Darwin's Camera tells the extraordinary story of how Charles Darwin changed the way pictures are seen and made. In his illustrated masterpiece, Expression of the Emotions in Man and Animals (1871), Darwin introduced the idea of using photographs to illustrate a scientific theory--his was the first photographically illustrated science book ever published. Using photographs to depict fleeting expressions of emotion--laughter, crying, anger, and so on--as they flit across a person's face, he managed to produce dramatic images at a time when photography was famously slow and awkward. The book describes how Darwin struggled to get the pictures he needed, scouring the galleries, bookshops, and photographic studios of London, looking for pictures to satisfy his demand for expressive imagery. He finally settled on one the giants of photographic history, the eccentric art photographer Oscar Rejlander, to make his pictures. It was a peculiar choice. Darwin was known for his meticulous science, while Rejlander was notorious for altering and manipulating photographs. Their remarkable collaboration is one of the astonishing revelations in Darwin's Camera. Darwin never studied art formally, but he was always interested in art and often drew on art knowledge as his work unfolded. He mingled with the artists on the voyage of HMS Beagle, he visited art museums to examine figures and animals in paintings, associated with artists, and read art history books. He befriended the celebrated animal painters Joseph Wolf and Briton Riviere, and accepted the Pre-Raphaelite sculptor Thomas Woolner as a trusted guide. He corresponded with legendary photographers Lewis Carroll, Julia Margaret Cameron, and G.-B. Duchenne de Boulogne, as well as many lesser lights. Darwin's Camera provides the first examination ever of these relationships and their effect on Darwin's work, and how Darwin, in turn, shaped the history of art.

Greg Bear’s Nebula Award–winning novel, Darwin’s Radio, painted a chilling portrait of humankind on the threshold of a radical leap in evolution—one that would alter our species forever. Now Bear continues his provocative tale of the human race confronted by an uncertain future, where “survival of the fittest” takes on astonishing and controversial new dimensions. Eleven years have passed since SHEVA, an ancient retrovirus, was discovered in human DNA—a retrovirus that caused mutations in the human genome and heralded the arrival of a new wave of genetically enhanced humans. Now these changed children have reached adolescence . . . and face a world that is outraged about their very existence. For these special youths, possessed of remarkable, advanced traits that mark a major turning point in human development, are also ticking time bombs harboring hosts of viruses that could exterminate the “old” human race. Fear and hatred of the virus children have made them a persecuted underclass, quarantined by the government in special “schools,” targeted by federally sanctioned bounty hunters, and demonized by hysterical segments of the population. But pockets of resistance have sprung up among those opposed to treating the children like dangerous diseases—and who fear the worst if the government’s draconian measures are carried to their extreme. Scientists Kaye Lang and Mitch Rafelson are part of this small but determined minority. Once at the forefront of the discovery and study of the SHEVA outbreak, they now live as virtual exiles in the Virginia suburbs with their daughter, Stella—a bright, inquisitive virus child who is quickly maturing, straining to break free of the protective world her parents have built around her, and eager to seek out others of her kind. But for all their precautions, Kaye, Mitch, and Stella have not slipped below the government’s radar. The agencies fanatically devoted to segregating and controlling the new-breed children monitor their every move—watching and waiting for the opportunity to strike the next blow in their escalating war to preserve “humankind” at any cost.

David Lack's classic work on the finches of the Galapagos Islands (Darwin's Finches) was first published in 1947; few books have had such a great impact on evolutionary biology, indeed it is still one of the most succinct and fascinating treatises ever written about the origin of new species. The 1947 version is reproduced with facsimile pages of the original text, tables and line illustrations. The major feature of this reprint is the additional material supplied by Dr Peter Boag and Dr Laurene Ratcliffe who have both completed studies on the Galapagos. The readership will comprise students of evolution and ecology and those interested in the history of evolutionary thought. Amateur ornithologists and tourists visiting the Galapagos Islands will find this account fascinating.

A highly illustrated account of Darwin's visual representations of his theories, and their influence on Victorian literature, art and culture, first published in 2006.

When Charles Darwin finished The Origin of Species, he thought that he had explained every clue, but one. Though his theory could explain many facts, Darwin knew that there was a significant event in the history of life that his theory did not explain. During this event, the “Cambrian explosion,” many animals suddenly appeared in the fossil record without apparent ancestors in earlier layers of rock. In Darwin’s Doubt, Stephen C. Meyer tells the story of the mystery surrounding this explosion of animal life—a mystery that has intensified, not only because the expected ancestors of these animals have not been found, but because scientists have learned more about what it takes to construct an animal. During the last half century, biologists have come to appreciate the central importance of biological information—stored in DNA and elsewhere in cells—to building animal forms. Expanding on the compelling case he presented in his last book, Signature in the Cell, Meyer argues that the origin of this information, as well as other mysterious features of the Cambrian event, are best explained by intelligent design, rather than purely undirected evolutionary processes.

A timely and stimulating collection of essays about the impact of Darwin's ideas on visual culture

The Child is father of the Man; And I could wish my days to be Bound each to each by natural piety. William Wordsworth, "Ode: Intimations of Immortality" Wallace Stevens said somewhere that the theory of poetry is the life of poetry.l Charles Darwin, who likes poetry, "recognized that at the eost of losing his appreciation of poetry and other things that delighted him in his youth, his mind had become a 'machine for grinding generallaws out of large colleetions of facts.' "2 Somewhere in between the polar positions of Stevens' extreme aesthetic belief and Darwin's extreme meehanistic belief lies the aesthetics of empirical thought and the whole modem Romantic tradition. There have been men in between who were both meehanists and poets, who both beIieved in automatic material meehanisms and tried to use the imagination. Erasmus Darwin was one of these "in between" figures. and since he lived early (1731-1802) in the modem scientific era he was one of the first. This older Darwin, the grandfather of Charles, has not been given due credit as a transitional figure in the development of the literature of our scientific era. Although historically and in terms of intelleetual stature the grandfather was a fanciful child compared to the giant grand soo, Erasmus Darwin's habits of thought anticipated one of the most distinguishing charaeteristics of his grandson. (The genetic suggestive.