Recovering the controversies and commentary surrounding the early creation of scientific photography and drawing on a wide range of new sources and critical theories, Tucker establishes a greater understanding of the rich visual culture of Victorian science and alternative forms of knowledge, including psychical research.

Nature Exposed to our Method of Questioning explores how we create our cultural assumptions about personhood, culture and nature. The following four questions frame the study: (1) How do premodern, modern, and postmodern perspectives in art, religion, philosophy, and science differ and interpenetrate? (2) What does it mean to integrate questions, ideas, values, and beliefs as we create our living environments? (3) What are symbols and metaphors and how do they contribute to the human dialogue? (4) How do purpose, intention, and consciousness foster creativity and influence our perceptions of human living?Three conclusions emerged in exploring these questions: (1) Models of earlier eras are not comprehensive enough to speak about the nature of our contemporary environment. (2) Human models are creative human inventions. (3) We benefit in defining open models rather than models which attempt to be universal in an all-inclusive fashion.

A collection of photographs that were shot in Kenya, Tanzinia, Angola, Namibia, Mozambique, Swaziland, Lesotho and South Africa. This is a remarkable collection of photographs from the personal journey of Greg du Toit, a celebrated photographer of African wildlife whose reputation for placing himself in considerable danger to 'get the shot' is legendary. The majority of the images are colour, with a selection of black and white. The images were shot in Kenya, Tanzinia, Angola, Namibia, Mozambique, Swaziland, Lesotho and South Africa.

The essential, cornerstone book of modern environmentalism is now offered in a handsome 40th anniversary edition which features a new Introduction by activist Terry Tempest Williams and a new Afterword by Carson biographer Linda Lear.

Opening with the statement “The anthropocene is no time to set things straight,” Stacy Alaimo puts forth potent arguments for a material feminist posthumanism in the chapters that follow. From trans-species art and queer animals to naked protesting and scientific accounts of fishy humans, Exposed argues for feminist posthumanism immersed in strange agencies and scale-shifting ethics. Including such divergent topics as landscape art, ocean ecologies, and plastic activism, Alaimo explores our environmental predicaments to better understand feminist occupations of transcorporeal subjectivity. She puts scientists, activists, artists, writers, and theorists in conversation, revealing that the state of the planet in the twenty-first century has radically transformed ethics, politics, and what it means to be human. Ultimately, Exposed calls for an environmental stance in which, rather than operating from an externalized perspective, we think, feel, and act as the very stuff of the world.

“For Erin Brockovich fans, a David vs. Goliath tale with a twist” (The New York Times Book Review)—the incredible true story of the lawyer who spent two decades building a case against DuPont for its use of the hazardous chemical PFOA, uncovering the worst case of environmental contamination in history—affecting virtually every person on the planet—and the conspiracy that kept it a secret for sixty years. The story that inspired Dark Waters, the major motion picture from Focus Features starring Mark Ruffalo and Anne Hathaway, directed by Todd Haynes. 1998: Rob Bilott is a young lawyer specializing in helping big corporations stay on the right side of environmental laws and regulations. Then he gets a phone call from a West Virginia farmer named Earl Tennant, who is convinced the creek on his property is being poisoned by runoff from a neighboring DuPont landfill, causing his cattle and the surrounding wildlife to die in hideous ways. Earl hasn’t even been able to get a water sample tested by any state or federal regulatory agency or find a local lawyer willing to take the case. As soon as they hear the name DuPont—the area’s largest employer—they shut him down. Once Rob sees the thick, foamy water that bubbles into the creek, the gruesome effects it seems to have on livestock, and the disturbing frequency of cancer and other health problems in the area, he’s persuaded to fight against the type of corporation his firm routinely represents. After intense legal wrangling, Rob ultimately gains access to hundreds of thousands of pages of DuPont documents, some of them fifty years old, that reveal the company has been holding onto decades of studies proving the harmful effects of a chemical called PFOA, used in making Teflon. PFOA is often called a “forever chemical,” because once in the environment, it does not break down or degrade for millions of years, contaminating the planet forever. The case of one farmer soon spawns a class action suit on behalf of seventy thousand residents—and the shocking realization that virtually every person on the planet has been exposed to PFOA and carries the chemical in his or her blood. What emerges is a riveting legal drama “in the grand tradition of Jonathan Harr’s A Civil Action” (Booklist, starred review) about malice and manipulation, the failings of environmental regulation; and one lawyer’s twenty-year struggle to expose the truth about this previously unknown—and still unregulated—chemical that we all have inside us.

The Victorian era heralded an age of transformation in which momentous changes in the field of natural history coincided with the rise of new visual technologies. Concurrently, different parts of the British Empire began to more actively claim their right to being acknowledged as indispensable contributors to knowledge and the progress of empire. This book addresses the complex relationship between natural history and photography from the 1850s to the 1880s in Britain and its colonies: Australia, New Zealand and, to a lesser extent, India. Coinciding with the rise of the modern museum, photography’s arrival was timely, and it rapidly became an essential technology for recording and publicising rare objects and valuable collections. Also during this period, the medium assumed a more significant role in the professional practices and reputations of naturalists than has been previously recognized, and it figured increasingly within the expanding specialized networks that were central to the production and dissemination of new knowledge. In an interrogation that ranges from the first forays into museum photography and early attempts to document collecting expeditions to the importance of traditional and photographic portraiture for the recognition of scientific discoveries, this book not only recasts the parameters of what we actually identify as natural history photography in the Victorian era but also how we understand the very structure of empire in relation to this genre at that time.