art

Today's sketchbook:

The Termineander

The Termineander

I took this on at the suggestion of a reader.

Yes, it's a Geico caveman morphed into the ultimate robot assassin from the future. Well, you were wondering how they got all those cranial wounds, weren't you?

Yes, by drawing a robot in colored pencils, I have become the ultimate high school art geek.

No, I don't suppose "Neandernator" works quite as well.

According to New Scientist, human activity and prior attempts to kill the fungus have made the ecology of Lascaux similar to a hospital cooling tower.

The team conclude that a benzalkonium chloride spray applied between 2001 and 2004 to kill the fungus is to blame, as it allowed bacteria brought in by human visitors to thrive (Naturwissenschaften, DOI: 10.1007/s00114-009-0540-y). "It produced a drastic change in the cave biodiversity," says [Cesareo[ Saiz-Jimenez.

The report mentions that the cave ecology now includes pathogens linked to disease outbreaks in humans. That seems like a good reason to stay out. Maybe too good. Like that part of Close Encounters where the army scatters dead cattle all over Wyoming.

Today's photo:

Ant on peony bud

An ant on one of our peony buds -- one of many. F/3.3 ISO 400 with a 55 mm macro extender tube.

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Today's sketchbook:

Krapina C sketch

I need some teeny ink sketches of some crania. This one started out too big, so I had to shrink it for a second attempt.

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The Economist runs a little article about Sir Arthur Evans and Knossos:

Evans boldly argued that the Minoans, as he called the early islanders, shunned warfare, conveniently forgetting about the ruined watchtowers and fortification walls he had already identified elsewhere in Crete. In public lectures and a stream of articles after the first world war he presented a vision of a lost island paradise. Disillusioned artists and intellectuals were entranced by the idea of Minoans living close to nature, playfully leaping over bulls and worshipping a benign mother goddess.

Among those who swallowed the Knossos myth were Sigmund Freud, James Joyce and Pablo Picasso, though none of them visited the site.

The occasion is the publication of a new book by Cathy Gere, titled, Knossos and the Prophets of Modernism. It looks very interesting, so I ordered a copy. I'll report back when I've read it!

Today's sketchbook:

Watercolor sketches of Goodwin

Actually, yesterday's. Goodwin and I were painting outside. Here's a watercolor sketch of him painting. The girls' school had a Blackhawk helicopter visit, landing right outside. It flew over the house bound for its base, and I caught Goodwin looking up with a colored pencil sketch.

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Goddess on a cave bottom

I don't have much value to add to the "figurative art" angle to the Hohle Fels Venus figurine. It seems very interesting that there is a concentration of carved iconic figures in the Swabian Aurignacian. That has two elements -- first, the concentration itself; second, the focus on carved ivory. Other regional Upper Paleolithic variants have their own concentrations of unique artifacts, sometimes tools (like the Solutrean leaf point) other times found objects (like the fossil shells in the Belgian and German Magdalenian. And we know that other times and places in the Upper Paleolithic have carved objects, so here we have the combination of both, in a very early Upper Paleolithic culture.

I do think it's worth discussing the date of the figurine a little more closely. Conard's paper includes a nice short discussion of the difficulties of establishing an accurate chronology -- a bunch of dates are available spanning much of the sequence, and there is substantial mixing of older and younger dates across the sequence.

There is no simple explanation for the variable radiocarbon dates from Hohle Fels and Geienklösterle. The noisy signals result from a combination of factors including variable sample preparation, variable levels of atmospheric carbon, taphonomic mixing and excavation error. Given the lack of reproducibility within and between radiocarbon laboratories, I prefer to emphasize the stratigraphic context of the finds, and to use the highly variable radiometric dates as rough indicators of age8. Although there is no generally accepted calibration for radiocarbon dates over 30 kyr bp, preliminary calibrations suggest that dates of 32 kyr bp correspond to roughly 36 kyr bp in calendar years. If the early dates are correct, the Venus would be even older. The fact that the Venus is overlain by five Aurignacian horizons, containing a dozen stratigraphically intact anthropogenic features with a total thickness of 1 m, suggests that the figurine is of an age corresponding to the start of the Aurignacian, around 40,000 calendar years ago.

