With the increasing loss of biological diversity in this Sixth Age of Mass Extinction, it is timely to show that devolutionary paranoia is not new, but rather stretches back to the time of Charles Darwin. It is also an opportune moment to show how human-driven extinction, as designated by the term, Anthropocene, has long been acknowledged. The halcyon days of European industrial progress, colonial expansion and scientific revolution trumpeted from the Great Exhibition of 1851 until the Dresden International Hygiene Exhibition of 1930 were constantly marred by fears of rampant degeneration, depopulation, national decline, environmental devastation and racial extinction. This is demonstrated by the discourses of catastrophism charted in this book that percolated across Europe in response to the theories of Darwin and Jean Baptiste Lamarck, as well as Marcellin Berthelot, Camille Flammarion, Ernst Haeckel, Louis Landouzy, Félix Le Dantec, Cesare Lombroso, Thomas Huxley, Bénédite-Augustin Morel, Louis Pasteur, Élisée Reclus, Rudolf Steiner and Wilhelm Wundt, among others. This book presents pioneering explorations of the interrelationship between these discourses and modern visual cultures and the ways in which the “picturing of evolution and extinction” by artists as diverse as Roger Broders, Albert Besnard, Fernand Cormon, Hélène Dufau, Émile Gallé, František Kupka, Pablo Picasso, Carles Mani y Roig, Sophie Taeuber and Vasilii Vatagin betrayed anxieties subliminally festering over degeneration alongside latent hopes of regeneration. Following Darwin’s concept of evolution as Janus-faced, the dialectical interplay of evolution and extinction and degeneration and regeneration is explored in modern visual cultures in Australia, America, Britain, France, Germany, Russia, Spain and Switzerland at significant spatio-temporal junctures between 1860 and 1930. By unravelling the “picturing” of the dread of alcoholism, cholera, dysentery, tuberculosis, typhoid and rabies, alongside phobias of animalism, criminality, hysteria, impotency and ecological disaster, each chapter makes an original contribution to this new field of scholarship. By locating these discourses and visual cultures within the “golden age of Neo-Lamarckism”, they also reveal how regeneration was pictured as the Janus-face of degeneration able to facilitate evolution through the inheritance of beneficial characteristics in propitious environments. In striking such an uplifting note amidst the dissonant cacophony of catastrophism, this book reveals why the art and science of Transformism proved so appealing in France as elsewhere, and why visual cultures of regeneration became as dominant in the twentieth century as the picturing of degeneration had been in the nineteenth century. It also illuminates the paradoxical inversion that occurred in the twentieth century when devolution became equivalent to evolution for many Modernists. Hence, whilst this book opens with the picturing of indigenous people in Australia and North America as “doomed races” by the first publication of Darwin’s On The Origin of Species, it closes with the quest by 1930 for a regenerative suntan as dark as the skin of those indigenous people.

The landscapes of Madagascar have long delighted zoologists, who have discovered, in and among the island’s baobab trees and thickets, a dizzying array of animals, including something approaching one hundred species of lemur. Madagascar’s mammal fauna, for example, is far more diverse, and more endemic, than early explorers and naturalists ever dreamed of. But in the past 2,500 or so years—a period associated with natural climatic shifts and ecological change, as well as partially coinciding with the arrival of the island’s first human settlers—a considerable proportion of Madagascar’s forests have disappeared; and in the wake of this loss, a number of species unique to Madagascar have vanished forever into extinction. In Extinct Madagascar, noted scientists Steven M. Goodman and William L. Jungers explore the recent past of these land animal extinctions. Beginning with an introduction to the geologic and ecological history of Madagascar that provides context for the evolution, diversification, and, in some cases, rapid decline of the Malagasy fauna, Goodman and Jungers then seek to recapture these extinct mammals in their environs. Aided in their quest by artist Velizar Simeonovski’s beautiful and haunting digital paintings—images of both individual species and ecosystem assemblages reproduced here in full color—Goodman and Jungers reconstruct the lives of these lost animals and trace their relationships to those still living. Published in conjunction with an exhibition of Simeonovski’s artwork set to open at the Field Museum, Chicago, in the fall of 2014, Goodman and Jungers’s awe-inspiring book will serve not only as a sobering reminder of the very real threat of extinction, but also as a stunning tribute to Madagascar’s biodiversity and a catalyst for further research and conservation.

