Saturday, June 24, 2023

ROCK ART AND PALEO-SYNANTHROPY:

Synanthropy is the term used to describe the process of wild species that have adapted to living in the vicinity of humans and find benefits from it, but are in no way domesticated. In my suburb we have a large number of cottontail rabbits and quite a few squirrels. Additionally, we see raccoons once in a while. This means that we also have foxes and even the periodic coyote sighting. Our daughter's family lives outside of town in a suburban enclave next to a large golf course and they have deer in their yard almost daily. These are all examples of present day synanthropy.

So we can expect that certain animals, birds, and insects, lived in synanthropy with our Paleolithic ancestors, so what? What can that possibly have to do with rock art?

European red fox. Internet image, public domain.

Marshall wrote in New Scientist Online that there are “animals such as urban foxes that live alongside us, and benefit from doing so, are called synanthropes. They aren’t domesticated like dogs or cows. But they are adapted to a human-centric life. Some urban foxes have skull shapes that differ from country-dwellers and more closely match domesticated dogs. Other examples include rats, dandelions and trash pandas – sorry, I mean raccoons.” (Marshall 2023)

The prevailing view up until now has been that synanthropy could not have developed between animals and hunter gatherers because the humans did not leave enough trash (bones, food remains, etc.) to attract animals.

“It’s generally thought that synanthropy began with the agricultural revolution, around 10,000 years ago. That’s when people started settling down in the same place instead of moving around, and crucially when they started storing large quantities of food and accumulating rubbish. The main explanation for the existence of domestic cats is that wild cats started living near human settlements to prey on the mice that were eating our grain. However, it now looks like that’s wrong.” (Marshall 2023)

“Very little research has explored the idea of synanthropic animals before the rise of agriculture, so what follows is tentative. It’s based largely on the work of Chris Baumann at the University of Helsinki in Finland, who has been studying palaeo-synanthropies for the last few years. In April he published a review in Archaeological and Anthropological Sciences, summarizing everything that’s known.” (Marshall 2023) These early assumptions were that people would need to be settled, and producing food surpluses to attract the animal pests and predators.

“How widespread were these palaeo-synanthropies? The short answer is we don’t know. The European evidence is limited to the east and to the last 42,000 years, where studies have been done. Baumann suspects palaeo-synanthropies were both older and more widespread, but he needs direct evidence.” (Marshall 2023) And, I would add this caveat to Marshall's statement "we don't know." I believe we can rightfully say that we do know that paleo-synanthropies had to have existed. We just do not have the data to quantify it.

These early assumptions were that people would need to be settled, and producing food surpluses to attract the animal pests and predators.This, however, does not take in other factors that might also lead to synthropic relationships between humans and animals. Baumann (2023) expanded that understanding somewhat.

European aurochs - paleolithic. Internet image, public domain.

Aurochs, Lascaux Cave, France - paleolithic. Internet image, public domain.

Chris Baumann (2023) explained his theory of human impact on the landscape as providing a niche for human-animal synanthropy. “Key features of this new niche are anthropogenic food waste from mobile hunter-gatherers as a stable food base for small opportunistic scavengers and a human-near environment safe from large predators. By linking the niche to human behavior rather than to a specific location or structure, this niche was accessible for a long time, even in the Late Pleistocene. Like modern synanthropic animals, members of the paleo-synanthropic niche experienced an increase in population density and a decrease in home range. This, in turn, made it easier for humans to capture these animals and use them as resources for meat, fur, or feathers, as seen in the zooarchaeological record of many European Late Pleistocene sites.” (Baumann 2023)

Wisent, or european bison. Illustration pikist.com, public domain.

Wisent, or european bison. Altamira Cave, Spain. Internet image, public domain.

