Geoscience Reference
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enlisting the public into the organisations became as important as enrolling animals
into the displays.
This is the somewhat ambiguous legacy and architecture inherited from the
traditional zoo. Most zoos are now furnished with a range of displays that reflect
these changing methods of domesticating, mythologising and visualising the natural
world. Subsequently, of course, a further layer of interpretation has been added in
the form of conservation and biodiversity displays which give further shape to the
processes through which zoos seek to enrol, mobilise and position nature, to which I
return later. However, actor-network theory reminds us that the achievements of
these networks to speak for nature are never secure (e.g. Callon 1986; Wynne
1993). As one zoo director writes:
[W]hen zoo curators exhibit highly endangered snow leopards in order to
discuss their desperate battle with humans for dwindling resources in the high
mountains of Tibet, they must always contend with anthropomorphic visitors
who will bring their children to 'see the big pussycats.'
(Veltre 1996:28)
Human identity and animal agency
The visual classifications of natural history and the visual technology of the zoo not
only define a way of being for animals, but also attempt to delimit a particular form
of human interaction with animals. Anderson (1995:278) elaborates that the form of
exhibition at Adelaide Zoo produced 'a particular form of human in relation to
nature. This is a historically specific type of (white) masculine that is unseen, that is
not the spectacle but rather the privileged eye (I), the bearer of reason, the author,
the knower.' The visual organisation of nature in the built spaces of the zoo further
manifests and imposes a structure of authority between expert and public
knowledges, giving importance to some ways of knowing about nature, but not to
others (Outram 1996). While the zoo does give primacy to visual knowledge and
spectacle, from the viewpoint of the zoo visitor this can be overstated. The visitor to
the zoo is presented with an order of nature arranged as a form of living
encyclopaedia, but this does not define the limit of the zoo experience. Visiting a
zoo is a multi-sensual experience where the sight of animals is combined with an
awareness of their whole bodies, their sounds, smells, touch, even taste. The most
striking experiences for the visitor at the zoo are not necessarily just the visual, for
the zoo also offers the opportunity for direct human—animal interaction, such as
animal rides, demonstrations, children's zoos and public feeding. Visitor interest in
these experiences is often so strong that people are willing to pay additional fees to
participate in them (Kreger and Mench 1995). Additionally, visitors to traditional
zoos are almost always having a social day out; with family outings and school
parties contributing to a collective engagement with animals. One of the most
potent parts of the zoo experience is that, although curtailed by boundaries and
unequal separations, you are in a place that is shared between people and animals. In
