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Rats laugh when you tickle them

In 1999, Jaak Panksepp and Jeffrey Burgdorf successfully demonstrated that tickling young rats spurs them into letting out the same ultrasonic giggles they make during play.
Pisces (Platichthys Fleus)

Addressing the fact that 95% of known animal species are smaller than our thumbs, yet natural history museums displays are filled with mostly large animals, this sub-museum shows the legs of a flea highlighting its muscles; a whole squid, just a couple of millimetres long; beetles that have been sliced along their entire length, through the antennae, head, legs and body — 1/10th of a millimetre thick; as well as these two baby flounder fish.
A label in the Natural History Museum

A label in the Natural History Museum accompanying a discovery made by Mary Anning.
Strange landscapes

In a short story by the writer Alice Munro titled, 'Walker Brothers Cowboy', a young girl joins her father, a fox farmer turned traveling salesman, on his visits to homes in the countryside where they live. After observing her father nearly getting doused with a chamber pot of urine by an unwelcoming customer, he veers off his usual rounds to visit a woman whom she slowly understands to be his sweetheart from when he was younger. Driving back home, she thinks about the events of the day: "So my father drives and my brother watches the road for rabbits and I feel my father's life flowing back from our car in the last of the afternoon, darkening and turning strange, like a landscape that has an enchantment on it, making it kindly, ordinary and familiar while you are looking at it, but changing it, once your back is turned, into something you will never know, with all kinds of weathers, and distances you cannot imagine. When we get closer to Tuppertown the sky becomes gently overcast, as always, nearly always, on summer evenings by the Lake" (Munro 2010: 23).
Coda

Metronome, fishing hook, sinker, crimp and laboratory clamp. The fishing sinker supplies a counter weight, which allows ticking to continue even though the metronome is suspended upside down. The weight is however, exercising a force which will inevitably exhaust the metronome spring, causing it to cease functioning.
About Ed Ricketts

"Just about dusk one day in April 1948 Ed Ricketts stopped work in the laboratory in Cannery Row. He covered his instruments and put away his papers and filing cards. He rolled down the sleeves of his wool shirt and put on the brown coat which was slightly small for him and frayed at the elbows. He wanted a steak for dinner and he knew just the market in New Monterey where he could get a fine one, well hung and tender. He went out into the street that is officially named Ocean View Avenue and is known as Cannery Row. His old car stood at the gutter, a beat-up sedan. The car was tricky and hard to start. He needed a new one but could not afford it at the expense of other things. Ed tinkered away at the primer until the ancient rusty motor coughed and broke into a bronchial chatter which indicated that it was running. Ed meshed the jagged gears and moved away up the street. He turned up the hill where the road crosses the Southern Pacific Railways track. It was almost dark, or rather that kind of mixed light and dark which makes it very difficult to see. Just before the crossing the road takes a sharp climb. Ed shifted to second gear, the noisiest gear, to get up the hill. The sound of his motor and gears blotted out every other sound. A corrugated iron warehouse was on his left, obscuring any sight of the right of way. The Del Monte Express, the evening train from San Francisco, slipped around from behind the warehouse and crashed into the old car. The cow-catcher buckled in the side of the automobile and pushed and ground and mangled it a hundred yards up the track before the train stopped" (Steinbeck 1951: 279). After Ricketts' death in 1948, Steinbeck dropped the species catalogue from the earlier 'The Sea of Cortez' and republished it with a eulogy to his friend added as an afterword.
Kuhn's Jellyfish

Kuhn's "example illustrates how the entrenched expectations of experimental outcomes and prescribed instrumental functions of an insider’s view of the laboratory and its equipment can pose a threat to new discoveries. The circumstances that enabled Roentgen (an insider) to first notice these new rays are not clear, but Kuhn proposes that the occurrence of anomaly enables discovery and that Roentgen’s ‘recognition that nature has somehow violated the paradigm-induced expectations that govern normal science’ (1970: 52–3) was important. Kuhn emphasises that Roentgen valued the anomaly instead of ignoring it – a vital step in the process of discovery" (Liebenberg 2021: 114).
Melchior & Cousteau

In 1963 Simone Melchior became the world's first female aquanaut by living in Starfish House, an underwater habitat, for the final four days of the Conshelf II project. Although never visible in the 'Undersea World of Jacques Cousteau' series, Cousteau's wife and business partner played a key role in the operation at sea. She was the acting mother, healer, nurse and psychiatrist to the all-male crew for 40 years. Cousteau describes her as being "happiest out of camera range, in the crow’s nest of the Calypso (...), scanning the sea for whales". Her father, Henri Melchior, was director of Air Liquide (France’s main producer of industrial gases at the time) and funded the invention of the aqua lung and the scuba diving apparatus we know today.
Ma