The paper also includes a very nice picture showing the stratigraphy profile of the site in terms of artifact positions, color-coded by level. The Venus does lie beneath a well-stratified Aurignacian, with a depth of in this area of more than a half meter, although I am also impressed by the overlying meter of "Gravettian-Aurignacian transition." Conard's text is slightly more definitive than the figure, since two of the five "overlying" Aurignacian layers are not represented directly above the artifact, and one appears mostly to underlie it.

The research report is accompanied by a perspective piece by Paul Mellars. He frames the importance of the site by referring to its early date:

Fragments of the figure were excavated from archaeological deposits in the Hohle Fels cave in south Germany, dated by a range of more than 30 radiocarbon measurements to at least 35,000 years in age (in terms of the newly 'calibrated' radiocarbon timescale) (Mellars 2009:176).

This is a tricky statement to parse. Conard provides eight radiocarbon dates for objects in the lowest Aurignacian level (Vb) at Hohle Fels, only two of these are older than 35,000 radiocarbon years. Mellars refers to calibrated dates, not radiocarbon dates. On that basis, the statement is likely correct but a little misleading in comparison with later, Gravettian-associated figurines, whose dates are reported in uncalibrated years.

For those not familiar with the arcana of radiocarbon dating, the atmospheric proportion of carbon-14 varied during the last 40,000 years, so that there was actually more or less of it at some times than others. For the oldest radiocarbon dates, up above 25,000 BP, the age reported in half-lifes is systematically younger than the real age of an object in calendar years (given in "years ago" or some such). Over the span above 30,000 years ago, the difference is up to 5000 years or more -- so that a radiocarbon date of 30,000 BP might correspond to a calendar date older than 35,000 years ago.

This creates the potential for much confusion when describing dates. In this case, what does it mean to see that a Venus figurine from the Aurignacian is "more than 35,000 years old" when other figurines from the Gravettian date to "25,000 BP"? There's a 5000-year gap between those two timescales -- one that amounts to a sixth of the total age of an artifact. And when we read that an object is "more than 35,000 years old" and remember that Neandertals lived up to "29,000 BP" it is very easy to forget that these dates may well be synchronous. So we have to continually remind ourselves to use comparable timescales when talking about objects in the Upper Paleolithic.

I've discussed the problems with radiocarbon calibration at some length, in association with some earlier work by Mellars. Sometimes I find that reading and learning more about a subject actually clarifies matters a bit. In the case of radiocarbon chronology, it seems that the more I learn, the more confused things really are.

Given the error associated with calibration and atmospheric variation, it is no surprise (as Conard reports in the paper) that the radiocarbon dates in a site over around 30,000 BP should be somewhat mixed and confused. The problem is not so much that ten objects from the same moment will have different proportions of carbon-14, it is that ten objects from different times may have the same proportion. So it is especially important to understand the stratigraphy of a site completely. This appears to be a good, conservative example, and it will be interesting to see what happens if the excavation progresses further into the deeper underlying Mousterian.

But meanwhile there are other sites, excavated in a range of circumstances, in which the stratigraphy was not so carefully documented, or may have been more mixed. I suspect we'll be hearing more confusion before we get a lot more clarification.

References:

Mellars P. 2009. Origins of the female image. Nature 459:176-177. doi:10.1038/459176a

Conard NJ. 2009. A female figurine from the basal Aurignacian of Hohle Fels Cave in southwestern Germany. Nature 459:248-252. doi:10.1038/nature07995

Today's photo:

Nail in tree

Hmmm....a crocodile's eye? No, it's a rusty nail in a knot of our spruce tree. Who knows how long it's been there.

55 mm macro extender, f/8 ISO 400.

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Awkward moments when reading 2: Paul Mellars pulls the old "blame the dirty thoughts on the undergraduates" gambit.

Interestingly, this sexual-symbolism aspect of the art is effectively symmetrical, as the same sites have yielded equally explicit phallic representations, carved out of bone, ivory or (in one case) the horn core of a bison (Fig. 2c). The possibility that these could represent 'girls' toys' (as one first-year student once hesitantly expressed it) should perhaps not be dismissed.

