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Palaeontology in Public

The image depicts the cover of a book titled 'Palaeontology in Public: Popular Science, Deep Time, Creatures and Lost Worlds' which is edited by Chris Manias. It features an illustration of a large green sauropod dinosaur in a modern city park surrounded by people, with a cityscape and tall buildings, including one resembling the Empire State Building, in the background.

Since the establishment of concepts of deep time in the late eighteenth and early nineteenth centuries, palaeontology has been one of the most high-profile sciences. Dinosaurs, mammoths, human ancestors and other lost creatures from Earth’s history are some of the most prominent icons of science, and are essential for our understanding of nature and time. Palaeontology and its practitioners have had a huge impact on public understandings of science, despite their often precarious and unsteady position within scientific institutions and networks.

Palaeontology in Public considers the connections between palaeontology and public culture across the past two centuries. In so doing, it explores how these public dimensions have been crucial to the development of palaeontology, and indeed how they conditioned wider views of science, nature, the environment, time and the world. The book provides a history of vertebrate palaeontology through a series of compelling case studies. Dinosaurs feature, of course, including Spinosaurus, Winsor McCay’s ‘Gertie the Dinosaur’ and the creatures of Jurassic Park and The Lost World. But there are also the small mammals of the Mesozoic, South American Glyptodons, and human ancestors like Neanderthals and Australopithecines. This book shows how palaeontology is defined by its relationship with public audiences and how this connection is central to our vision of the past and future of the Earth and its inhabitants.

Unearthing Collections

Unearthing Collections invites readers to reconsider the ethics of collections and archives through the lens of temporality. Drawing on case studies that range from community protests over glacial sampling to the ethical dilemmas of housing human remains in museum collections and acquiring ephemeral political art, the authors interrogate the urgent challenges of collecting, displaying and preserving traces.

The book is framed around the concept of ‘unearthing’, the process of revealing hidden truths, excavating layers of history, and uncovering the unknown. It explores how the pursuit of knowledge often comes at the cost of displacement, exploitation, commodification, and the enduring legacies of imperialism and colonialism.

Alongside critique of the extractive practices that shaped many collections and archives, the book proposes a shift towards ‘re-earthing’, a practice that reconfigures how we understand and engage with knowledge about traces. As a critical approach, re-earthing acknowledges the messy, entangled nature of traces of the past, rejecting attempts to purify or control them in collections and archives, so they may evolve into new forms of knowledge. This innovative perspective challenges scholars, archivists, artists, and collection practitioners to rethink their approach to time and trace, urging them to disrupt dominant chronologies and cultivate new ethical approaches for working with collections and archives.

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