The Japanese have a word, ‘ma’, for this interval which gives shape to the whole – this ‘gap’, ‘opening’, ‘space between’ or ‘time between’. Ma is not something that is created by compositional elements, rather it can be understood as the thing that takes place in the imagination of the human who experiences these elements. A room, for example, is called 'ma', as it refers to the space between the walls. Or a rest in music, which indicates a pause between the notes or sounds (Pilgrim 1986: 255).
Where their lives took on true weight

In Alice Munro's short story 'Post and Beam', the two protagonists return home from a short vacation: "Up Capilano Road, into their own part of the city and their own corner of the world, where their lives took on true weight and their actions took on consequences. There were the uncompromising wooden walls of their house, showing through the trees" (Munro 2001: 212).
House

Lokrete with metal armature Grove Road, London, E3 (Destroyed 11 January 1994)
Cecil John Rhodes statue

The man who consolidated thousands of small diggings in Kimberley to found De Beers Consolidated Mines was Cecil Rhodes, who then used the profits to extend into gold mining in and around Johannesburg.
End papers of 'What to Observe'

Published in 1841, Jackson’s guide was the first of a series of guides published during this period which offered notes for the traveller on appropriate conduct in the field – from providing methods for training the eye to observe what was deemed as relevant details, to instructions on which precision instruments should be carried and how to use them to record and inscribe the results of observations made (Withers 2013: 170). As Jackson states, his guide pointed out to the “uninitiated Traveller what he [sic] should observe, and to remind the one who is well informed, of many objects which (…) might escape him” (Jackson 1841: i).
Burrowing

Extract from 'A Child in Time': "Later, in the sorry months and years, Stephen was to make efforts to re-enter this moment, to burrow his way back through the folds between the events, crawl between the covers, and reverse his decision. But time – not necessarily as it is, for who knows that, but as thought constituted it – monomanically forbids second chances" (McEwan 1987: 14).
Circumference

On June 1, 1937, Amelia Earhart took off from Oakland, California, on an eastbound flight around the world. It was her second attempt to become the first pilot ever to circumnavigate the globe.
Four bruises

Poster designed by film director, Mike Mills. His 2010 movie, 'Beginners', is structured as a series of interconnected flashbacks. Following the death of his father, Hal, from cancer, Oliver reflects on their relationship during the last five years, since the death of his mother.
The broken tulip

"During the period known as tulipmania which transpired in the Netherlands during the 17th century, contract prices for bulbs of the recently introduced tulip reached extraordinarily high levels and then suddenly collapsed. Tulips that displayed a break in their colour reached prices far higher than those that didn’t. It wasn’t until 1920, after the invention of the electron microscope, that scientists discovered that the cause for this symphony of colour was a virus that spread from tulip to tulip by Myzus persicae, the peach potato aphid. Michael Pollan in The Botany of Desire, explains this phenomenon: “The colour of a tulip consists of two pigments working in concert — a base colour that is always yellow or white and a second, laid-on colour called an anthocyanin; the mix of these two hues determining the unitary colour we see. The virus works by partially and irregularly suppressing the anthocyanin, thereby allowing a portion of the underlying colour to show through — creating the magic of the broken tulip. A fact that, as soon as it was discovered, doomed the beauty it had made possible" (Pollan 2003: 97 in Liebenberg 2011: 92).
Semper Augustus Tulip

Photo of Semper Augustus watercolour, captured whilst perusing the Pera Museum, Istanbul, 2013
Tobacco Mosaic Virus

During the late 19th century, tobacco farmers observed a strange occurrence on the leaves of their tobacco plants. A mosaic pattern of light and dark green (or yellow and green, in some instances) appeared on the leaves of their crops, the presence of which signalled the steady decline in the plant’s growth. Because of the lucrative nature of the industry, finding a treatment for this seemingly infectious disease became a priority, with many laboratories working to isolate the cause. Bacteria were recognised as the causative agents of many infectious diseases of plants and animals, including humans, in the second half of the 19th century – and the technique of filtration was developed to separate infectious agents from extracts or exudates in order to study these microbes. It was whilst utilising this technique that Dmitri Ivanovski, a Russian microbiologist working in the Crimea in 1890, made a surprising discovery. Using the Chamberland–filter made from porcelain and designed to trap ordinary bacteria, Ivanovsky discovered that the filtered sap from the diseased plants could continue to transfer the infection to healthy plants – an occurrence he attributed to an agent which must be an exceedingly small parasitic microorganism, invisible even under great magnification. It would take another 45 years before the visualisation of this subcellular entity would be formulated with the help of an electron microscope, but Ivanovksy, along with the Dutch botanist M.W. Beijerinck, who also and independently, isolated these microbes in his laboratory in 1898, are generally credited for the discovery of viruses. The disease which infected the tobacco plants would be aptly called the Tobacco Mosaic Virus, and its identification would signal the initiation of a field of study known as virology.
"Bought fresh in streets of Cape Town"

