john hawks weblog

paleoanthropology, genetics and evolution

art

  • Pod pimping

    Sat, 2010-12-25 07:30 -- John Hawks

    Sauropod Vertebra Picture of the Week author Matt Wedel has two recent posts about the artistic reconstruction of sauropods. The one about head anatomy is especially perceptive.

    I think these are dynamite, because they show that you can avoid “shrink-wrapped dinosaur syndrome” (SWDS) and still make an anatomically detailed, realistic-looking life restoration. SWDS is what I call the common convention in paleo-art of simply draping the skeleton–and especially the skull–in Spandex and calling that a life restoration. I think it’s a popular technique because you can show off the skeleton inside the animal and thereby demonstrate that you’ve done your homework (especially to an audience that already knows the skeletons*). It gives artists an easy way to add detail to their critters; if you actually slab on realistic soft tissues and lose most of those skeletal and cranial landmarks, you have to come up with something else to make your animals look detailed and visually interesting. And by now it’s been going strong for several decades, so people expect it.

    Yes, hominin reconstructions are also subject to shrink-wrapped syndrome. I'm less critical of that than the "thousand-mile stare" pose that many reconstructions are given. There's more emotion in the Lincoln Memorial.

    Wedel's earlier post, "Pimp my pod" discusses the idea of "too big for camouflage".

  • Ways of exploring

    Fri, 2010-12-24 07:20 -- John Hawks

    Glendon Mellow of the Flying Trilobite ruminates on the purposes of scientific art in a guest post at Scientific American: "Scientific accuracy in art". Out of the post, I really like his twist on "different ways of knowing":

    I think a "Way of Knowing" is putting the (painterly, Impressionistic) cart before the (fully-3D-rendered, proper lighting and gamma) horse. The purpose, the path, the roadway of science-art is a Way of Exploring.

    The reference to Different Ways of Knowing™ is one of the most irksome elements of the #AAAfail controversy. Mellow's post is completely unrelated, but I like this alternate way of putting together the construction of knowledge.

  • Neandertal stories on parade

    Sat, 2010-12-04 23:21 -- John Hawks

    Long-time science journalist Robin McKie has a long article in The Observer about the Neandertals this weekend: "Neanderthals: how needles and skins gave us the edge on our kissing cousins".

    The article puts together several aspects of recent inquiry into Neandertal biology -- the genome sequencing, the dating questions over Châtelperronian artifacts from Grotte du Renne, and some of Steve Churchill's work on projectile versus thrusting weapons. There's a real interesting mix of stuff here, some that I agree with and basically find uncontroversial, and other stuff that I find to be outlandish or unsupported by any evidence.

    For example, McKie talked to Brian Fagan, who has a new book out (Cro-Magnon) that tries to describe the human "edge" over Neandertals. A good topic, but this paragraph is completely misleading:

    But which specific traits gave us such an advantage that we were propelled to global glory at the expense of the Neanderthals? In the suite of behaviours that we evolved in Africa 150,000 years ago, what were the characteristics that really made a difference and can therefore be considered as defining human attributes? There are many candidates – complex language and superior memory, for example. However, among many scientists there appears to be consensus that imagination and opportunism were critical attributes.

    There is no "suite of behaviours that we evolved in Africa 150,000 years ago." There just aren't any. There's no good evidence of symbolic expression, no projectile points, no subsistence innovations, no evidence of long-distance raw material procurement or trade. That's the big problem we have substantiating a modern human advantage -- the "modern" humans didn't seem to get many behavioral innovations in Africa that the Neandertals didn't get, and the Neandertals got them almost as early.

    It is an undeniable problem; there's no sense glossing over it. Churchill's (and John Shea's) ideas about projectile weapons are right now among the most reasonable suggestions, because there do seem to be relatively early (ca. 85,000-90,000 year old) projectile points in Africa.

    It would be convenient if there were better evidence that projectiles were a singular innovation. But as John Shea [1] wrote in 2006, the idea of projectile weapons seems to have gotten around widely, possibly including Neandertals:

    The evidence currently available instead favors an indigenous origin for projectile point technology in the Levant ca. 40–50 Ka. Similarly, the earliest European Upper Paleolithic stone artifacts that fit the TCSA criteria for projectile points, Chatelperronian points, Font Robert points (as well as Aurignacian split-based bone/antler points) do not have clear chronological antecedants in the Levant (though it is possible that other as-yet-unidentified projectile point types do). While it is possible that over-production of atmospheric radiocarbon between 30 and 50 Ka [39] obscures rapid geographical diffusion of projectile point technology the typological variability of the earliest likely stone and bone projectile points in Africa, the Levant, and Europe do not currently support a diffusion/migration hypothesis. It is vastly more likely that projectile point technology was developed convergently among African, Levantine and European hominin populations.

