‘What makes you a scientist is the way you look at things’: ornithology and the observer 1930–1955
Section snippets
The new birdwatcher
In 1931, Max Nicholson introduced the ‘new birdwatcher’ to the British public. This participant in the ‘new techniques’ of corporate fieldwork, with his ‘new technologies’ of hides, binoculars and rings, was far from the ‘wayward sampler of nature’ of the 1920s.1 No longer a figure ‘who rambles about the countryside . . . like the poet looking for inspiration’,2 Nicholson's new birdwatcher could be ‘distinguished by an acute selectivity of object, and an unerring
‘The British bird’9
Nicholson, with William Alexander and Bernard Tucker, was instrumental in the creation of the British Trust for Ornithology in 1933, ‘a national representative council which would set up a chain of organised bird-watchers to undertake co-ordinated research throughout the British Isles’,
The construction of the observer
Observing was open to all. Its social heterogeneity was repeatedly described, most notably by Fisher, who listed 71 occupations of observers in his fulmar monograph.44 Observation did not require institutional training: its egalitarian nature was stressed. Any ‘fit and proper person of good behaviour’ with an interest in birds was welcomed as a member of the BTO, regardless ‘of the extent of his or her knowledge’. The only stipulation was that observers had ‘the power to
Organicist versus scientist: the battlefield of identification
However, birdwatching did not necessarily create scientists. The Royal Society for the Protection of Birds opposed the ‘scientification’ of birdwatching; its journal saw migration studies as ‘unrenumerative and undesirable’, with results ‘merely corroborating facts long and sufficiently well-known’.
A new Romanticism: familiarity through science
Amateur observers could become privileged members of this ‘laboratory’. Konrad Lorenz considered amateur obsessions to be a precondition of field observation, a ‘sustained endeavour accomplished only by those men whose gaze, through a wholly irrational delight in the beauty of the object, stays riveted to it’. Irrational delight in beauty? Science and aesthetics were conjoined in observational practice, allowing James Fisher's bold statement that birdwatching in the 1940s had led to a synthesis
Acknowledgements
I am most grateful to Jim Secord, Jonathan Burt, Anna Mayer, Sarah Wilmot, Nick Jardine and an anonymous referee for their insightful comments on this paper. Thanks also to Ian Dawson at the library of the Royal Society for the Protection of Birds, Sandy, and to Linda Birch at the Alexander Library of the Edward Grey Institute for Field Ornithology, Oxford.
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