"The flower sellers trading in Trafalgar Place and along Adderley Street have been doing so since at least the mid-1880s but became viewed as threats to the local flora by the European settlers at about the same time the medicine chest was first introduced to the city at the beginning of the 20th century. The settlers initially preferred to cultivate plants imported from their home countries to indigenous varieties, introducing many species to South Africa for nostalgic or practical reasons (subsequently problematic for local biodiversity) (Van Sittert 2002: 103). In the wake of the emerging nationalism of the white settlers in the 1890s, interest in indigenous plants gained momentum and was deployed to create a sense of belonging to the ‘foreign’ land (Boehi 2013: 133). A botanical discourse was mobilised to underscore ideas about identity and belonging, such as ‘roots’ and ‘ideas of rootedness’, and laws regulating flower picking (which usually occurred on the mountain) were passed in this period and were secured by the Wild Flower Protections Act in 1905 and an amendment thereto in 1908 (Boehi 2013: 133)" (Liebenberg 2021: 275). This is a label on a botanical specimen (K000225239) found in the Royal Botanic Gardens of Kew that was donated to the Gardens by UCT. Described in pen in the notes section, the specimen is of the local Erica latiflora and was collected in 1908, when it was ‘bought fresh in the streets of Cape Town’. The insider details noted on this specimen reveal much to outsiders such as Boehi (2013) and Van Sittert (2010) – scholars who have written about the colonial history of botany in the Cape and the unofficial presence of the flower sellers in the provenance of many specimens from the Cape kept in international herbaria.
"Bought fresh in streets of Cape Town"

Royal Botanic Gardens, Kew (K). Herbarium: Royal Botanic Gardens, Kew (K), K000225239. Collection: Herbarium Specimens. Resource Type: Specimens. Collector: unknown, #14027. Collection Date:11–1908. Locality: Bought fresh in streets of Cape Town. Country: South Africa (South Africa). Identifications: Type of Erica latiflora L.Bolus [family ERICACEAE] (stored under name). Notes: Herbarium Africanum Bolusianum Flora South Western Region
Resonance

"The revelation of my object-study that the chest was a lacuna in terms of local botanical medicinal remedies and practices served as inspiration for the first department I approached. By engaging with insiders of the Department of Biological Sciences, I reasoned that I could supplement the chest’s Western content with local botanical knowledge. As the first viewing session, it was also the one that initiated the weakening of the chest’s imperial viral load through an inoculation of additional meaning – a treatment with a surprising side-effect. On presenting the chest to other disciplinary insiders afterwards (to Pathology and the College of Music, for example), I noticed characteristics that also resonated with the field of botany within these disciplines and their collections. These botanical resonances accrued as my disciplinary engagements increased and diversified, leading me to embrace this side-effect and to use botany as the central theme of my exhibition. The resonances generated in the different departmental viewing sessions resulted in new links with the chest but also in connections surfacing between disciplines such as zoology, dermatology, pharmacology and sound studies, for example. I drew on these visits and their outcomes to create a range of artworks that materialised the inoculation of the chest by manifesting how intersecting with diverse fields expanded its meaning, and I sourced objects from the collections that encouraged new interpretations" (Liebenberg 2021: 244 - 246).
Notebooks 2 – Nest Records

"'Notebook 2 – Nest Records' is part of the Peter Steyn Collection at the Percy Fitzpatrick Institute of African Ornithology (PFIAO) at the University of Cape Town. It resides in the top drawer of a wooden cabinet that is locked and stained with nepheline. The drawer is shared with two other notebooks created by Steyn, the first from his youth, and the latter is focused on birds of prey. It lies beside a copy of Frank B. Smithe’s Naturalist’s Color Guide, a published article by Steyn, two printed documents, attached letters and an envelope of reference photographs. The subsequent drawers are filled with an array of labelled, blown, eggs. Pink. Blue. Burnt-copper. Speckled. Splattered" (Viruly 2019).
Prrrip-Prrrip, Tseeeep!: the silence of birds’ eggs

"Birds are highly vocal creatures, their songs sound everyday in almost every habitat, even our concrete cities. These calls have been likened to the human capacity for speech, yet the faculty of language has, for most of history, been described as solely ‘human.’ Language forms one of several traits deployed to uphold the constructed divide between human and non-human animals. Oology – the collecting and documenting of wild bird eggs – was an obscure hobby and ‘science’ of the past. Collected eggs were pierced and ‘blown’ of their contents. The perfect shells, beautifully coloured with speckles and intricate patterns, were then placed in vast cabinet collections. Such a birds’ egg collection, collected in Southern Africa during the last half of the 20th century, forms the starting point of this exhibition. Through exploring language and communication in birds, this exhibition aims to create an affective environment for re-evaluating the collecting practices of the past (with its ties to the Euro-Western, human-centered perspective), and for re-imagining current natural history collections. It also aims to … poo-too-eee poo-too-eee, pa-chip-chip-chip per chick-a-ree. Ka-ha, ka-ha, kuh-uk-uk-uk! caw-caw-caw-caw-koodle-yah, loooooo-eee! Pa-chip-chip-chip, per-chick-a-ree!" Wall text of exhibition, Prrrip-Prrrip, Tseeeep!: the silence of birds’ eggs
Bataleur egg

