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Extinction Stories

by Extinction Room

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1.
This is the indri, or, Indri indri, or babakoto. This large species of lemur inhabits the tropical, moist, lowland and montane forests in the northeast of the island of Madagascar. It was declared "critically endangered" in 2016, and is expected to see a population decline of around 80% by the year 2050. Traditionally, the indri has been a sacred creature for the Malagasy people, who would neither hunt nor eat the animal. However, these taboos have been eroded in modern times, and now hunting for bushmeat is one of the major threats facing this species. There has also been widespread deforestation of the indri's habitat for agriculture, fuelwood and logging. The pandemic of 2020 and the following loss of livelihood for the island’s inhabitants has resulted in an accelerated rate of deforestation on the island, where just 10% of primary forest remains. The Malagasy word for indri is “babakoto" - “baba” meaning “father” and “koto” meaning “boy” - the name literally translates as "father of a little boy”. It is often, however, simply translated as “ancestor". Stories and myths featuring the indri often describe a shared origin with people - not surprising, given its many human-like characteristics: its long legs, upright body, lack of a prominent tail, and complex methods of communication. One myth tells of a young boy who goes into the forest to collect honey. Whilst high in a tree, he is stung by bees and falls, but an indri catches him and carries him to safety. There is also a story of two brothers who live together in the forest. One of them decides to leave the forest and tend to the land - this man becomes the first human. The brother who stays behind becomes the first indri, who cries in mourning for his lost sibling. In another myth, a man fails to return from a hunting trip in the forest. His son, worried for him, sets out to try and find his father, but he also disappears. The other villagers go looking for the pair, only to find two large lemurs sitting in a tree: the father and son had transformed into the first indri. In some versions of the story, only the son transforms, and the father's cries for his lost son are analogous to the indri's mournful howls. Each morning, as the sun rises, indri engage in a behaviour which is remarkably reminiscent of humans. They find an open position on a branch, and face the sun with legs crossed, back erect, hands placed on the knees with palms facing outwards, and eyes half-closed. This behaviour has been called "sun-worshipping", but this is perhaps an overly anthropomorphic term. The exact purpose of the activity is unclear. The distinctive cry of the indri is a form of communication between two different groups, sequentially calling and responding, in songs that can last between 45 seconds and 3 minutes. The singing is dominated by the most senior pair of each group, but involves all members, apart from the very young. It is thought to communicate territorial boundaries, environmental conditions, reproductive status of the members, and warning signals. Indri sometimes sing after sonic disturbances such as thunder, passing airplanes, bird calls and other lemur calls. The songs are performed from the top of the tree canopy, and can be heard up to 4 kilometers away. Most songs have a pattern that consists of three phases: the "roar" sequence, which lasts for several seconds; the "long note" sequence, with notes up to five seconds in duration; and the "descending phrase" sequence, in which a high-pitched wail becomes progressively lower. This last phase is commonly coordinated between two indri to form a duet. Groups sing multiple times a day, but usually in the morning, and more often during the breeding season. In addition to these songs, indri are known to vocalise in other ways, including sounds which scientists have named "hoot", "honk", "grunt", "kiss", "wheeze" and "hum". These calls have an unknown function and are still a focus of research.
2.
This is the ivory-billed woodpecker, Campephilus principalis. This audio was recorded on the 9th and 14th of April 1935 by Cornell University ornithology professors Arthur Allen and Peter Paul Kellogg, in the Singer Tract. The ivory-billed woodpecker hasn’t been officially sighted since 1944, and is probably extinct, although many believe a small population could still exist somewhere in the swampy forests of south-eastern North America. Because of its specialised feeding requirements, the ivory-billed woodpecker existed naturally at very low population densities, with an area of perhaps around 25 square kilometers required per pair. The species fed on beetle larvae living inside dead and rotting timber - one decaying tree would provide food for a pair of birds for a few weeks. After the food supply in the tree was exhausted, they would move in search of another suitable location. A small group consisting of several pairs would therefore need a minimum of 100 square kilometers of undisturbed, mature forest to be able to survive. Intensive logging of the area from the late 19th century onwards, driven by the construction requirements of rapid urbanisation, left the formerly vast habitat of the ivory-billed woodpecker fragmented and greatly reduced. By the early 20th century, the bird was thought to be nearing extinction, which only served to drive demand for taxidermied specimens. In 1924, a pair of birds was found by Arthur Allen, one of the recordists of this audio, and his wife Elsa, near Taylor Creek. A taxidermist heard of the find, and shot both birds while the couple were briefly away from the site. In 1932, a sizeable population was rumoured to exist in the Singer Tract, a parcel of land along the Tensas River, around 300 square kilometers in size, which was owned by the Singer Sewing Machine Company. At the time, it was the largest remaining piece of virgin forest in the region. Arthur Allen, along with his colleague Peter Kellogg, decided to travel to the Singer Tract to investigate the rumour, with the goal of making audio and video recordings of this vanishing bird. After three days of searching in the swamp, they had success, finding a pair nesting in a red maple. Their recording equipment was transported to the site on a wagon by mule - the area was too swampy for cars or trucks. Tape recorders had not yet been invented. What you can now hear was originally documented by Allen and Kellogg using the movie-tone sound system. This was an optical process of recording audio. It worked by converting vibrations into electrical impulses, and then light, of varying intensity, which was captured on motion-picture film. After the film was developed, the process would be reversed, converting the light images back into electrical impulses, which were then converted back into sound. Their work with the ivory-billed woodpecker was one of the first recordings made of animal vocalisations. Their collection of animal recordings at Cornell University eventually became what is now known as the Macaulay Library. This library was one source for the many bird sounds you hear in this exhibition. In 1937, the Singer Company sold the logging rights for the land to the Chicago Mill and Lumber Company, and logging began in 1938. In April 1944, the last ivory-billed woodpecker in the SIinger Tract was observed, a female in a small patch of uncut timber, surrounded on all sides by razed forest. This was the last confirmed sighting of the ivory-billed woodpecker. In the meantime, the Singer Tract has been largely reforested and is now part of the Tensas River National Wildlife Refuge, in the hope of the ivory-billed woodpecker’s return.
3.