Baumann’s summary focuses on this phenomenon developing as a relationship between hominins and small predators. “Paleo-synanthropic behavior is an adaptation to the micro-environment created by Late Pleistocene hunter-gatherer societies. The resulting niche allowed small to medium-sized opportunistic generalist carnivores or omnivores to gain access to a long-term food resource, i.e., anthropogenic food waste. In addition, this niche provided security against large carnivores, which was ensured by their displacement by humans. As a result, the inhabitants of this new niche experienced population growth and a reduced home range. The paleo-synanthropic niche is not linked to specific geographic regions but is tied to human behavior and is therefore regionally flexible. This enabled paleo-synanthropes to exploit their niche for a long time. The high population density of these animals and their proximity to humans also allowed humans to use them as a resource for meat, fur, or feathers.” (Baumann 2023) Baumann points to human food waste as the mechanism that led to Paleo-synanthropy, focusing on small animals such as foxes and ravens – but I would like to suggest another possibility that could lead to the same relationship with larger animals such as horses, aurochs, deer, etc.

Przewalskis horse (Eurasian wild horse). Internet image, public domain.

 Horses (and rhinoceros), Chauvet Cave, France. Internet image, public domain.

 Horses, Lascaux Cave replica, France. Internet image, public domain.

All assumptions about the Paleolithic Europeans who left us the magnificent cave paintings tell us they lived somewhere in the vicinity of those caves, and according to some dating studies they lived there for long periods of time, at least many generations. Or, perhaps they roamed a larger area in smaller groups, but reassembling on special occasions at the caves for ceremonial purposes.

European Red Deer stag (note the curved tines on the antlers). Internet image, public domain.

European Red Deer (note the curved tines on the antlers). Lascaux Cave, France. Internet image, public domain.

Close-up of the Red Deer (note the curved tines on the antlers). Lascaux Cave replica, France. Internet image, public domain.

Red Deer (note the curved tines on the antlers). Lascaux Cave, France. Internet image, public domain.

They also had fire as a vital tool for heat, light, and even possibly processing some materials such as stone for their tools. This use of fire would require a considerable amount of fuel, eventually leading to the thinning of the forest for firewood around their area of residence, to say nothing of the possibility of accidental fire escaping into the forest. Thinning the forest would, of course, lead to more scrub and grassland in that area, and various grazers and browsers would benefit from the increased food supply. This suggests the possibility that the cave images of deer, horses, and aurochs, were inspired by an increased presence of those animals caused by the increase of grass and shrubbery for grazing and browsing, in synanthropy with their human neighbors. And, increased numbers of animals would also provide increased food for the humans. This would lead to a situation which we can refer to as Paleo-synanthropy, but based upon a different cause and effect than imagined by Baumann.

“Synanthropy may go back several tens of thousands of years. What’s more, other hominins like Neanderthals might have had their own synanthropic companions.” (Marshall 2023)

Many of the assumptions about the Paleolithic Cave Art in Europe center on the relationships of the human population with the animals around them. Given the cohabitation of the humans and animals in the same landscapes it seems reasonable that a synanthropic relationship could have existed between them. This would provide such a relationship. Fire not only provided light for the cave artists, and charcoal for a pigment, fire may have been an important factor in the presence of these animals portrayed in the caves. And, although Baumann chose not to speculate on this, might not synanthropy have been the earliest step toward animal domestication?

NOTE: Some images in this posting were retrieved from the internet with a search for public domain photographs. If any of these images are not intended to be public domain, I apologize, and will happily provide the picture credits if the owner will contact me with them. For further information on these reports you should read the original reports at the sites listed below.

REFERENCES:

Baumann, Chris, 2023, The paleo-synanthropic niche: a first attempt to define animal adaptation to a human-made micro-environment in the Late Pleistocene, 20 April 2023, Archaeological and Anthropological Sciences (2023) 15:63. Accessed online 17 May 2023.

Marshall, Michael, 2023, Our Human Story: Animal Companions, New Scientist, newscientist.com. Accessed online 9 May 2023.

