The ultimate aim of a representation is to be more “real” than what it depicts, so that people desire the image more than the objects it portrays. The insatiable drive toward ever-sharper high definition testifies to this age-old impulse. So does the Biologiska Museet in Stockholm. Constructed in 1893 and designed by the architect Agi Lindegren, it was one of the first museums in Europe to adopt a naturalistic approach to the display of zoological specimens. In one circular room, taxidermied Nordic animals appear in a 360-degree diorama, under natural light, against a backdrop painted by the once-prominent nature painter Bruno Liljefors. The intention was to re-create nature in the city. This synthesis of art, architecture, and science was a great technical feat in its time, but the result is far from the actual experience of nature. One could never get as close as one does in
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