This is the Huia, Heteralocha acutirostris. It hasn’t been seen since the mid 20th century. The huia was around 48 cm long, from its beak to the tip of its tail, or 45 cm in the case of the male. Its feathers were glossy black, with a green iridescence, and the tail feathers were tipped with a band of bright white. The beak of the male was short, thick and straight, while the female’s was long, fine and curved. This difference in beak shape meant male and female birds foraged differently - both sexes fed on the large grubs of beetles that burrowed within decaying trees, but the male used his short, sturdy bill to chisel the wood, while the female used her narrower beak to probe the tunnels within. Although it could appear that the male and female birds were working together, with one accessing food for the benefit of the other, it is more likely that the birds were exhibiting an extreme form of niche differentiation, reducing competition between the sexes in a highly complex ecosystem. Nevertheless, pairs bonded strongly and were usually seen together, constantly communicating and caressing each other with their bills. It was said that if one of the pair died, the other would die soon after. The huia was treasured by the Maori people, who saw the sexes’ interdependency as representing extreme fidelity, devotion and faithfulness. Like many birds on the island, they were unafraid of humans, and were sometimes kept as pets. The huia was said to be easily attracted to imitations of its call, such as this. This was recorded in 1949, and features the whistles of Mr Hēnare Hāmana, who, then in his 60s, had the opportunity to observe the bird in his youth, when it was still common. His depiction here is of both the male and the female of the species. Its tail feathers were highly prized, and were worn in the hair ceremonially, usually upright, on the side or top of the head, one or two at a time. In Maori culture, feathers are symbolically important through their association with birds, which link the land of the living and the spirits of the air. The feathers of the huia were kept in ornately carved wooden boxes, which were hung from the ceilings of houses, exposing them to constantly dry, smoky air, which preserved the feathers from insect attack. As the boxes were normally viewed from below, the undersides were particularly intricate. Some of the finest art from the region can be found in the form of these feather boxes. Although the huia could only be found on some parts of the island, the feathers were traded throughout the island, and also to the neighbouring island. They were also passed through generations. As they were an austere item denoting status or rank, it is thought that a limited number of feathers were held in this way, meaning birds were only rarely killed. Additionally, the Maori placed a rāhui, or hunting ban, on the bird in spring and summer. In 1901, as a token of respect, a Maori woman placed a single huia feather in the hats of the visiting Duke and Duchess of York, later to become King George V and Queen Mary. This sparked a trend, and soon huia feathers were being sold for hat decorations for as much as £5 each, equivalent to nearly $1000 in 2019. With a huia tail normally holding 12 feathers, the birds were suddenly worth a small fortune. Mounted specimens were also prized by naturalists and ornithologists for their beauty and increasing rarity, and thousands were shipped to collections all over Europe. Its new-found value to hunters, as well as pressure from habitat loss for agriculture, infrastructure and settlements, and introduced mammals such as rats, cats and stoats, meant it wasn’t long before the huia was becoming difficult to find. As late as 1906, there were reports of abundance in some areas, but in 1907, just one year later, the last confirmed, official sighting of 3 birds took place. Sporadic, unconfirmed sightings followed for approximately 50 years, the last of which occurred in 1963. When this recording was made in 1949, there were, in all likelihood, still a small number of huia present in remote parts of the island. The decline of this species was viewed somewhat fatalistically at the time. The environmental movement was not taken up by the mainstream until the 1970s. Few attempts were made to protect the huia, or indeed any of the native animals on the island, as extinction was thought inevitable - a price of colonisation. The focus of interest in the bird was therefore to collect as many specimens as possible before it disappeared. With the huia’s extinction, the value of its tail feathers has only increased. In 2010, a single feather sold at auction for $8,000, making it the most expensive feather in history.
4.
This is the dodo, Raphus cucullatus. It has been extinct for more than 300 years. The island of Mauritius, where the dodo once lived, was uninhabited by humans until 1598. Previously, the only mammals to exist there were four bat species - birds and reptiles were the dominant terrestrial animals. Some birds, including the dodo, had few predators and showed no fear of humans, so they made easy and welcome meals for the new arrivals, despite their questionable flavour. The first visitors called the bird “walghvogel” - “walghe” means “tasteless”, “insipid” or “sickly”, and “vogel” means “bird”. The name didn’t stick, however, and at some point “dodo” came into use, although its derivation is unclear. Some have speculated it comes from “dodoor”, meaning “sluggard”, but it more likely has origins in “dodaars” - “fat-arse”, or “knotted-arse”. The word “dodo” has, in turn, entered many languages, variously meaning “dull-witted”, “slow”, or “obsolete”. Thomas Herbert’s “A relation of some years’ travail” described the dodo in 1634: “It is reputed more for wonder than for food, greasy stomachs may seek after them, but to the delicate they are offensive and of no nourishment. Her visage darts forth melancholy, as sensible of Nature's injury in framing so great a body to be guided with complemental wings, so small and impotent, that they serve only to prove her bird. The half of her head is naked, seeming covered with a fine veil, her bill is crooked downwards, in midst is the thrill, from which part to the end ’tis a light green, mixed with pale yellow tincture; her eyes are small and like to diamonds, round and rolling; her clothing downy feathers, her train three small plumes, short and inproportionable, her legs suiting her body, her pounces sharp, her appetite strong and greedy. Stones and iron are digested, which description will better be conceived in her representation.” It is unlikely that the dodo was eaten into extinction, as is commonly thought. The reality was probably more complex. A maximum of just 50 people lived on the island at the time, and there was a bounty of food from other sources - including better-tasting native species of bird and fish, and the settlers’ livestock. As is the case on so many other remote islands, it is probable that introduced mammals played a huge role in the demise of this species. It was reported soon after colonisation that rats had multiplied to plague proportions, and they likely fed on the dodo’s eggs and young. Pigs would have disturbed the soil, transforming the forest floor where the dodos nested. The forest itself was cleared for settlements and agriculture. At some time in the late 17th century, less than 100 years after the island was first inhabited, the dodo was gone. At the time, however, its disappearance was barely even noticed. Confusion surrounding the bird’s appearance led to other bird species being referred to as “dodos”, even on nearby islands, where the actual dodo never lived. For religious reasons, the very concept of extinction was considered radical until the early 19th century. Mythologies around the bird grew. Many doubted it ever existed at all. Despite once being a common sight on the island of Mauritius, surprisingly little is known of the dodo’s behaviour, diet, habitat, or even appearance. Various vague, conflicting descriptions of the dodo exist. Many of the sources from the time are unreliable, or second-hand. The focus seems to have been on whether the bird was good for eating. The most accurate illustration of the dodo was done by renowned artist Ustad Mansur, in around 1625, who was employed at the court of Emperor Jahangir. This painting of a live specimen was only discovered in 1958, in the collection of the Institute of Oriental studies at the Russian Academy of Sciences in St Petersburg. Physical remains of the dodo are incredibly rare. One example of soft tissue is known to exist - a head kept at the Oxford University Museum of Natural History - and several skeletons, one of which, in 2019, sold at auction for over $600,000. The dodo has become emblematic for the biodiversity crisis and human-induced species extinction. However, our ambivalence towards the natural world and our urge for progress, growth and temporary gain have not been subdued in any significant way.
5.