Saturday, June 17, 2023

EDITORIAL ON THE USE OF ARTIFICIAL INTELLIGENCE IN ROCK ART ANALYSIS:

Newly discovered Nazca geoglyph identified by Artificial Intelligence. Internet image, public domain.

Now I must begin this with the confession that I have used Artificial Intelligence (AI) in the past. I have even written for RockArtBlog with the aid of AI. My tongue in cheek posting of 10 December 2022 “Have We Ever Found A Cave Painting Of A Salad?” was accompanied by illustrations generated by the AI program ChatGPT. I have also written about the use of AI in discovering new Nazca geoglyphs. My column for 29 February 2020 covered a team of Japanese researchers who used AI to scan aerial photographs of the Nazca plain for undiscovered imagery.

This column, however, will be a somewhat different approach to the question of AI, and its use in rock art. This is a warning, a cautionary tale of how AI can lie to its user very plausibly and convincingly. This is a subject that has been much in the news lately and so, came easily to mind when the following occurred.

 

Desert 'Kite', Mafraq, Jordan. Photo Yann Arthus-Bertrand.

While researching a column for RockArtBlog on the so-called “Desert Kites” in Jordan I found myself wondering how they got that name, where it came from? There has been a great deal of recent news about using AI for research and so I asked my goto program ChatGPT why are the ancient stone hunting traps in Jordan named kites?” It came back with a short, but very detailed answer. “The ancient stone hunting traps in Jordan are named "kites" due to their resemblance to the shape of a kite, the flying object. These structures, found predominantly in the arid regions of Jordan, were used for hunting purposes thousands of years ago. The term "kite" was coined by the British Royal Air Force pilot and archaeologist, Sir Tony Killick, who first identified and studied these structures in the 1920s.” (ChatGPT) 

While this answer seems plausible I decided to try to check on it online. With some detailed searching I failed to find a Sir Tony Killick in the RAF in Jordan in the 1920s. I also failed to find a British archaeologist named Tony Killick (this is not to say he does not exist – but I found no records). I even searched in the UK National Archives of Royal Air Force Personal but came up empty handed. 

So I went back to Chat GPT and asked the same question but with a slightly changed wording – “why are stone hunting traps in Jordan named kites?” This time the answer came back as “The term "kite" is believed to have originated from the early aerial photographs taken by British Royal Air Force pilots in the early 20th century. When these pilots flew over the arid landscapes of Jordan and other regions in the Middle East, they noticed these distinctive stone structures, which resembled the shape of kites when seen from above.” An answer equally (if not more) plausible, but one that I have also failed to confirm. 

My point is this – there were two different answers for essentially the same question – where did Sir Tony Killick go? And while these answers had much in common they differed in important details. One (or both) of them may be right, but I have no way to confirm that. In 2020, Heather Roff wrote “The first step towards preparing for our coming AI future is to recognize that such systems already do deceive, and are likely to continue to deceive. How that deception occurs, whether it is a desirable trait (such as with our adaptive swarms), and whether we can actually detect when it is occurring are going to be ongoing challenges.

A recent headline on a science news website I visit regularly stated “Archaeologists Use AI To Identify New Archaeological Sites in Mesopotamia.”  I would imagine that using AI like this is reasonably safe, but after my recent inquiries I would not recommend using AI for seining for data online. Admittedly, it is much easier to ask ChatGPT to search for your answer than it is to go through it yourself, but, you may not be able to trust the answers.

REFERENCES:

Faris, Peter, 2020, New Nazca Geoglyphs Discovered, 29 February 2020, https://rockartblog.blogspot.com/2020/02/new-nazca-geoglyphs-discoverred.html. 

Faris, Peter, 2022, Have We Ever Found A Cave Painting Of A Salad?, 10 December 2022, https://rockartblog.blogspot.com/search/label/salad. 

https://openai.com/blog/chatgpt/

Roff, Heather, 2020,  AI Deception: When Your Artificial Intelligence Learns To Lie, 24 February 2020, https://spectrum.ieee.org/ai-deception-when-your-ai-learns-to-lie. Accessed online 10 June 2023. 

