Once this one individual dies, then the species is declared extinct. And it seems like such a straightforward definition, like, nope, it's the last one. Our tolerance and expectations change over time and vary depending on the medium.Ģ0:39: I love this idea that something that starts out as fake in the early parts of its life could be made authentic and could be made real given enough time.Ġ4:49: So an endling is the last known individual of a species before the species is declared extinct. But we wanted to be really clear, so to me, I see that there isn’t a blanket statement that we can sort of apply to all material culture, but that it varies. And oh, this is a cast of the actual fossil. This is what we fill in and our best guess. We have different ways and different expectations of that, where if you were to go to, say, a science museum and see a T.Rex skeleton and to sort of say, Okay, this is conveying knowledge about the past, and this is telling me things that are true, and I’m going to take this away.
How material and medium play a significant role in how we respond to authenticityĢ6:46: It makes me wonder how much the material and the medium drive how we respond to challenges to authenticity. She shares with Greg this episode how stories motivate us to actions, how nature documentaries need to include a few lies, categorizing museums, fake artifacts & art, and how the element of time can make us rethink authenticity and change. She is currently a visiting researcher at the Institute for Historical Studies at the University of Texas at Austin, and her books include “Endlings: Fables for the Anthropocene” and “Genuine Fakes: How Phony Things Teach Us About Real Stuff.”
Her field and archival work has ranged from South Africa, Ethiopia, and Uzbekistan, as well as the American Southwest. Lydia is a writer and historian, interested in the history of science and material culture. She has degrees in history and anthropology and a PhD in biology (history and philosophy of science) from Arizona State University. It's a reflection on how we make sense of ourselves and our past. Lydia Pyne’s work may loosely be called history, but it's really a combination of the sciences and the humanities.
0 kommentar(er)