This is the large blue, Phengaris arion. It is a species of butterfly in the family Lycaenidae, or, the gossamer-winged butterflies. It is the largest member of this family, with a wingspan of 5 centimeters. The upperside of its wings are a light, metallic blue, with black edging, and a row of black spots. The underside is highly distinctive - a multitude of black dots on a background of dusky grey which shifts to a bright, powder blue towards the base. The large blue could historically be found throughout Europe and Asia, but has disappeared from much of its former range. It is one of the rarest known butterflies. It has a complex life cycle, which has only become clear in the last few decades, and has made conservation efforts difficult. After hatching, the first 3 of its 4 larval stages progress rapidly, with the caterpillar feeding on various species of wild thyme, but growing little in size. At the start of the fourth stage, the caterpillar stops eating its host plant, and drops to the ground. It then attempts to attract one kind of red ant, Myrmica sabuleti, by secreting a sugar-rich liquid. As the ant is pacified by the liquid, the caterpillar swells its thoracic segments, creating a specific turgidity which tricks the ant into identifying it as an escaped member of its own brood. The ant dutifully carries the caterpillar into its nest. Once inside, the caterpillar quickly employs a mix of acoustic and chemical mimicry to avoid detection. In many species of ants, queens rub their legs together to produce sounds which signal her dominance over the nest. The caterpillar is able to emulate this sound, prompting subservience in the worker ants. They even defend the caterpillar if the nest comes under attack. It also camouflages itself with the nest’s unique combination of odours. Some of these scents are synthesised by the caterpillar in special organs, others are acquired through direct contact with the ants. It then seeks out a rarely visited, peripheral cell of the nest, which will be its lair for the next 10 months. From its hiding place, it makes frequent trips to hunt for young ants, which it carries to its den and devours. The caterpillar grows slowly in size, and after 9 months lurking in the nest it is ready to pupate. A few weeks later, it emerges as a butterfly. It fights its way out of the nest, and takes flight. Once on the wing, the butterfly has just a few days to find a mate and lay eggs before it dies. At each stage of the large blue’s development, therefore, it relies on very specific conditions. Fortunately, these stages are now well understood by scientists. Habitats have been effectively restored in many areas by ensuring the presence of both host plant and red ant species in grazed pastures. With meticulous planning, the species has even been successfully reintroduced to some regions where it had previously gone extinct. Most insect species are not so lucky. Insects are the least-studied animal group - 80% of them have not even been named. 40% are at risk of extinction. While the beautiful large blue and its fascinating life cycle have attracted much scientific attention, many other species are disappearing without ever being noticed.
6.
7.
This is the Kihansi spray toad, Nectophrynoides asperginis. It is a small toad, at just 2 to 3 cm long, and yellowish in colour. Rather than laying eggs like most amphibians, female Kihansi spray toads give birth to fully developed, tiny young, called toadlets. The species was only discovered in 1996, in the spray zone of the falls at Kihansi Gorge in the Southern Udzungwa Mountains, an area of high biodiversity 300 km inland from the central east African coast. It was found during an environmental impact assessment for the building of a 180-mega-watt hydroelectric project, which had already been under construction in the area since 1994. The region’s mining and tourism industries had long suffered from a lack of dependable electricity supply, and the 275-million-dollar project was therefore seen as vital. The discovery of the toad did not stop construction. When the dam was completed in 1999, the falls were reduced to a trickle, and the surrounding habitat immediately changed. Spray from the falls had previously allowed moss and other wetland vegetation to dominate the slopes of the gorge, but they quickly dried out. Forest plants started to take over, and the toad could no longer thrive. Its numbers began to drop. In 2000, a plan was put in place to install an extensive sprinkler system - at that time the world’s largest - to emulate the mist from the falls. 499 toads were also removed from the site and flown to a zoo in North America, to be kept as an insurance population. It was clear the species was in grave danger. The sprinkler system at Kihansi Gorge was prone to malfunction and provided only intermittent spray, but for a time the toads survived. In 2003, however, the population suddenly collapsed. The toads were stressed by the constantly changing conditions, which allowed infection by a chytrid fungus to take hold. In 2004, it was reported that no individuals of this species could be found at the gorge, and the Kihansi spray toad was declared “extinct in the wild” in 2009. The captive population, meanwhile, suffered many setbacks, succumbing to various ailments including lungworm, metabolic bone disease, hypovitaminosis A, short tongue syndrome, bacterial sepsis, and chronic bloating linked to renal disease. In 2004, as the Kihansi spray toad disappeared from the wild, the captive population was down to just 70 individuals. Great care was taken to overcome these early problems. Strict biosecurity protocols were enforced in the facility. Each terrarium contained a mister, appropriate vegetation, UV lighting, and precise temperature and humidity control. The toads received intensive medical care including regular fecal tests and skin swabbing to determine infection, and they were fed a diet of live insects, which were bred on site. Year by year, their numbers increased to the thousands. In 2012, with new, reliable sprinkler infrastructure in place, reintroduction of the species at Kihansi Gorge was attempted. It was not successful - none of the toads survived. Subsequent trials in 2013, 2015 and 2016 also failed. After several generations in terrariums, the Kihansi spray toad had forgotten how to hunt and avoid predators, and it had no immunity to local pathogens. In another attempt beginning in 2017, the toads were instead placed into large acclimation enclosures at Kihansi Gorge, in a wild-like environment where they also received medical care and protection from predators. They remain there to this day. It is hoped that over months and years, the group’s lost behaviours will be gradually relearnt. Eventually, they will be released from the acclimation cages. However, as long as the dam remains, their existence will be completely dependent on the functioning of the artificial misters. Pesticide levels in the water, the presence of chytrid fungus and invasive predators, and other conditions must also be continuously monitored.
8.
This is the San Martin titi, or Plecturocebus oenanthe. It is a small primate, characterised by a light-coloured facial fringe, a dark brown agouti body and limbs, and an orange underside. Its fur is exceptionally thick, giving it a hunched appearance. The San Martin titi is shy, and has been little studied. It is classified as critically endangered, but its population size has never been estimated. The species inhabits pre-montane forest up to 1000 meters in the San Martín Region, on the eastern side of the northern section of the Andes. The land here is highly disturbed. The region has suffered intense human colonisation over the last 40 years because of a major agrarian programme, which has attracted huge numbers of immigrants. Much of the titi’s range has been condensed to pockets of secondary and remnant forest fragments surrounded by human activity. Despite this close proximity, it is generally highly intolerant of humans. Titis normally live in small, monogamous family groups ranging from 2 to 5 individuals, but San Martin titi groups are somewhat larger, as suitable forest has been reduced and the young are less likely to leave to establish their own groups. In some parts of its range it may seem abundant, but this is thought only to be a result of habitat contraction. All titi species tend to bond closely. Group-mates are rarely found more than a few meters apart from one another, and show clear signs of distress when separated. Individuals sitting next to each other will twine their tails together, in a behaviour that is thought to be as important as mutual grooming in maintaining social ties. All group members participate in the care of infants, but particularly the fathers, who spend more time carrying infants than any other family member. Relations tend to be peaceful, and serious fighting rarely occurs. From