UK National Archives, Royal Air Force Personnel – National Archives, https://nationalarchives.gov.uk. Accessed online 9 June 2023.

Saturday, June 10, 2023

A SELF PORTRAIT OF SIR WALTER RALEIGH DISCOVERED IN THE TOWER OF LONDON:

 

The Tower of London. Internet image from rove.me, public domain.

“A mysterious painting hidden for centuries at the Tower of London may be a self-portrait of the famous adventurer Sir Walter Raleigh. The crude etching, which was found beneath layers of paint in the Fortress’ Bloody Tower, could offer a fascinating glimpse into the aristocrat’s final years. Raleigh was incarcerated in the Bloody Tower before his execution for conspiracy in 1618.” (Rogers)

Portrail of Sir Walter Raleigh. Internet image, public domain.

The portrait was painted on the base or original layer of the wall which was installed during a remodelling while Raleigh was there, said a spokeswoman for Historic Royal Palaces. (Rogers)

“Raleigh was born to a landed gentry family of Protestant faith in Devon, the son of Walter Raleigh and Catherine Champernowne. He was the younger half-brother of Sir Humphry Gilbert and a cousin of Sir Richard Grenville. Little is known of his early life, though in his late teens he spent some time in France taking part in the religious civil wars. In his 20s he took part in the suppression of rebellion in the colonization of Ireland, he also participated in the siege of Smerwick. Later, he became of landlord of property in Ireland and mayor of Youghal in East Munster, where his house still stands in Myrtle Grove. He rose rapidly in the favor of Queen Elizabeth I and was knighted in 1585. He was granted a royal patent to explore Virginia, paving the way for future English settlements. In 1591, he secretly married Elizabeth Throckmorton, one of the Queen’s ladies-in-waiting, without the Queen’s permission, for which he and his wife were sent to the Tower of London. After his release, they retired to his estate at Sherborne, Dorset.” (Wikipedia)

Drawing believed to be Sir Walter Raleigh's self-portrait. Internet image, public domain.

Poor Raleigh actually spent three different terms imprisoned in the Tower. “The first time was in 1592 when he incurred the wrath of Queen Elizabeth after marrying one of her ladies-in-waiting without the monarch’s permission. He was later imprisoned for conspiring against Queen Elizabeth’s successor, King James I, from 1603 until 1616, when he was released to lead another expedition to South America. However, one of Raleigh’s commanders attacked a Spanish outpost during the failed mission, violating the terms of Raleigh’s pardon. Imprisoned again on his return to England, Raleigh remained in the Tower of London until his execution. He was beheaded in the Palace of Westminster on Oct. 29, 1618.” (Rogers)

Side-by-side comparison. Internet image, public domain.

While Raleigh was imprisoned in the Tower of London his rooms were refurbished by plastering. This image was found under the top layer of plaster establishing that its date of origin is older than the refurbishment, and suggesting the possibility that this could, in fact, be Sir Walter Raleigh’s self portrait.

NOTE: Some images in this posting were retrieved from the internet with a search for public domain photographs. If any of these images are not intended to be public domain, I apologize, and will happily provide the picture credits if the owner will contact me with them. For further information on these reports you should read the original reports at the sites listed below.

REFERENCES:

Miller, Shari, 2023, Historians hail ‘amazing’ find of Sir Walter Raleigh ‘portrait’ believed to have been painted by the explorer while he was locked up in the Tower of London, 28 April 2023, https://www.dailymail.co.uk. Accessed online 28 April 2023.

Rogers, James, Sir Walter Raleigh’s Self-Portrait May Have Been Discovered In The Tower Of London, https://www.foxnews.com. Accessed online 7 April 2023.

Wikipedia, Walter Raleigh, https://en.wikipedia.org/wiki/Walter-Raleigh. Accessed online 7 April 2023.

