Acoustemological Resonances: Brewster’s Archive and the Emergence of Ethical Observational Science

Abstract

This dissertation examines William Brewster’s (1851-1919) seminal yet underappreciated contributions to ornithology through the analysis of his extensive archival materials—including field notes, journals, diaries, systematic bird observations, photographic prints, and voluminous correspondence. The thesis elucidates the development and impact of Brewster’s ethically driven, non-lethal observational methodologies, contrasting substantially with the earlier practices of John James Audubon (1785-1851), which involved the widespread killing of birds for illustration purposes. Brewster’s approach marked a pivotal shift towards more ethical scientific inquiry and early conservation principles. Housed at Harvard University’s Ernst Mayr Library at the Museum of Comparative Zoology, Brewster’s archives span five decades and provide an unparalleled dataset of bird behavior, habitats, vocalizations, and population changes, alongside notes on the changing landscape. This dissertation probes the evolution from visually biased scientific methods to sensory-integrated observational practices, examining the implications of Brewster’s auditory and multi-sensory engagements in the broader context of 19th-century scientific epistemology. By intersecting theoretical frameworks such as Bruno Latour’s Actor-Network Theory, Tim Ingold’s work on “phenomena of the weather-world” and Steven Feld’s “acoustemology” with archival methodologies informed by Jacques Derrida’s concept of “archive fever,” Frédérique Aït-Touati’s analysis of Robert Hooke’s Micrographia, and Friedrich Kittler’s media theory, this work offers an analytical discourse of the archive as a technological apparatus. Key research questions guiding this dissertation include: How did Brewster and Audubon’s ornithological methods navigate tensions between scientific objectivity and subjectivity in the representation of birds? What do their methodologies reveal about the evolving notion of the scientific self and ethical engagement with avian species during the 19th century? How did contemporary technological advancements and cultural perceptions of the so-called “nature” shape their observational practices and understanding of human-animal-machine interactions? Critically, how did Brewster’s implementation of non-lethal observation methodologies and his meticulous documentation of ecological changes contribute to early notions of conservation and foreshadow contemporary multispecies approaches as articulated by scholars like Donna Haraway and Anna Tsing? By integrating frameworks from the history of art and sciences with critical theory across critical posthumanities, new materialisms, cultural geography, media, and sound studies, this interdisciplinary inquiry underscores the vital role urban environments play in conservation efforts. The study foregrounds how contemporary artistic practices and digital scholarship could not only contextualize Brewster’s legacy within the historical trajectory of ornithology but also advocate for the re-evaluation of ethical practices in current scientific disciplines. It underscores the urgency of fostering multispecies cohabitation and sustainable living practices in the Anthropocene (a contested term), thereby addressing broader ecological crises and redefining human-animal-machine relations. Engaging multispecies perspectives in multiple modalities offers insights for cultivating more ethical and sustainable ways of living on a damaged planet (Tsing 2017).