    I probably wouldn't stretch so far as to say that the Châtelperronian Neandertals were using projectile weapons, even if the points are consistent with that hypothesis. But considering that a big element of McKie's story is the dispute over the Châtelperronian evidence of ornamentation (at Grotte du Renne), I think it's fair to remind people that those late Neandertals had a lot of things going on. All the skeletal associations with the industry are Neandertal, and there are multiple sites representing the interesting material culture elements.

    I've actually been stunned lately by the number of people who have asked me about the Grotte du Renne paper and it's "demolishment" of the case for Neandertal ornamentation. I say stunned, because people seem completely unaware of the substantial Mousterian record of pigment processing and use.

    My candidate for the most subtly controversial element of McKie's story: the opening passage about the Swanscombe skull:

    Many treasures [at the Natural History Museum] compete for attention, but there is one sample, kept in a small plywood box, that deserves especial interest: the Swanscombe skull. Found near Gravesend last century, it is made up of three pieces of the brain case of a 400,000-year-old female and is one of only half-a-dozen bits of skeleton that can be traced to men and women who lived in Britain before the end of the last ice age. Human remains do not get more precious than this.

    However, the Swanscombe find is important for another, crucial reason: the skull is that of a Neanderthal

    I say that's controversial because it asserts that this 400,000-year-old skull is a Neandertal. The case for Swanscombe as a member of the Neandertal lineage has been mostly chronological, not because it has any pattern of derived Neandertal morphology. There were people in Europe before the Neandertals, they had a subset of Neandertal features, and so they were plausibly early members of a Neandertal lineage. But the genetic work this year, discussed later in the article, argued that humans and Neandertals shared a common ancestral population only 250,000-400,000 years ago. If that's true, the chronology is all wrong for Swanscombe to be a Neandertal itself. Indeed, this chronology would not permit Swanscombe to be a member of a population exclusively ancestral to Neandertals.

    But what, then, is it?

    I think the chronology is wrong, and I doubt whether the evidence will soon let us distinguish gene flow from isolation at this time depth. There's not much sense talking about the "human-Neandertal ancestral population" when some Neandertals were ancestors of some humans.

    Still, the Middle Pleistocene European population focuses the problem. If Neandertals themselves had derived much of their gene pool from Africa in the Middle Pleistocene, as the genetic work has suggested, what does that mean for specimens like Swanscombe? And if we substantially lengthen the chronology of human diversification, what does that mean for Middle Pleistocene Africans?


    References

  • Sketchbook

    Wed, 2010-11-24 12:49 -- John Hawks

    Today's sketchbook:

    Predmost 1, frontal view

    Predmost 1, an early Upper Paleolithic skull from Moravia (Czech Republic).

    UPDATE (2010-11-24): I mistakenly had 3 when this is Predmost 1. Sorry!

  • Sketchbook

    Sat, 2010-11-20 21:16 -- John Hawks

    Today's sketchbook:

    Sketch of Curtis' Pomo girl

    2B/4B pencil sketch of a photo by Edward S. Curtis, "A Pomo girl".

  • "Such words as the tide dictates"

    Sun, 2010-10-24 08:30 -- John Hawks

    The Guardian has a delightful excerpt of a book about typography -- Just My Type, by Simon Garfield. I don't know if it has a U.S. publisher yet, but its author has a wonderful way of describing the feeling of a font.

    [Cooper Black's] success soon allayed Cooper's fear that he would only achieve "a tiresome effect from the too frequent repetition of the same quirk and curve". In fact he achieved something spectacular – a serif face that looked like a sans serif. Cooper Black is the sort of font the oils in a lava lamp would form if smashed to the floor. Its creator believed it ideal "for far-sighted printers with near-sighted customers". There are little nicks at the tops and bases of letters, and they give the font a solid flat weight on a page; without them, the type would always have been appearing to roll away. For a font with such a thickset look, it retains a remarkably unthreatening demeanour.

    He launches from here into a luscious description of the typeface's appearance on the album cover of Pet Sounds.