Friday, June 2, 2023

ARE SHADOWS PORTRAYED IN ROCK ART? THEY ARE CERTAINLY IMPLIED IN CAVE ART:

The philosophical search for shadows and the question of their existence in rock art:

Aurochs, horse and deer, Lascaux Cave, France. Internet image, public domain.

The idea for this began with an article from the online site JSTOR Daily dated 1 December 2021, by Roy Sorensen titled "Do We Actually See Shadows?"

Sorensen approached this as a philosophical question beginning with Fridugisus of Tours in the 8th century who wrote "a short treatise which deals with the nature of nothing and darkness. The epistle was written probably during the author's residence at Tours. It is addressed "to all the faithful and to those who dwell in the Sacred Palace of the most serene prince Charles (Charlemagne). It dealt with the question, are nothing and darkness real things? (Some suggest that this was inspired by the Biblical use of the words in the first chapter of the Book of Genesis). If the Bible uses the words 'nothing' and 'darkness', it seemed that there must be things corresponding to those words. Fridugisus accepts this answer and defends it both by arguments from authority and by arguments from reason." (Wikipedia)  Is nothing or nothingness a real thing, and is darkness a real thing in and of itself"

Sorensen, in effect, was asking that if a shadow is composed of the absence of light, how can we see the presence of the absence of something? In other words, we see because of the light illuminating the things around us. How can we see something it is not illuminating? He goes to considerable historical detail referencing, among others, Plato's "Allegory of the Cave." He brings in the Metaphysical with the question if you spin a ball does the shadow of the ball spin?" Some say "yes." but can you see the shadow spinning?

Sorensen gets deeper with this but what drew my attention was his reference to Medieval artists who did not paint shadows. He stated "Shadows were fringe phenomena in the Dark Ages. They are rarely depicted in the era's paintings. Perhaps the artists portrayed only what they believed to be visible." (Sorensen 2021)  This can be checked and I did so, searching online for public domain medieval paintings.

The Trinity (detail) in Saint Augustine’s City of God”, about 1440–50, Master of the Oxford Hours. Tempera colors, gold and silver paint, and ink on parchment, 14 ¼ x 10 ¾ in. (36.2 x 27.3 cm). The J. Paul Getty Museum.

A few, very faint traces of shadows beneath the figures. Shading on the figures, yes, but they cast no shadows in their environment.

“Saint Martin Dividing His Cloak” in the Prayer Book of Charles the Bold, 1469, Lieven van Lathem, made in Ghent and Antwerp. The J. Paul Getty Museum.

Likewise, shading within the elements of the painting, but no cast shadows.

Medieval women hunting. Internet image, public domain.

And again, no shadows cast by the women and their dogs in the environment.

Now since I warp everything toward the question of how it applies to rock art I began looking for examples of rock art that somehow portrayed shadows. I looked at examples from literally all over the world (my photos, books, online) but could find no instances of what can be identified as a shadow. Then I remembered that I had done a column on counter-shading on the images of horses in European Cave Art back in January 2022, so I went back to my own notes.

Torch illuminating a cave. Image from Medina-Alcaide et al., 16 June 2021.

In looking at my file for that article I found the paper by a team of Spanish researchers on cave lighting. This simple, but clever, experiment used a variety of sources of fire to illuminate a cave, one of which was a hand-held torch. Others were things like small fires on the floor of the cave and animal fat lamps. To my way of thinking the hand-held torch would give the most dramatic effect.

I started looking at the Paleolithic paintings of animals in European Caves, such at Lascaux, Chauvette, Les Trois-Freres, and Tito Bustillo and found shadows under the animals, but not shadows painted by the cave artists. Now the nature of torch light is that it acts much like a point source and, depending on how high you hold it, the irregularities of the stone wall in a cave will have shadows of their own underneath any change of contour in the surface.

Horses and Aurochs, Lascaux Cave, France. Early Magdanenian period (17,000 BCE). Internet image, public domain.

