Orca: The Whale Called Killer by Erich Hoyt
By Erich Hoyt
"Hoyt's passionate feel of kinship with orca makes his account powerful as either a technology and literature. He has chronicled his adventures and discoveries ...with grace, perception, wit--and a comprehensiveness that will fulfill even Herman Melville."("Discover Magazine") celebrity performers in aquariums and marine parks, killer whales have been as soon as thought of to be too harmful to strategy within the wild. Erich Hoyt and his colleagues spent seven summers following those clever and playful creatures within the waters off northern Vancouver Island, purpose on dispelling the killer fantasy. Orca: The Whale referred to as Killer is Hoyt's interesting account of these summers of event and discovery, and the definitive, vintage paintings at the orca or killer whale.
The "Free Willy" motion pictures, encouraged partly via Hoyt's pioneering writing approximately orcas, inform the tale of a captive orca being again to the wild. (Hoyt, in reality, suggested Keiko, the orca who grew to become the famous person of "Free Willy," to Warner Bros.) yet Orca: The Whale known as Killer tells the genuine tale of untamed orcas befriending people.
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Extra info for Orca: The Whale Called Killer
Yet, it is precisely exploring these threads and interconnections that makes SSK such a rich resource. As is evident in many of the chapters in this volume, SSK has begun to reshape how we talk about the social constitution of nature. There are many advantages to SSK approaches, but here we want to highlight four. First, with its emphasis on knowledge production as “worldly,” SSK scholars trace nature’s “emergence” in specific, historical practices (fieldwork, the laboratory, writing), not in order to dismiss or minimize science, but in order show how these world-changing knowledges are made in social and institutional contexts saturated with relations of power.
The social production of nature occurs within wider discursive fields in and through which “things” are rendered visible and available to forms of calculation. In other words—to follow Haraway’s (1997) reworking of Ian Hacking’s (1983) phrase—representation is intervening. Third, post-structuralist accounts of nature’s construction place attention firmly on the operation of power and widen what is taken to be the domain of politics. Power—as Foucault (1977) so brilliantly showed—is not only, or even primarily, something “held,” as in models of sovereign power.
But it is precisely the ways in which society is constructed through, or in relation to, things (microbes, door closers, machines, and so on) along with the various ways that science is the cause rather than medium of nature’s representation that, as moderns, we are unable to see, since we live within a modern “constitution” that assigns “nature” and “culture” to two distinct realms, and similarly situates “knowledge” in one (nature) and “politics” in another (culture). This modern constitution, Latour argues, allows technoscience to build both nature and society simultaneously, but in ways that remain relatively unexamined.