the ground, San Martin titis are seldom seen, but they are a highly vocal species. They are one of the only mammals to display such complex vocalisations as “singing” and “duetting” - another being the indri (Indri indri). In the absence of reliable visual observations, scientists studying the San Martin titi in one area have used these vocalisations to deduce various aspects of the species’ population density, group size, and social relations. This method of study had only previously been used for species of birds. In an indication of just how disturbed this particular fragment of titi habitat was, sounds related to human activity can be heard in much of the audio data they collected. In one typical 30-minute daytime sound recording, chainsaws were clearly audible for 22% of the segment, motorboats for 11%, and explosions from gunshot and fireworks for 6%. At night, music carried upriver from the nearby towns. In the same study, frequent smoke from agricultural fires was also reported. In this region, it is estimated that up to one seventh of the land cleared for crop-growing is subsequently abandoned due to low productivity. The soil is just not conducive to intensive agriculture. Some of this land has been purchased by conservation groups and restored to forest, but more than 30,000 hectares of agricultural wasteland remain. The destruction also continues - the region is becoming increasingly inhabited, land is continuously cleared, and existing roads are paved and extended.
9.
This is the Sulu hornbill, Anthracoceros montani. There, you can hear the helmeted hornbill, Rhinoplax vigil, and over there is the rufous hornbill, Buceros hydrocorax. These three hornbill species inhabit moist forests of neighbouring regions. All are facing dramatic decreases in their populations. In fact, the Sulu hornbill is considered one of the rarest birds on the planet, with an estimated 27 individuals remaining. In the late 19th century it was described as abundant throughout the Sulu archipelago. From the mid-20th century onwards, however, the islands experienced a rapid deforestation due to commercial logging. Now, almost no primary forest remains on Jolo Island, and many of the smaller islands have also been largely cleared. On Tawi-tawi, only small patches remain, and it is here that a tiny population of Sulu hornbills persists. This forest is not protected and is still being cleared, slowly but surely reducing the suitable habitat for this species. It is of utmost importance that the remaining parts of its range be formally protected, but official discussions on this topic have stalled. Military activity and religious conflict present a problem for travellers to the area - even observing the status of the bird is considered highly risky. Conservationists are required to arrange military escort to ensure their safety. In February 2012, two European birdwatchers were kidnapped while looking for the Sulu hornbill on Tawi-tawi. Two years later, one of them managed to escape, but only by murdering one of his captors. The other birdwatcher was shot and killed in May 2019 during an exchange of fire between government forces and the insurgents. The Sulu hornbill is a medium-sized bird, all black but for a white tail. The skin around the eyes is bare, and the eyes themselves are creamy in males, and dark brown in females. An identifying feature unique to the hornbills is the casque - a hard, bony structure attached to the upper part of the bill. Although quite large in some hornbills, it is light and usually hollow. The casque is used when fighting, but also serves as a resonating chamber, amplifying their calls. They are one of the only types of bird to have eyelashes. Hornbills usually nest in tree or rock cavities. After mating, females seal themselves in the cavity with a mixture of droppings and food material, leaving only a small opening through which she is fed by the male. During this time the entire family is dependant on the male, as long as five months in some species. It is thought this behaviour protects the nesting site from rivals. The hornbill plays an important symbolic role for many of the indigenous groups in the region. For the Dayak tribes, the hornbill is a central figure, and representative of the upper world, or male realm. During ceremonies to mark births, initiations, weddings, and particularly, during mortuary feasts, head-dresses are worn which portray the “tree of life” - the unified energy of the underworld and the upper world, female and male, moon and sun, water-snake and hornbill; a battle of polar elements which leads to total cosmic annihilation, and therefore, rebirth. Hornbills and their counterparts the water-snakes also appear together on carved wooden masks worn during Hudoq, an important agricultural festival for some tribes. The exaggerated features of the masks and the accompanying dance help to scare away evil spirits as rice is planted, but also create tears of mirth from the audience, providing water for the new crops. Punan Bah people believe a huge helmeted hornbill is perched on the bridge between life and death. The hornbill, with its screams, tries to terrify the newly departed soul so that it falls into the open mouth of its companion, a giant fish. As hornbills become rarer in some regions and are scarcely seen, ethno-ornithologists have noted that its symbolic element is increasingly depicted as a more common bird - the chicken, with the casque transformed into the comb of the cock.
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11.
This is the Lord Howe Island stick insect, or Dryococelus australis. It is a large, flightless insect, with sturdy legs that enable it to run quickly. Nymphs are a pale green, becoming uniformly black at maturity, often with a reddish-brown tinge. The body is relatively plump for members of this order, and generally smooth and shiny. The intersegmental membranes between the joints are pale grey. Females can grow up to 20 cm long, the males are slightly smaller. Stick insects are unique in that their 6 legs move completely independently of each other, and are not operated by a centralised control system. This species is thought to display some degree of pair bonding, which is extremely unusual for an insect. Males and females will sleep beside each other, with their legs intertwined. Females are also capable of reproduction without males, essentially producing clones of themselves. After hatching, they grow rapidly, and have a lifespan of just 12 to 18 months. In their natural habitat on Lord Howe Island - a volcanic remnant 15 square kilometers in size in the Tasman Sea - they have been reported to live colonially in the hollows of trees, in groups up to several hundred strong. This species is, however, currently one of the rarest insects on the planet, with fewer than 50 individuals remaining in the wild. In fact, it was considered extinct soon after the accidental introduction of the black rat (Rattus rattus) to Lord Howe Island in 1918. The rats found the insect and the island’s other trusting creatures an easy catch, and multiplied quickly. The last sighting of this species on Lord Howe was in 1920. In 1921, a resident of the island reported that the cacophony of bird calls in the lush forest had all but stopped - just 3 years after the black rats’ establishment. Within a decade, the rat had directly caused the disappearance of five species of birds, and two species of snails. Two other species of birds were brought to the edge if extinction, and are currently critically endangered. Amazingly, in 2001, three individuals of the insect were discovered on Ball’s Pyramid, a tall, sheer volcanic sea stack 23 kilometers offshore from Lord Howe Island. Ball’s Pyramid sustains little life. It is nearly completely free of vegetation, apart from a few shrubs (Melaleuca howeana) which survive in a crevice where fresh water seeps from the rocks below. It was on one of these shrubs that the stick insect population was found, sharing the plant with two pairs of nesting seabirds. This seemingly inhospitable environment is a far cry from the green, moist rainforest of Lord Howe Island, and it isn’t clear how the insects came to be there, or how they managed to survive. On such an exposed site, one strong storm could have destroyed the entire colony. A further investigation revealed a total of 24 individuals in this small area of Ball’s Pyramid. Two pairs were removed in 2004, and a captive breeding program was set up. The breeding program was very successful - there are now more than 13,000 Lord Howe Island stick insects in zoos worldwide. In 2019, Lord Howe Island underwent the largest and most complex rodent eradication program ever attempted, which involved the shielding of the 207 extant native bird species - as well as the 382 human inhabitants - from the poisonous bait. Conservationists are constantly on the lookout for signs of rodent life. If the island is still rat-free in 2021, the Lord Howe Island stick insect will be reintroduced to its native habitat, 100 years after its disappearance.