Situated in a locked bespoke cabinet in the Niven Library in UCT’s Percy Fitzgerald Institute of African Ornithology, this Bataleur eagle egg is part of a collection of eggs donated by the ornithologist Peter Steyn in 2007. Collected between 1961 and 1977, when Steyn spent time in Zimbabwe, the egg is a link to the iconic stone carved Zimbabwe Birds which once stood proudly on guard atop the walls and monoliths of the ancient city of Great Zimbabwe, believed to be built between the 12th and 15th centuries by ancestors of the Shona. The overall shape of the birds suggests that of a bateleur eagle – a bird of great significance in Shona culture. The bateleur or chapungu is a good omen, the symbol of a protective spirit and a messenger of the gods.
What UCT is not telling its first years

On the 19th of January 2015, an article appeared in the Cape Argus titled 'What UCT is not telling its first years' written by Dr Siona O’Connell, a staff member of the Centre for Curating the Archive, and lecturer at the university. In it she wrote about the absence of transformation in the university, evident in its lack of black academic staff, describing the campus as "mired in unarticulated tensions and divisions, many of them pivoting on race” and “guarded by the Rhodes Memorial – a significant imperialist edifice” that continues to shadow it “in many overt and covert ways” "(O’Connell 2015). In the article she pinpoints that even though, as first years, they will most certainly be greeted by the statue of Cecil John Rhodes overlooking the rugby field during their tour of the campus, their chances of being taught by a black professor during the full span of their degree, will be incredibly slim…
L’Ellipse

In the triple–screen projection 'L’Ellipse' (1998), Pierre Huyghe slowed a jump cut from Wim Wenders’s 1977 film 'The American Friend' and expanded it by adding his own footage of the film’s leading man, Bruno Ganz, now older, acting out a scene that the film itself skips – a walk across a city, from one apartment to another, between important phone calls.
Perla Wings

Addressing the fact that 95% of known animal species are smaller than our thumbs, yet natural history museums displays are filled with mostly large animals, this sub-museum shows the legs of a flea highlighting its muscles; a whole squid, just a couple of millimetres long; beetles that have been sliced along their entire length, through the antennae, head, legs and body – 1/10th of a millimetre thick; as well as the wings of a Chrysopa perla, a fearsome predator in the insect world.
The Green Ray (Tacita Dean)

"This is really interesting, because I filmed it on this beach in Madagascar, and there was this couple who were hanging around. They didn’t see the green ray, and they’d videotaped the sunset to document it. Then they replayed their video to me for proof that it wasn’t there. But I was absolutely convinced that I had seen it, so it had to be on my film, which was optical and analog. When I got the film back, it was very, very faint, and I had to really push it to get more color in the film, to bring out the green ray. But it’s definitely there. It’s not a fiction. Some people think the green ray is an illusion, but it’s not" (Dean in Eugenides 2006).
Big Good Strong Hands...

The 1984 film, 'The Neverending Story', features Pyornkrachzark, the Rockbiter, a large creature made of stone. The Rockbiter species are named due to their diet of rocks and earth-based materials. The Rockbiter seen in the film particularly has a liking for limestone. In the novel and the first film, the Rockbiter appears early among the messengers sent to see the Childlike Empress at the Ivory Tower during the Nothing crisis. In the first film he ultimately reappears, encountered by Atreyu. He has lost faith in himself after failing to save his travelling companions from the Nothing, and advises Atreyu to flee.
No. 254. 'Tabloid' Brand Medicine Chest (The Indian)

A small medicine chest, listed as BC666, kept in the Manuscripts and Archives Department of the University of Cape Town. Roughly 15cm in height and depth, and 20cm in width, it is made of metal and painted black, with the words ‘Trade Mark’, 'Tabloid' and ‘Brand’ printed under the keyhole, on its front. Fitted with a brown leather strap and metal clasps, the case suggests easy portability and containment. Manufactured by Burroughs Wellcome & Co. in the 19th century, these travelling Tabloid brand medicine chests accompanied eminent explorers such as Stanley, Scott and Shackleton on their travels – and was a firm favourite amongst missionaries and explorers coming to Africa, seen as a tool to combat ‘tropicality’. This particular chest belonged to Walter Floyd, a dentist born in Kent, who opened a practice in Cape Town in 1904, and bought it for a hunting trip he made to (then) Northern Rhodesia in 1913.