Awkward moments when reading: John Noble Wilford's attempt to tastefully describe the "explicit" nature of a Venus figurine.

The short, squat torso is dominated by oversize breasts and broad buttocks. The split between the two halves of the buttocks is deep and continuous without interruption to the front of the figurine.

Today's sketchbook

Kenneth Branagh in Wallander

Kenneth Branagh is appearing on Mystery this month in the British production of "Wallander." I love the way they light him throughout the whole thing -- they balance natural light on one side with artificial on the other, leaving a darkness etching across his face. I suppose they're going for that Ibsen quality for this Swedish detective.

So I had to draw him, although it took a while to find a screenshot. The likeness is not great here, he looks a little like Andy Serkis. I might try again with a different picture because the tones are great, kind of like the silent movie stills I've been drawing.

4B, which is now worn down to a tiny nub that Goodwin thinks is his size.

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Today's photo:

Dandelion head, macro lens

55 mm manual focus with a macro extender tube, f/8 ISO 400.

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Today's sketchbook:

Chital deer

A chital, drawn with a Pigma Micron 03.

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Today's sketchbook:

Egg carton in charcoal

Another sketch with the grilling charcoal. Goodwin loves to play with egg cartons lately. Not really sure why, but Hot Wheels cars are just about the size of the eggs.

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Today's sketchbook:

Work glove in charcoal

OK, so I was outside working in the yard, and then I started smoking some meat. You know, pretty much the classic Sunday afternoon in May. So I'm building the fire, and got charcoal all over the work gloves. And I sat down with my sketchbook, and thought, well, I'll draw one of the gloves -- that's a good subject.

I was pretty far into it, too, when I realized, what better way to draw a charcoal-smudged glove, than with charcoal? So this is what you get when you pick up a chunk of charcoal from the grill and start drawing.

That's hardwood charcoal, not that junky sawdust-and-clay stuff that Henry Ford invented. I don't imagine briquettes would be nearly as good for drawing.

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Today's sketchbook:

Harar woman

I've been experimenting with some painting, so I haven't had a lot to show from my sketching lately. I started this one before the AAPA meetings, but didn't pick it up again until later. HB and 4B pencil.

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Today's sketchbook:

Agta woman, Philippines

An Agta woman in the Philippines, according to Flickr.

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Today's sketchbook:

Blue plate, with fork

The kids had a friend over this morning, so we had a little crayon session. Here are the remains of Gretchen's coffee cake. I haven't really tried to work with crayons forever -- it's easy to forget how hard they are to control.

I generally save really poor-quality jpegs for the blog. With the pencil or ink drawings it doesn't make much difference, and I don't mind if they're a little ugly -- I'm paying for the bandwidth, after all. But the crayon scan really loses vibrancy in the jpeg, and I haven't figured out a way to compress it without losing that brightness.

OK, what am I complaining about? It's crayon!

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Today's sketchbook:

Yemeni girl

A girl from Yemen, via Flickr.

4B on Strathmore paper

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Today's sketchbook:

Wounded Gaul

A Hellenistic sculpture, titled "The Wounded Gaul". It's at the National Archaeological Museum in Athens.

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Today's sketchbook:

Bela Lugosi as the Apeman

Can you believe that Bela Lugosi was the original Apeman? Not Tarzan the "ape man", but Apeman. Although with the beard they gave him, I couldn't stop thinking he was the Goat-man. I'm not sure what's in the syringe, there, but I'm sure it's not good.

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Today's sketchbook:

William Buffalo Bill Cody

William "Buffalo Bill" Cody, in 1911.

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Today's sketchbook:

Vivian Porter sketch

Gretchen told me I needed to draw some women to go with all those men. So I drew a picture of Vivian Porter, a performer in Ziegfeld's "Follies" and "George White's Scandals." HB and 4B pencil on Caslon paper.

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Today's sketchbook:

Johnny Weissmuller in a tree

Johnny Weissmuller, the original ape-man. I love the dynamic poses in many of his stills. The studio did some dramatic lighting, shadowed portions get a little flash around the edges from backlighting.

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Today's sketchbook:

Drawing of Wallace Beery, seated

This is silent film actor Wallace Beery. It's not that great a likeness. 4B pencil on Strathmore drawing paper.

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