The first image I noticed this effect on is this one from Lascaux. The small horse on the left and the Aurochs have their hooves approximately on the upper edge of the shadow on the cave wall. And once I saw this, examples started jumping out at me all over the place. It must be remembered, these are not shadows created by the artist or image maker, they are shadows on the cave wall created by the angle the light of the torch is falling from, but the image maker has used them cleverly to create the desired effect. Other effects that visually approximate shadows under animals painted on cave walls can be color change in the stone wall, and/or other sources of discoloration. And not all are done this way, indeed most panels also have animals that are not standing on shadows, but it turned out a surprising number are.

Aurochs, Horses, and Deer, Lascaux Cave, France. Internet image, public domain.

There were a great number of examples from Lascaux Cave in France. In this one we see horses, aurochs, and a deer with their feet on the top edge of the shadow on the cave wall.

Aurochs, Lascaux Cave, France. Internet image, public domain.

Horse, Lascaux Cave, France. Internet image, public domain.

In some examples the shadow seems to be the result of a color change in the stone surface. Also, we need to keep in mind that these modern photographs were made in lighting that is as even as possible to show up the images, not to accentuate shadows underneath them.

 

Horse and two superimposed mammoths, Chauvet Cave, France. Illustration from Jean-Marie Chauvet, et al., 1996, “Dawn of Art: The Chauvet Cave.

Although this is not a strong example we can see the break in the cave wall underneath thehorse and mammoths and it would be shadow under the right lighting conditions.

Mammoth, Chauvet Cave, France. Illustration from Jean-Marie Chauvet, et al., 1996, “Dawn of Art: The Chauvet Cave, p. 58.
Owl, Les Trois Freres Cave, France. 15k BP. Illustration from Paul Bahn and Jean Vertut, “Journey Through the Ice Age,” fig. 10.24, p. 155.
Horse, Tito Bustillo Cave, Spain. Ca. 25k BP. Bahn, Paul, and Jean Vertut, 1997, “Journey Through The Ice Age,” University of California Press, Berkley, California.

From these various illustrations, and from various ages and locations, we see that this design factor was used across a large geographic area and for a very long time. The fact that it is associated with a large number of different animals also is a strong suggestion that it is not just associated stylistically with aurochs, or horses, etc., but that it may indeed have been the simulation of the creature's shadow that was the goal.

So, is this a real phenomenon? Well yes, it is real in that we have seen it exists. But was the placement of animals so that they are standing on a shadow, or an area of color change in the stone intentional, or a coincidence? That is to be decided in the future, probably with a whole lot of arguing involved. But, I will end with this, the cave artists were certainly intelligent and sophisticated enough to have done this intentionally.

NOTE 1: Some images in this posting were retrieved from the internet with a search for public domain photographs. If any of these images are not intended to be public domain, I apologize, and will happily provide the picture credits if the owner will contact me with them. For further information on these reports you should read the original reports at the sites listed below.

NOTE 2: This paper was presented at the 2023 IFRAO (International Federation of Rock Art Organizations) Rock Art Symposium, Valcamonica, Italy, by the author on 27 May 2023.

REFERENCES:

Medina-Alcaide et al., 16 June 2021, The conquest of the dark spaces: An experimental approach to lighting systems in Paleolithic caves”, https://journals.plos.org/plosone/article?id=10.1371/journal.pone.0250497 (Public Library of Science)

Sorenson, Roy, 1 December 2021, “Do We Actually See Shadows?”, https://daily.jstor.org/ (short for Journal Storage).

Illustration credits:

Illustrations 1 – 9 are Public Domain images from online.

Illustrations 10 – 11: Jean-Marie Chauvet, et al., 1996, “Dawn of Art: The Chauvet Cave (The Oldest Known Paintings in the World)”, H. N. Abrams, New York.  

Illustrations 12 - 13: Bahn, Paul, and Jean Vertut, 1997, “Journey Through The Ice Age,” University of California Press, Berkley, California.