12.
This is the bearded vulture, Gypaetus barbatus. The bearded vulture is a mostly silent bird, occasionally emitting a faint whistle as a contact call, or a shriller sound during breeding displays. It is up to 125 cm long, with a wingspan of 2.8 meters. It is unmistakable, with black sideburns that start around the eyes going downwards towards the bill, continuing in a tuft of black feathers under the beak in the shape of a beard. It has red rings around the eyes and a long, wedge- shaped tail. Bearded vultures have black facial markings and black wings. It is unusual amongst vultures in that its neck is feathered. The head, neck and body are naturally white, but it has been observed to dye these feathers by bathing in soil or muddy water. Deep, rusty red – from iron-rich earth – is the preferred colour. They are the only birds to exhibit such behaviour, and the reason is unknown, but it is thought that iron oxide in the soil may a natural anti-bacterial action. Or perhaps, the markings denote status, as older bearded vultures generally apply more of the colouration than younger birds. During breeding, multiple eggs are laid, but chicks will compete aggressively until just one survives. It can take 2 years to become independent, meaning many pairs will only produce a single chick, on alternate years. Polyandry has also been recorded, with two males assisting a single female in rearing the young. Bearded vultures are the only known vertebrates to have a diet consisting almost exclusively of bone – up to 90% of its caloric intake. They will even actively avoid eating meat, and have a preference for dry, aged limb and rib bones up to several months old, although they can also be digested fresh. Smaller bones are eaten whole, while larger ones are either hammered with their strong beaks, or dropped from heights of up to 150 meters, in order to crack them into manageable pieces. Highly concentrated acids in their stomachs then dissolve these fragments. By weight, dry bone has a slightly lower energy content than meat, but remains in an edible state up to 10 times longer. Other large scavenger species must compete with fast-acting insects and bacteria, but the bearded vulture can return multiple times to a carcass, many months after the animal’s death. Therefore, very little available food is wasted. The presence of hunting animals such as wolves and eagles in the habitat is important to provide an adequate supply of bones. They, themselves, rarely hunt. One exception to this is their taste for turtles, which they sometimes catch and drop from great heights, smashing the turtles’ shells on hard rock. It is said the classical playwright Aeschylus was killed by a falling turtle dropped by a bearded vulture, who mistook his bald head for a stone. In his time, the bearded vulture, or “ossifrage”, was one of the few birds whose calls and flight patterns could be used to interpret divine messages. By the early 19th century the bearded vulture was extinct in Aeschylus’ homeland. It was intensively demonised by mountain-dwellers - it was wrongly thought to prey on livestock and small children – and was intentionally shot or poisoned. In some parts, there was even a bounty for each bird killed. Previously a common sight in southern European mountainous regions, it disappeared completely from the Alps as well as the Carpathian Mountains, with only a small population remaining in the Pyrenees in the early 20th century. In 1978, bearded vulture experts decided on a method of reintroduction – to take young, captive- bred birds to a semi-wild environment, and support them with supplemental food until capable of living independently. The first release of this kind took place in 1986. It was a success, and the experiment was repeated in subsequent years. By 2015, 204 bearded vultures had been released into the Alps in this way, and 148 wild young had been raised by captive-born parents. These individuals are tracked, and reports have come from the Carpathians and other mountainous habitats in Europe that members of the Alpine population are once again flying over the bird’s old territories. However, despite this successful reintroduction program in the European Alps, the overall trend for the species is still one of decline. The bearded vulture faces threats including collisions with powerlines and wind turbines, a lack of suitable bones for food due to changed agricultural practices, and unintentional poisoning from veterinary drugs such as diclofenac and antibiotics. Even within the European population, which receives supplemental feeding and is monitored closely, there are reports of deaths from power line impacts, and failed eggs have been shown to contain high levels of agricultural chemicals. Due to the bearded vulture’s low rate of reproduction, it is particularly vulnerable to these threats. Studies have suggested that even with a minor but sustained degree of human-induced mortality, extinction of the species is inevitable within several decades. Given the bird’s already low population density and fragmentation within its range, the future of the bearded vulture is by no means secure.
13.
This is the crested honeycreeper, or ʻākohekohe, Palmeria dolei. This bird was once common throughout the volcanic islands of Maui and Molokaʻi in the North Pacific Ocean, but has seen a massive population decline since human arrival in the region. Around the year 900, settlers began clearing land for agriculture, and brought with them non- native animal species, degrading the environment, which previously knew no terrestrial mammal species. Later, in the 19th century, the islands saw increasing trade and became a focal point for ships travelling between Asia and North America. Sugar plantations dominated the landscape, and drove its industrialisation. In 1826, a ship docked at Lahaina Harbour carrying some stowaway southern house mosquitos (Culex quinquefasciatus), which quickly populated the region in the warm climate. These tiny insects, and the diseases they would carry such as avian pox and avian malaria, went on to devastate the islands’ extraordinary and diverse bird population. The ecosystems of the region had been highly isolated since its formation, so the birds there had virtually no immunity to these diseases. The massive shield volcano Haleakalā at the center of Maui, with its summit at 3000 m, provides some protection from mosquitos, which are unable to breed above 1400 m - the so-called “mosquito line”. Native lowland birds have largely disappeared below this point. The ʻākohekohe has been forced to move to higher ground. In 2019, it was thought less than 1000 remain on the upper slopes of Haleakalā. On Molokaʻi, the highest elevation is just 100 meters above the mosquito line. The last ʻākohekohe was seen on that island in 1907. In recent years, it has been observed that the elevation of the mosquito line is rising on Haleakalā, as global heating affects the climate of the region. According to legend, the powerful goddess Hina lived on the foothills of Haleakalā. The days were too short to complete all her work, so her son Māui lassoed the sun, slowing its journey across the sky and lengthening time. Ancient myths also tell of a woman named Pele, who fought her sister Nāmaka on the slopes of Haleakalā. In the violent clash they tore each other apart, their flesh and bones scattering over the hillside. Pele’s spirit rose to become a goddess of fire and volcanoes, and Nāmaka’s sank, to become the goddess of the sea, their conflict to remain forever unresolved. The ʻākohekohe is a large species of honeycreeper, with mostly black plumage streaked with red- orange and silvery grey. It has a shaggy red-orange patch on the hindneck, an orange-buff eye- ring and a short postocular stripe. It has a distinctive forward-curling white crest on its forehead. It feeds primarily on the nectar of the ʻōhiʻa - which is the most common plant species on the island of Maui, and which can appear variously as a tree or a shrub, depending on where it is growing. The ʻōhiʻa itself, however, is now in danger. In 2014, a new fungal pathogen was identified that causes what has been termed “Rapid ʻŌhiʻa Death”. The origin of the pathogen is unknown. Infected trees turn brown and die in a matter of weeks. Rapid ʻŌhiʻa Death was first observed only on the island of Hawaiʻi, but in 2018 was also found on Kauaʻi. In July 2019, it was found to have infected trees on Oahu, and a month later was found for the first time on Maui. The pathogen has the potential to decimate the forests of these islands, where ʻōhiʻa makes up 80% of plant life. It also puts at risk the primary food source for the ʻākohekohe.