ONE OF THE NEW YORK TIMES BOOK REVIEW'S 10 BEST BOOKS OF THE YEAR A major book about the future of the world, blending intellectual and natural history and field reporting into a powerful account of the mass extinction unfolding before our eyes Over the last half a billion years, there have been five mass extinctions, when the diversity of life on earth suddenly and dramatically contracted. Scientists around the world are currently monitoring the sixth extinction, predicted to be the most devastating extinction event since the asteroid impact that wiped out the dinosaurs. This time around, the cataclysm is us. In The Sixth Extinction, two-time winner of the National Magazine Award and New Yorker writer Elizabeth Kolbert draws on the work of scores of researchers in half a dozen disciplines, accompanying many of them into the field: geologists who study deep ocean cores, botanists who follow the tree line as it climbs up the Andes, marine biologists who dive off the Great Barrier Reef. She introduces us to a dozen species, some already gone, others facing extinction, including the Panamian golden frog, staghorn coral, the great auk, and the Sumatran rhino. Through these stories, Kolbert provides a moving account of the disappearances occurring all around us and traces the evolution of extinction as concept, from its first articulation by Georges Cuvier in revolutionary Paris up through the present day. The sixth extinction is likely to be mankind's most lasting legacy; as Kolbert observes, it compels us to rethink the fundamental question of what it means to be human.

You are not what you think you are. New research is transforming how we understand ourselves—from a singular 'self' to a vast cooperative, co-dependent and collaborative network of cellular environments and ecologies—a microcosm within. From this unique perspective, a startling revision of evolutionary theory unfurls. Sharply reasoned and certain to be controversial, The Microcosm Within takes its readers on a sweeping scientific journey that reorganizes our thinking about our biological selves, evolution, and extinction. Darwin has dominated evolution for over a century. But many issues remain puzzling—What is the origin of self-sacrifice? Does natural selection really account for evolution? Why is homosexuality commonplace in the animal kingdom? Why were the arms of Tyrannosaurus Rex so small? Why do some species go extinct yet others endure? The Microcosm Within offers intriguing and profound answers by exploring our extraordinary world of cellular consciousness, connections, and collaboration. Current research has unexpectedly revealed that all cells and microbes have elemental cognition and a previously unappreciated capacity for discrimination and awareness. From these faculties, cooperative natural genetic engineering is enabled; and it is from this starting point that biological complexity evolves. The Microcosm Within illuminates how immunological factors dominate evolution and extinction. Biology and evolutionary theory will never be the same.

Questions why species are becoming extinct, and how we can protect the natural world on which we all depend.

A history of scientific ideas about extinction that explains why we learned to value diversity as a precious resource at the same time as we learned to “think catastrophically” about extinction. We live in an age in which we are repeatedly reminded—by scientists, by the media, by popular culture—of the looming threat of mass extinction. We’re told that human activity is currently producing a sixth mass extinction, perhaps of even greater magnitude than the five previous geological catastrophes that drastically altered life on Earth. Indeed, there is a very real concern that the human species may itself be poised to go the way of the dinosaurs, victims of the most recent mass extinction some 65 million years ago. How we interpret the causes and consequences of extinction and their ensuing moral imperatives is deeply embedded in the cultural values of any given historical moment. And, as David Sepkoski reveals, the history of scientific ideas about extinction over the past two hundred years—as both a past and a current process—is implicated in major changes in the way Western society has approached biological and cultural diversity. It seems self-evident to most of us that diverse ecosystems and societies are intrinsically valuable, but the current fascination with diversity is a relatively recent phenomenon. In fact, the way we value diversity depends crucially on our sense that it is precarious—that it is something actively threatened, and that its loss could have profound consequences. In Catastrophic Thinking, Sepkoski uncovers how and why we learned to value diversity as a precious resource at the same time as we learned to think catastrophically about extinction.

How long do humans have left on Earth? Using cutting-edge science that revolutionises our understanding of evolution, Michael Boulter explains how we may be closer to our own extinction than we imagined.