns a valuational shift from the contemplative ideal, as signified by the sense of sight, to an active reality, as signified by the sense of touch. From posture to piety, from manicure to magic, the book discovers touch in a critical period of its historical development, in anatomy and society. It features new interpretations of two landmarks of western civilization: Michelangelo's fresco of the Creation of Adam and Calvin's doctrine of election. It also accords special attention to the typing of women as sensual creatures by using their hands as a heuristic. Its alternative interpretations explore in theory and in practice the sensuality, the creativity, and the plain utility of hands, thus integrating biology and culture.
Over 3 million years ago, our ancestors realised that rocks could be broken apart for sharp edges, to cut and slice meat. The discovery made for a good meal. It also changed the fate of our species and our planet. In this lively and learned book, Chip Colwell charts three great leaps in humankind’s relationship with objects and belongings, from the discovery of tools to the production of endless commodities. How did we start out as primates who needed nothing, and end up as people who need everything? With colourful characters, astonishing archaeological discoveries, and reflections from philosophy and culture, Colwell’s quest for answers takes readers to places both spectacular and strange: the Italian cave featuring the world’s first painted art; a Hong Kong skyscraper where a priestess channels the gods; a mountain of trash whose height rivals Big Ben or the Statue of Liberty. Humans make stuff, but our stuff makes us human—and our love affair with things may be our downfall. With landfills brimming and oceans drowning in plastic, now is the time for a fourth and final leap for humanity: to reevaluate our relationship to the things that make, and could break, our world.
"As familiar and widely appreciated works of modern technology, bridges are a good place to study the relationship between the aesthetic and the technical. Fully engaged technical design is at once aesthetic and structural. In the best work (the best design, the most well made), the look and feel of a device (its aesthetic, perceptual interface) is as important a part of the design problem as its mechanism (the interface of parts and systems). We have no idea how to make something that is merely efficient, a rational instrument blindly indifferent to how it appears. No engineer can design such a thing and none has ever been built."—from Artifice and Design In an intriguing book about the aesthetics of technological objects and the relationship between technical and artistic accomplishment, Barry Allen develops the philosophical implications of a series of interrelated concepts-knowledge, artifact, design, tool, art, and technology-and uses them to explore parallel questions about artistry in technology and technics in art. This may be seen at the heart of Artifice and Design in Allen's discussion of seven bridges: he focuses at length on two New York bridges—the Hell Gate Bridge and the Bayonne Bridge—and makes use of original sources for insight into the designers' ideas about the aesthetic dimensions of their work. Allen starts from the conviction that art and technology must be treated together, as two aspects of a common, technical human nature. The topics covered in Artifice and Design are wide-ranging and interdisciplinary, drawing from evolutionary biology, cognitive psychology, and the history and anthropology of art and technology. The book concludes that it is a mistake to think of art as something subjective, or as an arbitrary social representation, and of Technology as an instrumental form of purposive rationality. "By segregating art and technology," Allen writes, "we divide ourselves against ourselves, casting up self-made obstacles to the ingenuity of art and technology."