14.
This is the Siberian crane, Leucogeranus leucogeranus. In the rituals of the Yakut and the Yukaghir people, and other Siberian groups, shamanesses and shamans harness the spirit of these beautiful and most sacred birds. They are connected with the upper world of celestial beings, and are associated with femininity, blessing, and seasonal balance. The Siberian crane is a migratory species, spending summers in the arctic tundra of the far north of the Eurasian continent, and winters 6000 kilometers to the south. There have historically been three disjunct populations – western, central and eastern – the eastern group being by far the largest, with a population of perhaps around 3000. The western and central groups shared a summer range and part of their migratory route, then diverged for winter. The central group, which had a flight path skirting the Himalayas, has been extinct since 2002. The western group, after years of decline, is functionally extinct, and now consists of just one bird – a male – who has lived and migrated alone to the south coast of the Caspian Sea for more than 10 years. There are no significant threats to this species in its summer ranges. Siberia has vast areas of suitable breeding habitat, and the crane’s sacred status has protected it from being hunted. During the long migration and its stopovers, the western and central groups faced the combined dangers of: hunting by humans, industrial pollution, oil pollution and intensive agriculture. Additionally, the dropping of the levels of the Caspian Sea has had a profound impact on birdlife around the Volga Delta. Tourism growth, urban development and water management problems placed further pressure on these two groups at their respective wintering grounds. The eastern population also faces a multitude of threats during its migration, including: the development of oil and gas pipelines, hydro-electric generation schemes, overhead power lines, road and railway developments, and water regulation and diversion. This group winters at Poyang Lake and the surrounding basin, which has been partially protected. However, the construction of the Three Gorges Dam on the Yangtze River has turned the shallower parts of the lake into grassy meadows, reducing the bird’s available habitat. This leaves them highly sensitive to other pressures. A captive breeding program has been set up, and has had some degree of success. However, reintroduction of these birds to the extinct western and central populations is problematic, as the long and complex migration must somehow be learned. There was a short-lived project to teach captive-bred Siberian cranes the route by imprinting them at birth to ultralight aircraft, then leading them after fledging with the help of a pilot. This had already been trialed with whooping cranes (Grus americana) in North America. In 2012, a publicity stunt showed Vladimir Putin participating in this program. Wearing goggles and white overalls, he piloted an aircraft with a string of juvenile Siberian cranes flying behind him. In reality, shortly after the incident was filmed, the young cranes were taken aboard another plane and flown back to their place of birth, as there was no second pilot to lead them on the rest of the journey south. The project lost its funding the following year. The experiment with whooping cranes was also canceled in 2016, when it was found that these birds, when imprinted to aircraft, were unable to socialise or breed successfully.
15.
16.
This is the Tristan albatross, Diomedea dabbenena. Of the 22 recognised species of albatross, the Tristan albatross is one of seven belonging to the so-called “great albatrosses” of the genus Diomedea, which inhabit the Southern Ocean. The Tristan albatross is one of the largest existing birds, with a wingspan of more than three meters, and standing a little more than one meter tall. Linnaeus derived the genus name from Diomedes, the hero of the Greek myths. According to the myth, as told by Lycophron, Diomedes’ companions were turned into birds that live “in the manner of fishermen” by Aphrodite, as punishment for wounding her during the Trojan war. The Tristan albatross has a range covering 14 million square kilometers, but it congregates every two years to breed on one tiny, remote island in the South Atlantic Ocean - Gough Island. On Gough Island, Tristan albatrosses form strong bonds with one partner, through complex rituals, calls and dances. Young, fledged birds begin rehearsing these bonding practices around the age of 3 - first displaying the behaviours innately but superficially, then, through trial and error, reading and interpreting them appropriately, and, finally, some years later, forming a monogamous pairing with its own unique language. During its long periods at sea, the bird is able to cover great distances due to several morphological adaptations, the most important being a sheet of tendon in its wings that locks the wing when fully extended, allowing it to remain outstretched without muscular exertion. It glides almost effortlessly, exploiting the technique of “dynamic soaring” between air masses to fly hundreds of kilometers without beating its wings. Studies have shown the heart rate of a soaring albatross is barely higher than its heart rate at rest. Sailors onboard the ships of colonists and traders, which became widespread in the Southern Ocean from the late 18th century onwards, returned to Europe with fantastic tales of the great albatrosses. Their sheer size, their ability to navigate great distances, and their affinity to the terrifying winds of the region evoked awe, respect, and fear. “The Rime of the Ancient Mariner”, written by Samuel Taylor Coleridge in 1798, is said to have been based on these accounts. The poem tells of a sailor who kills an albatross at sea, drawing the wrath of the spirits of the ocean. Icy winds from the south torment the ship, and the mariner’s crewmates mysteriously die, one by one. The desperate man wears the heavy, lifeless albatross around his neck to prove his regret to the spirits, but it is in vain. His shipmates are all dead. Utterly alone and without hope, the sailor begins to notice the organisms of the ocean beneath the ship. The strange, slimy creatures which he had always loathed, suddenly, in his loneliness, seem wondrous. As his reverence grows, he enters a trance. The albatross slips from around his neck, and the spirits guide the ship home. He is, however, doomed to recount the story over and over for the rest of his life, his guilt for the murder of the albatross never diminishing. Fewer than 5000 mature Tristan albatrosses remain, and the number is decreasing rapidly. The species is projected to become extinct within three generations, or 86 years, and has therefore been designated as critically endangered. One major threat facing the bird is the presence of the common house mouse on Gough Island. The mice were introduced accidentally in the 19th century, and have learned to “hunt” the young birds of the island. As an adaptation for this, the mice have evolved to become 50% larger than usual. In a typical year, just one in ten albatross chicks survives to fledging. In the southern winter of 2021, the Gough Island Restoration Programme will commence the process of mouse eradication on the island. Helicopters will distribute millions of pellets containing the rodenticide brodifacoum, dropping them throughout the rough terrain of the island in order to reach every last mouse. All staff, equipment, bait and helicopters will travel 2,800 km from southern Africa by boat - logistically a hugely complex operation - but if the project is successful, the Tristan albatross population on Gough Island may have a chance to slowly recover.
17.
