Since late 2012 dedicated and committed people from Australia and New Zealand worked together to get the plan underway. Following a grass-roots startup, we are fortunate that in last 18 months Kevin Thiele has coordinated a wide range of engagement and consultation. Teleconferences, online discussions, workshops at conferences and online writing sessions were held. Kevin also launched a taxonomy blog site noto|biotica, through which some big ideas, concepts and discussion was facilitated. Supported by the Working Group and an Advisory Committee the generation of the plan was highly collaborative and yet benefited from the unified voice Kevin gave the overall process.
Kevin was a champion at getting us to all share ideas, opinions and also to listen and convey to the community of ideas and to form a biosystematics community driven mission for the next decade. The professionalism of the Australian Academy of Science and the New Zealand Royal Society Te Apārangi, helped elevate the decadal plan Discovering Biodiversity to give us all a chance to see a way forward. The plan covers biodiversity from the bottom of the ocean to the tops of the mountains and will pave the way for coordination of new initiatives and to consolidate the immense body of work we already deliver…
I want to encourage everyone to read the plan, and also to enjoy the document itself, a great visual piece of work and well illustrated with images of the biodiversity of Australia and New Zealand! Also enjoy the artwork commissioned for the cover, Abundance by David Stacey. [Download full resolution (19MB) or smaller version (4.2MB)]. The forward by David Attenborough emphasises not only the role of taxonomy and biosystematics but the importance of recognising and valuing our biodiversity…
Congratulations to the Friends of the Botanic Gardens of Adelaide on their 40th birthday which has been celebrated over the last week or so. The Friends, are a volunteer organisation having an impressive membership of more than 900. Members are passionate about the importance of plants which they share during their popular daily guided walks and other volunteering. Volunteers enrich the work we do, the lives we lead and create an amazing connection between the community and out institution.The Friends also contribute to the Botanic Gardens and State Herbarium of South Australia by helming find support for projects and to encourage the next generation of horticulturalists through awards.
Today, at a reception held at Government House, hosted by friend Patron and Governor, His Excellency the Honourable Hieu Van Le AC and Mrs Le, the work and commitment of these volunteers was recognised and in the words of the Governor, should continue for another 40 years! Members of the Friends enjoyed afternoon tea and the chance to visit in Government House.
Governor Le, Judy Potter, Mrs Le at Friends of the Botanic Gardens of Adelaide 40th Birthday Reception
Support by our Friends—formal, informal and by any means—is something we value highly, and I wish to express my thanks to all of you.
Chief Botanist, Professor Michelle Waycott, State Herbarium of South Australia, Botanic Gardens and State Herbarium.
The month of May has been busy for the State Herbarium of South Australia to open its doors to the community.
History Month Tours—again a full house Saturday and Sunday 27–28 May 2017
Visitors were treated to a summary of the history of the Old Tram Barn which now houses the State Herbarium of South Australia by Peter Canty. Escaping the weather which was at times wild and woolly, the tour also gave insights into a modern herbarium and its operation, along with getting to see some specimens of extinct South Australian plant species and some of the weird and wonderful collections by Michelle Waycott.
Peter Canty, Manager State Herbarium, and tour participants
The interest in the building was matched by the interest in the Herbarium and the botanical science that is run out of the Herbarium.
Jürgen Kellermann describes the publications and knowledge resources the State Herbarium of South Australia May 2017
There were many questions by tour participants on the role of the Herbarium as a public institution that provided information for the community on our native and naturalised plants, fungi, algae, lichens and bryophytes. Most were surprised to learn that the knowledge the Herbarium manages, including the Census of the South Australian Flora is freely available via the online web interface: flora.sa.gov.au
Publications of the Herbarium were also highlighted including our flagship publication, the Journal of the Adelaide Botanic Gardens, soon to be renamed Swainsona to honour our states floral emblem. Jürgen Kellermann, our editor and Senior Botanist, outlined how the new publications we produce are made such that they are freely available online.
Map of collections made before the year 1900, map drawn using Australia Virtual Herbarium (avh.chah.org.au)
A new fun fact about our collections is that more than 15,000 specimens we house were collected prior to 1900!
Totally Wild in the vaults
Leela and Michelle – with some lookers on and film crew, during filming at the State Herbarium of South Australia
Last week, we also had the film crew from Totally Wild visit to find out about herbarium collections and some of the ways plants are named. The filming had some fun moments and we hope will provide some interest to younger audiences.