    I'm sort of a type nerd, and if you're at all like me, it's a fun read. From the end:

    Most type designers are understandably proud of their work. But [Thomas] Cobden-Sanderson, the maker of the beautiful Doves type, was so taken by it, and so keen that his former business partner shouldn't use it after his death, that he resolved to drown every letter in the Thames. In 1916 he began loading up his bicycle under cover of darkness and throwing his font under Hammersmith bridge. He made more than 100 separate trips, a large undertaking for a man of 76. And much of it still remains in its watery grave, forming itself into such words as the tide dictates.

    Sounds like a description of a blog...

    (via Better Posters)

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  • "You could blue screen Ardi"

    Thu, 2010-10-21 12:30 -- John Hawks

    The Guardian is running an interview with Pauline Fowler, whose company Animated Extras has been involved in many film and television projects where apes and hominins are part of the cast. It's an interesting interview, and I like to get this behind the scenes look at the artistic and technical process. As many may know, I'm one of the most irascible critics of the results, but I very much appreciate the challenges of realism in portraying ancient hominins.

    I asked Fowler how she would go about animating an Ardipithecus ramidus, who lived 4.4m years ago. The 45% complete fossil, known as "Ardi" was discovered in Ethiopia by Tim White's team in 1992 just 75km from the location of the famous "Lucy" fossil. "Well Ardi was short, stood about three and half to four feet tall. She had long arms. If you are going to make suits you need small people and arm extensions. Children are hard to work with so you need adult midgets, not dwarfs, you need average human proportions, but smaller. But finding enough midgets who can act is tough. You could blue screen Ardi and put in the environment later or have it as a CGI construct. There's several ways you could animate Ardi. But the colour of Ardi, her hair and size and shape of the soft tissue is informed guesswork, soft tissue doesn't usually fossilise. I always liaise with an expert and we find a realistic compromise."

    Not so different from R2D2, really.

  • LIFE photo-essay at Lascaux, 1947

    Wed, 2010-09-15 08:30 -- John Hawks

    A LIFE magazine photo-essay brings 15 previously unpublished pictures of Lascaux by Ralph Morse, who was the first professional photographer to enter the site: "Inside Lascaux: Rare, Unpublished."

    "LIFE re-opened its Paris bureau after the second World War ended, in the same offices we rented before the war" Morse recalls. "One day we get a message from New York about some cave that people have been talking about. We do a little research, and find out that even though the cave was discovered a few years before, no one's ever photographed the paintings. In fact, hardly anyone has ever been down there, except some guys who climb around in caves for fun. We know that the first thing we need is a generator to power our lights, but getting a generator anywhere after the war was almost impossible. We had to have people in London ship one over. Once it arrived, we were ready to go."

    This is starting to seem like "cave art" week around here, but there have just been a lot of interesting links.

    (via Savage Minds)

  • Arthouse cave art

    Tue, 2010-09-14 16:24 -- John Hawks

    A new film to debut at the Toronto Film Festival is a 90-minute 3-D exploration of Chauvet Cave, directed by Werner Herzog. The LA Times reports on the film: "Is Werner Herzog's new 3-D documentary a huge forward leap or total folly?"

    For Herzog, 3-D was the perfect tool to capture the drawings, since after all, the cave that held the drawings was akin to a modern-day theater or gallery where primitive people could view, by torchlight, this mysterious new form of art. "Once you see the cave with your own eyes, you realize it had to be filmed in 3-D," Herzog says. "I've never used the process in the 58 films I made before and I have no plans to do it ever again, but it was important to capture the intentions of the painters. Once you saw the crazy niches and bulges and rock pendants in the walls, it was obvious it had to be in 3-D."

    I really hope it comes to Madison. I think this is a great use for 3-D. Truly some aspects of the cave art depend on the actual 3-dimensional form of the underlying rock. Ninety minutes is a long tour, and I hope that the film uses the time to explore the place -- not jam it with speculative narration.

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Neandertals

For years, I've worked on their bones. Now I'm working on their genes. Read more about the science studying these ancient people.

Denisova

From a finger bone of an ancient human came the record of a completely unexpected population. My lab is working on the science of the Denisova genome.

Acceleration

The advent of agriculture caused natural selection to speed up greatly in humans. We're uncovering some of the ways that populations have rapidly changed during the last 10,000 years.

Malapa

Just outside Johannesburg, the Malapa site is producing some of the most exciting finds in human evolution. This site is the headquarters of the Malapa Soft Tissue Project.