This is Achatinella apexfulva. It is the type species of the genus Achatinella, or, the Hawaiʻi tree snails, or, the kāhuli. In traditional beliefs, these small, arboreal snails are one of the few things in nature capable of creating sound, along with wind, rain, thunder, earthquakes, and birds. Many believe kāhuli can be heard singing as they glide up and down trees - often described as a “chirping” or “whistling” sound. Some say it is the sound of the wind gently caressing their shells, as they travel slowly across a leaf, swaying gently from side to side. The sound has been referred to as “the voice of the forest”. Astronomer Henry Glanville Barnacle, who travelled to the archipelago in 1874, wrote: “it is the grandest but wildest music, as if from hundreds of Aeolian harps.” Kāhuli and their song feature heavily in the traditional tales of the islands, signalling romance, affirmation, and peace. Their shells, strung together to make wreaths, can be worn by dancers to deepen their affinity with a chant or a story. Kāhuli were once so common on the islands, that if you shook a tree it would rain snails, with shells of a multitude of different colours, sizes and patterns. Tourists delighted in collecting them, sometimes thousands at a time. Despite its continued cultural significance, most of the islands’ people have never seen - or heard - a kāhuli. Of the 41 documented species, just 11 endure, and all of them are endangered. Some of them are so rare that just a few specimens remain, on one tree deep in the forest. The last individual of A. apexfulva, affectionately named George, died in 2019. George was born in a mobile laboratory in 2005 on the island of Oʻahu. Their parents were two of 10 snails collected by scientists in 1997 in a desperate attempt to save the species from the predatory rosy wolfsnail (Euglandina rosea). This cannibalistic snail was introduced to the islands in 1955 to counter the threat of another introduced mollusc, the giant African land snail (Achatina fulica), but it had an immediate and devastating impact on the kāhuli, which has a very slow reproductive rate. All kāhuli are both male and female simultaneously - simplifying breeding somewhat - but unlike most snails, they give birth to just one live young at a time, a few times a year. In its 10-year lifespan, one kāhuli can only produce 30 offspring. In the lab on Oʻahu, a few young were born, but generally the captive individuals did not thrive. One by one, the adults and juveniles died. George, however, managed to survive, and lived more than a decade as an “endling”, or, the last member of a species. They died sometime in the morning of New Years’ Day, 2019. Mai hōʻeuʻeu mai ʻoe I ka wai ua lana mālie E kakali mālie ʻoe A laʻi pono ka makani ʻAuhea wale ana ʻoe Uhiwai o Kaʻala I pili me ka Malua Ka makani o ka ʻāina Hoʻokahi au mea uluhua Ka makani anu la he Kiu Houhou ana i ka ili Konikoni i ka iwi hilo ʻAʻole i piliwi ia Leo hone o ke kahuli Hone ana i ka pō la`i I ke kulukulu aumoe You must not be anxious to rush Into the water that appears serene You must wait patiently Until the wind calms down Pay attention Fog of Kaʻala Associated with the Malua wind The wind of the land The one thing I worry about Is the strong, chilly, northwesterly wind That pierces the skin And causes my bones to shiver Unbelievable The sweet voice of the kāhuli Singing in the still night In the late night It is thought the common ancestor of all kāhuli would have arrived on the archipelago on a mat of debris which was sent out to sea after a large storm or tsunami, possibly from a land mass many thousands of kilometers away. They then evolved through non-adaptive radiation - speciating not as a response to predators or specific conditions, but rather though their general immobility. A species might only inhabit one particular hilltop or small patch of forest, even in the absence of a geographic or climatic barrier. One kāhuli usually spends its entire lifespan on just a single tree, but they do not eat the trees. Rather, they graze on the thin, transparent film of algae and fungus on the bark and leaves. They scrape it off with their tongue, creating faint, winding trails on the surface, but leaving the tree completely unharmed. There are conservation efforts to save the remaining species of this graceful snail. Electrified fences have been constructed around many of the known vulnerable populations, which are effective in keeping out predators, but need constant monitoring. Outside these enclosures, amongst the hundreds of new, invasive plant and animal species of the islands, the kāhuli and its gentle song have all but disappeared.
18.
This is the yellow-tailed woolly monkey, or Lagothrix flavicauda. This species has evolved a particularly thick, luscious fur, which protects it from the elements in the montane cloud forests on the Andes’ eastern slope. Its body is a deep coppery-brown, with a distinctive white patch on its snout that extends from the chin to between its eyes. The head is darker than the rest of the body, and can seem almost black. The species’ name is derived from the yellowish colouration of the last third of its prehensile tail. It is also known for its long, golden-blonde pubic hair tuft, which it displays during aggressive encounters. When necessary, it can move quickly through the canopy by leaping - up to 15 meters at a time - but much of its day is spent high up in the trees eating and resting while hanging from its tail, which can easily support the full 8 kg of its body weight. It lives in family groups, and is said to be quite trusting of humans. The species has a low reproductive rate and a long interbirth interval, which adds to its vulnerability. It has been listed as critically endangered since 1996, but it is unclear just how many remain. The yellow-tailed woolly monkey was first described in 1812 by Alexander von Humboldt, who never had the opportunity to observe a live specimen. His description was based on a skin which he viewed during his travels in the Andes between 1801 and 1803, and which was being used as a saddle. No official sightings were made over the next 100 years, and it was not known if Humboldt’s creature was still extant. In 1925, two skins were collected at La Lejía for the American Museum of Natural History, but were catalogued as an unknown species. In 1926, three pelts were obtained in Pucatambo for the British Museum of Natural History, but were described as a completely new species. Years later, and after much debate, the link between these six museum specimens was formally made in 1963, and the original description by Humboldt was upheld. In 2019, an additional skin was discovered in the archives of the Muséum National d’histoire Naturelle in Paris. It had been collected in 1900, but was unassigned to any species and had been largely forgotten. Even after several expeditions to the region, a living specimen of the yellow-tailed woolly monkey remained illusive to naturalists. The first live animal was not observed by science until 1974 - a juvenile male, kept as a pet in Pedro Ruiz Gallo. The discovery was a sensation - but while the scientific community had pondered over the species for the past 162 years, it was well known to locals in the area. According to Russell Hendee of the Godman-Thomas Expedition, they called it “quille corote”, or “yellow testicles”. It was often kept as a pet, and hunted for food. The Andes’ inaccessibility had always insulated the yellow-tailed woolly monkey - not only from the eyes of science - but also from habitat destruction by humans, who had lived there in fairly low densities for thousands of years. This began to change from the 1950s on, however. The human population grew rapidly, and land was cleared for the development of coffee plantations and other agriculture. Conservationists have pointed to negligence and corruption in regional government for failing to plan this appropriately. Land clearing has progressed almost completely unchecked. The yellow-tailed woolly monkey is also occasionally killed by farmers, who believe it damages their crops. Live infants are still to be found in markets in the region, sold alongside the pelts and skulls of their mothers. Conservation initiatives are often viewed with scepticism by the locals, who fear a loss of their livelihoods, but there are efforts within the communities of the Andes to protect this species. Access to mountainous areas has ironically allowed a small ecotourism industry to develop. The ecotours provide an alternative source of income for inhabitants, reducing the need for land clearing, poaching, and subsistence hunting. These threats, however, do still remain. Without a clear, well funded conservation plan, the demise of this species is certain to continue.
19.

