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Some scenarios of science fiction films, episodes of television series, or documentaries are based on and, or develop the theme of extraterrestrial civilizations’ research and discovery and their various consequences. The present study discusses their likelihood and implausibility by reviewing facts versus fiction in movies and television series. Some selected films were classified into two categories, depending on the location of the fictional discoveries of the remains of extraterrestrial civilizations: on Earth or other planets. Results highlight that while fiction movies are often inspired by controversial ufological theories such as that of ancient astronauts, some of them also emphasize scientific concern such as the risk of biological contamination.
Hermann Fol was a very accomplished Swiss naturalist of the late 19th century, but today is largely forgotten. He was a student of the notable biologists Édouard Claparède and Ernst Haeckel, and like them, specialized in the study of marine organisms. Fol is known only among embryologists for his description of fertilization in echinoderms. In reality, his work ranged well beyond such studies to encompass diverse taxa of the marine plankton, illustrated with remarkable scientific artwork, and included designing various scientific devices. Fol worked on human embryology, light penetration in seawater, methods of reducing microbial contamination of drinking water, and development of a rabies vaccine. His career was marked by a long series of disputes with contemporary naturalists and was relatively short, ending at age 47 with a mysterious disappearance. Here I provide a review of his contentious life, his scientific work, his scientific art, his scientific inventions, and his role in establishing Villefranche-sur-Mer as a center of marine science. The life and work of Hermann Fol is shown to be an example of the very wide-ranging activities of 19th century naturalists, and the apparent dangers of an over-sized ego.
Is the approach of the scientist, in this case, the archaeologist, and that of the artist when they discover a prehistoric site, truly so distant? To comprehend a space, it is necessary to gauge what already exists. If this element serves as a clue for the archaeologist, how is it perceived by the artist attempting to understand it? Visual artist Charlotte Pringuey-Cessac and prehistorian Bertrand Roussel discuss their respective approaches to the Terra Amata site, within the framework of an exhibition they presented from December 6, 2019, to May 17, 2020, titled "Bruit originaire" (Original Noise). Even if the origin of humanity is probably forever concealed from us, it does not prevent us from wanting to approach it. It seems that there is a similar and shared intention between the artist’s practice and that of the prehistorian. Whether in the artist’s intention or the archaeologist’s, the idea of promise persists in the very practice of each.
2024
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