Science Friction_ Where the Known Meets the Unknown - Michael Shermer [155]
Figure 5.2. Courtesy of Napoleon Chagnon.
Figure 6.1. Author’s collection.
Figure 7.1. Author’s collection.
Figure 8.1. From a private collection.
Figure 8.2. From the Museum of Art, the University of Melbourne.
Figure 8.3. From the Museum of Art, the University of Melbourne.
Figure 8.4. National Library of Australia.
Figure 9.1. Author’s collection.
Figures 9.2, 9.3, 9.4, 9.5. Graphics by Pat Linse.
Figure 10.1. Illustration by Pat Linse.
Figure 10.2. Redrawn by Pat Linse, from R. J. Van Pelt and D. Dwork, Auschwitz (New York: W W Norton, 1996).
Figure 10.3 From Ian Tattersall, The Fossil Trail (New York: Oxford University Press, 1995).
Figure 10.4. From Jared Diamond, Guns, Germs, and Steel (New York: W. W Norton, 1997).
Figures 11.1, 11.2, 11.3. Illustrations by Pat Linse.
Figure 12.1. Detail from the engraving Histoire de I’origine et des premiers progres de I’imprimerie by Prosper Marchand. From Elizabeth L. Eisenstein, The Printing Revolution in Early Modern Europe (New York: Cambridge University Press, 1993), frontispiece.
Figure 12.2. Illustration by Johannes Stradanus (1523-1605). From the British Museum.
Figure 12.3. From the British Museum.
Figure 12.4. Frontispiece from Francis Bacon’s 1620 Instauratio Magna. From Elizabeth L. Eisenstein, The Printing Revolution in Early Modern Europe (New York: Cambridge University Press, 1993), p. 258.
Figure 14.1. Painting by Pat Linse.
Figures 14.2, 14.3, 14.4, 14.5, 14.6, 14.7, 14.8. Graphs by Pat Linse.
Acknowledgments
As I have in all of my books, I would like to acknowledge a number of individuals who have contributed not only to this book but to my work in general, starting with my agents Katinka Matson and John Brockman, not only for their personal support of my work but for what they have done to help shape the genre of science writing into a “third culture” on par with other cultural traditions. And thanks as well to Paul Golob at Henry Holt/Times Books, who oversaw the project, and especially to Robin Dennis, my editor, who has greatly shaped my thinking and writing into a finer prose than I otherwise would have produced. For this book, Robin also helped choose the most appropriate essays and articles to contribute, a selection process that only an unbiased mind could have implemented. I also acknowledge Muriel Jorgensen for constructive copyediting of the manuscript, Lisa Fyfe for the creative cover design, Victoria Hartman for interior design, and Chris O’Connell for overall production. Kate Pruss in the Holt publicity department has unfailingly supported our long-range mission of promoting science and critical thinking by reaching larger audiences, and for this I am deeply grateful.
Since many of the chapters in this book were originally published in Skeptic magazine, special thanks go to art director Pat Linse for her important contributions in preparing the illustrations, graphs, and charts for this and my other works, as well as for her unmitigated and deeply appreciated friendship and support. The skeptical movement in general owes a debt of gratitude to Pat for her many behind-the-scenes actions that have irrevocably shaped modern skepticism into a viable social movement. She is first among equals in the pantheon of those most influential in skepticism, and this is reflected in the dedication of this book.
I also wish to recognize the office staff of the Skeptics Society and Skeptic magazine, including Matthew Cooper, Tanja Sterrmann, and Daniel Loxton; as well as senior editor Frank Miele; senior scientists David Naiditch, Bernard Leikind, Liam McDaid, and Thomas McDonough; contributing editors Tim Callahan, Randy Cassingham, Clayton Drees, Steve Harris, Tom Mclver, Brian Siano, and Harry Ziel; editorial assistants Gene Friedman, Sara Meric, and the late Betty McCollister; and photographer David Patton and videographer Brad Davies for their visual record of the Skeptics’Caltech Science Lecture Series. I would also like to recognize Skeptic