The fossil record acts as both a memorial to life’s spectacular possibilities and as a warning to humanity about how fast dominance can become forgotten history, according to our guest, Scottish paleobiologist Dr. Thomas Halliday. Halliday’s research investigates long-term patterns in the fossil record, particularly in mammals. In his magnificent and daring new book Otherlands: A Journey through Earth’s Extinct Worlds, Halliday translates cutting-edge science into vivid portraits of sixteen fossil sites and their inhabitants extending back 550 million years.
“To look at the skull of an extant freshwater crocodile is to read a character description. The buttressed processes and arches evoke Gothic architecture, here resisting not the weight of a cathedral roof but the powerful force of the jaw muscles. The high-set eyes and nostrils speak of low swimming, peering, and breathing just above the water surface; the long series of teeth, pointed but round, and set in a long, sweeping snout, suggest a feeding style of swiping, grabbing and holding prey, suitable for catching slippery fish. The scars of life are there, with fractures sustained knitted together. Lives leave their marks in detailed, reproducible ways.” – Thomas Halliday
In this podcast episode, we speak with Halliday about his travel guide to the history of multicellular life on Earth, the fragility of ecosystems, how entire extinct worlds are reconstructed from remnants in the Earth’s crust, and the importance of realizing that the lives and the worlds that we know were preceded by hundreds of millions of years of other life and other worlds, “simultaneously fabulous yet familiar.”
The rock record of the Earth is “an encyclopedia of the possible, of landscapes that have disappeared,” Halliday writes. “This book is an attempt to bring those landscapes to life once more, to break from the dusty, iron-bound image of extinct organisms or the sensationalized, snarling, theme-park Tyrannosaurus, and to experience the reality of nature as one might today.”
In eastern Greenland, Macfarlane descends a moulin, a smooth ice shaft cut into a glacier by meltwater. “When viewed in deep time, things come alive that seemed inert,” he writes. “New responsibilities declare themselves. A conviviality of being leaps to mind and eye. The world becomes eerily various and vibrant again. Ice breathes. Rock has tides. Mountains ebb and flow. Stone pulses. We live on a restless earth.” Photo by Helen Spenceley.
In 1994, three French cavers came upon the oldest human-painted images yet discovered. In his new book, Underland: A Deep Time Journey,the writer Robert Macfarlane describes the December day in which the trio descended into the chamber, passing stalactites that reached from floor to ceiling. Suddenly, the flashlight of one caver illuminated a mammoth, then a bear, then a lion with a mane speckled with blood. It was soon revealed that the gallery of Chauvet Cave, also known as the Cave of Forgotten Dreams, houses hundreds of animals — mammoths, rhinoceroses, lions, bison, owls, stags, panthers and bears — painted over 30,000 years old. Many of the creatures are now extinct or nearing extinction.
Macfarlane writes: “The art of the chamber has an astonishing liveliness to it. Despite the rudimentary materials and the lack — to our knowledge — of any kind of training or tradition on which the artists could draw, the animals of Chauvet seem ready to step from the stone that holds them. The horns and cloven hoofs of the bison are painted twice, the lines running close to one another, to give the impression of movement — a shake of the head, a stamp of the foot. The horses are painted with soft muzzles and lips, which one wishes to reach out and touch, feel, feed. Sixteen lions — muscles tensed, eyes fixed with hunting alertness on their quarry — pursue a herd of bison from right to left across a wall of stone. This is, you realize, an early version of stop-motion; a proto-cinema.” Macfarlane quotes John Berger: “Art is born like a foal that can walk straight away. The talent to make art accompanies the need for that art; they arrive together.”
In Andoya, Norway, Macfarlane visited off-shore oil fields with a local fisherman and activist, Bjornar Nicolaisen, as his friend and guide. “What Bjornar fears is a version of ‘solastalgia,’ the term coined by Glenn Albrecht in 2003 to mean a ‘form of psychic or existential distress caused by environmental change’ …” Macfarlane writes. “Solastalgia speaks of a modern uncanny, in which a familiar place is rendered unrecognizable by climate change or corporate action: the home becomes unhomely around its inhabitants.” Photo by Bjornar Nicolaisen.Continue reading Ep. 19 – Robert Macfarlane on being good ancestors across deep time