Last Sunday (9 April), at the opening of an exhibition of Jennifer Keeler-Milne sketches, ‘Drawn to a cabinet of curiosities’ at the Museum of Economic Botany, Adelaide Botanic Gardens, I was asked to explore the importance of how art and science may work together. After the event a few people asked me to share my discussion with them…
Curiosities brochure cover
Before I get into that, if you are in Adelaide or passing through, let me encourage you to consider visiting this exhibit. The drawings are an evocative collection of works, based on objects in nature which the artist, Jennifer, tells us she put together over a period of at least three years. They are created in a style which an observer described as being ‘sculpture-like’ because the artist must visualise the final artwork where the pieces of paper she wishes need to remain untouched, the remainder being filled in with charcoal leaving a white image on a black background. This must be a technically challenging approach to create the images of sometimes very delicate structures such as her depictions of feathers, urchins and plants. Highly creative, these pieces are intriguing and together make a collection of interesting ‘objects’.
Creativity is certainly fundamental to the human existence and we often underestimate its importance in and on our lives. In addition, the interaction and interchange of science and art allows exploration of new boundaries through what are essentially creative processes. As a result we may see expansion of our horizons of understanding along with new understanding and expression in our lives—both professional and personal.
Both art and science require a nuanced appreciation of the focus of the works. Both artists and scientists explore details, which they then try to synthesise to reduce or depict complexity and to then communicate their insights to their audiences. Their creative processes generate something from nothing—more from less—understanding from chaos.
The intersection of art and science might be viewed in many ways:
art for science
art about science
art from science
science in art
science for art
or even science–art or art–science…
but in my view, and critically, art with science and science with art.
Word games aside these two disciplines have complex interactions. The modern expression of art in its various forms—literature, performing and visual—have become inextricably tied to scientific and technical developments, and conversely, scientific advances have come from insights gained through art.
We cannot deny the beauty of artistic representations of the Fibonacci sequence nor how elemental photography provides us with new views and insight of our world.
Indeed as a botanist, and in particular as a taxonomist, a fundamental tool we use for our work is botanical art which captures the essential features of a plant, depicting the features essential to describe a species so that others may understand the work we have done and the concepts we wish to share.
Both science and art have been enhanced at their interface—through the growth in scientific understanding of the universe and new technologies in everything from new types and colours of paints to musical instruments, writing and computers, digital sharing of works, new types of papers and storage techniques. Today works or pieces of art can be essentially immortal—or transient—simultaneously, depending on their medium and methods of sharing.
But back to the exhibition here… What insights do we gain from art and science together?
The artist, Jennifer at curiosities launch
As a scientist, I can’t help but try to create order, insight and understanding that come from reviewing Jennifer’s collection. In agreement with the inspiration for the exhibition, the concept of a cabinet of curiosities comes across in the sense of special, wonderful, unusual and uncommonly combined objects that are drawn and placed together with the addition of Jennifer using the difficult, and very particular, technique in their creation. Her ‘cabinet’ contains wonders of diverse origins, as she describes them—land, air and sea. The pieces have been put together in with an artistic approach to taxonomic groups. Rocks together in a collection cataloguing their diversity, the varied forms of corals, a staged collection of moths, feathers from different birds and the various feather forms…
However this collection has not had a scientist ‘walking’ alongside the artist informing them of the detail. The Acropora, Pocillopora, Porites, Fungia or Lobophyllia could be rocks, butterflies, plants or corals…
Curiosities drawings of coral
Rather than being a limitation, I think, this gives the viewer the perspective to allow them to interpret the works in their own way—without the names we are left to wonder what they are—like the original cabinets of curiosities they are gems of like grouped objects that are intrinsically wonderful and curious in their way.
This also means that when science does provide other insights that come from a different type of understanding the collection can take on a new dimension. By knowing, for example, that Porites is a coral and that it forms massive, sometimes ancient aged individuals that are the basis of many reefs around the world, we can enjoy the wonder of an expanding and new experience that comes from the knowledge. Then move forward, open another chapter in the story that comes from accumulated creativity and new work and then ask ourselves—what next?
This exhibition is open until the 9 of July, 2017.