about

In Extinction Stories, performers from around the world recount the stories of extinct and endangered species.

Recordings of the animals' calls and cries – arranged, edited and sonically altered by AGF – interweave with scientific narratives of extinction and myths, as listeners are led through traumatic experiences of loss, and of losses yet to come.

"Extinction Room" was initiated by Sergiu Matiș in February 2019 as a performative, 16-channel sound installation which was part of his larger choreographic work – Hopeless. – with sound produced by AGF. It was then developed further into a new piece for Europalia Festival, and premiered at the art museum Bozar Brussels, with additional shows in Berlin and Bucharest.

Three species were exhibited as a sound installation without live performers in Fiskars, Finland, and the media arts festival Node Forum installed five species in a VR environment in October 2020.

"Extinction Stories" is published via Bandcamp, and is a continuation and extension of the project.

"Extinction Stories" is anti-racist and even if its focus is non-human, it does not aim to distract from the current social issues of rising fascism and inequality.

100% of the proceeds from "Extinction Stories" will be directed towards land, habitat and species defenders. We favour indigenous-led, small/local and science-centred organisations working directly in the field. If you are such an organisation, please contact us: mail@agfproducktion.com. We will rotate donations.

Reviews of Hopeless.:
www.berlinartlink.com/2019/02/08/aesthetics-of-disaster-a-preview-of-sergiu-matis-hopeless-at-radialsystem/

tanzschreiber.de/en/messengers-of-hopelessness/

VR environment: hub.greenhousenaxos.com/wM9RLgV/extinction-stories





Donations:

If you fall in love with one species, find out more about its conservation efforts and donate directly to the people fighting for it:

Collection: www.are.na/agf-poemproducer/organisations-fighting-extinction

Kākāpō:
Kakapo Recovery Programme
www.doc.govt.nz/our-work/kakapo-recovery/

Bearded vulture:
Vulture Conservation Foundation
www.4vultures.org

San Martin titi and yellow-tailed woolly monkey:
Neotropical Primate Conservation
neoprimate.org

‘Ākohekohe:
Maui Forest Bird Recovery Project
mauiforestbirds.org

Indri:
Association Mitsinjo
associationmitsinjo.wordpress.com

Sulu hornbill:
Philippine Biodiversity Conservation Foundation
www.fpe.ph

Large blue:
European Butterflies Group
european-butterflies.org.uk

Siberian crane:
International Crane Foundation
www.savingcranes.org/about-icf/

Kāhuli:
Bishop museum, Malacology department
www.bishopmuseum.org

Tristan albatross:
RSPB/Gough Island Restoration Project
www.goughisland.com

European Wilderness
wilderness-society.org


Larger organisations

The Indigenous Environmental Network
www.ienearth.org

SAVE ANIMALS FACING EXTINCTION
saveanimalsfacingextinction.org/about/?source=homepage

credits

released November 15, 2020

We are thankful to the animals whose calls have contributed to Extinction Stories, and grieve for the species which, through the actions of humanity, no longer exist.

Concept: Sergiu Matiș
Research & text: Philip Ingman
Audio, composition & mastering: AGF aka Antye Greie
Readers: Lisa Densem, Linh Ha Fornow, Sasha Perera, Shruti Sunderraman, Sarah Badr, Nicola Micallef, Joee Meijas, Orlando Rodriguez, Manon Parent, Martin Hansen, Tiina Laurila, Yasir Alaabed, Lisa Blanning, Antye Greie, Sergiu Matiș
Cover art: AGF aka Antye Greie

Animal recordings are courtesy of the Macaulay Library at the Cornell Lab of Ornithology and the Xeno-canto Foundation.

Extinction Stories is a Sergiu Matiș and AGF Producktion.

Funded by: The Capital Cultural Fund (HKF) Berlin, The Berlin Senate Department for Culture and Europe Coproduced by: 4Culture Association, WASP Studios, Co-financed by: AFCN – The National Administration of Cultural Funds (Romania), Romanian Cultural Institute, EUROPALIA ARTS FESTIVAL Brussels. Supported by: Centre of Drama Art Zagreb, Art workshop Lazareti Dubrovnik and ICI-CCN Montpellier – Occitanie as part of Life Long Burning (LLB) – Towards a sustainable Eco-System for Contemporary Dance in Europe, supported by the Creative Europe Programme of the European Union.

Extinction Stories are supported by Possible Futures project via Taike Finland.

The live performance is available for touring.

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