john hawks weblog

paleoanthropology, genetics and evolution

Germany

  • Lion-Man to be reconstructed from new pieces

    Fri, 2011-12-09 22:01 -- John Hawks
    Lion-Man at AMNH

    Copy of the "Lion-Man of Hohlenstein-Stadel", at the American Museum of Natural History

    The Lion-Man of Hohlenstein-Stadel is one of the most famous pieces of Paleolithic art ever found. Der Spiegel has a story about the specimen, which is being reassessed after the discovery of new fragments that may alter its shape and archaeologists' interpretations.

    The new discoveries came after archeologists once again turned their attention to the Stadel cave. They sifted through all of the rubble from 1939, explains excavator Claus-Joachim Kind -- and the results were sensational. "We found about 1,000 pieces, which presumably belong to the statue," Kind says.

    ...

    The figurine will be taken to the State Conservation Office in Esslingen, near Stuttgart, where it will be completely taken apart. The old glue joints will be dissolved and the filler made of beeswax and chalk, which was used as a placeholder, will be removed.

    Then the statue will be reassembled piece by piece, a task that those involved await with great anticipation.

    The article picks the "Lion-Man or Lion-Woman" angle, but I think a more broadly interesting question is why this time and place had a proliferation of ivory artifacts. The Lion-Man is not the only anthropothere, and the appearance of such images so early in the record of artistic representation would seem to show that such combinations are fundamental to the human imagination.

  • Meet Homo heidelbergensis

    Tue, 2011-11-15 08:28 -- John Hawks
    Synopsis: 
    The Mauer mandible is the type specimen of Homo heidelbergensis

    The Mauer mandible comes from just southeast of Heidelberg, Germany, and was found in ancient sands deposited just more than 600,000 years ago. Upon its description, the mandible was attributed to a new species, Homo heidelbergensis.

    Through the years, anthropologists considered H. heidelbergensis to be a more primitive species than Neandertals, very different from recent humans. Many anthropologists attribute other remains from the European Middle Pleistocene to this species. Probably the most important sample would be the Sima de los Huesos remains from Spain, but other crania and skeletal elements from sites across Europe have been put into the species. A few anthropologists would also include specimens from other parts of the world.

    Other anthropologists disagree. They believe that Mauer is an early member of the same population that includes Neandertals. Others would go further, noting the evidence that Neandertals are part of the ancestry of modern humans, and put Mauer into our species, Homo sapiens.

    This station has several mandibles for you to compare with Mauer, including some Neandertals, modern humans, and Homo erectus individuals.

    What to do: Compare the morphology of the Neandertal and Mauer mandibles to the modern humans. What features differ?

    Consider what you know about earlier hominid mandibles (or compare one at the station). Do you think Mauer is a possible ancestor of Neandertals? What about an ancestor of modern humans? Does it have mostly primitive dental features, or does it share derived features with one or the other?

  • Aurignacian happy hours

    Sat, 2009-06-27 11:24 -- John Hawks

    That image conjured by John Noble Wilford just had me tickled:

    It so happens, as Dr. Conard and his co-authors, Susanne C. Münzel of Tubingen and Maria Malina of the Heidelberg Academy of Sciences, noted, the Hohle Fels flute was uncovered in sediments a few feet away from the carved figurine of a busty, nude woman, also around 35,000 years old. The discovery was announced in May by Dr. Conard.

    Was this evidence of happy hours after the hunt? Fertility rites or social bonding? The German archaeologists suggested that music in the Stone Age “could have contributed to the maintenance of larger social networks, and thereby perhaps have helped facilitate the demographic and territorial expansion of modern humans.”

    The description of the flutes is available in advance copy from Nature. This is one of my pet peeves -- papers in advance of print -- because I can't just enter them into my bibliographic database; there are no volume or page numbers. What a pain.

    Mammoth ivory flutes were really hard to make.

    The characteristics of these three fragments of ivory are known only from the ivory flute from the upper Aurignacian deposits of Geienklösterle archaeological horizon II (ref. 15). The technology for making an ivory flute is much more complicated than that for making a flute from a bird bone. It requires forming the rough shape along the long axis of a naturally curved piece of mammoth ivory, splitting it open at the interface of the cementum and dentine or along one of the other bedding plains in the ivory, carefully hollowing out the halves, carving the holes and then rejoining the halves of the flute with air-tight seals along the seams that connected the halves of the flute. The ivory flute from Geienklösterle preserves dozens of finely carved notches along the edges of the two halves to facilitate binding and sealing the flute (15). Although thousands of pieces of ivory-working debris and hundreds of ivory artefacts have been recovered from the Aurignacian deposits of Hohle Fels, Vogelherd and Geienklösterle, only the flute fragments have the form described above and preserve a hollowed-out convex morphology, finger holes and series of notches along the edge of the long axis. Thus, we can be confident that these finds represent fragments of ivory flutes similar to the one recovered from Geienklösterle. We recovered the ivory flute from Geienklösterle in 31 small fragments. Given the tendency of delicate ivory artefacts to break into many pieces, it is not unusual to find such pieces in isolation.

    The tiny (~1 cm) fragments don't look like much by themselves. Several of them were found only by water screening of sediments. Much more than the "origin of music" angle, I think the attention of Conard's team is the real story here. They had an inkling what to look for, and they started finding the pieces. I wonder how many others may be floating around unrecognized within Upper Paleolithic collections. The thing working against a lot of unrecognized tiny flute fragments is that the Swabian sites seem to have involved dedicated ivory working on a scale that doesn't appear elsewhere.

    The flutes made of bird bone are much simpler to manufacture and interpret.

    The maker of the flute carved the instrument from the radius of a griffon vulture (Gyps fulvus). This species has a wing span of between 230 and 265 cm and provides bones ideal for large flutes. Griffon vultures and other vultures are documented in the Upper Palaeolithic sediments of the Swabian caves with several examples identified from Gravettian and Aurignacian deposits at Geissenklösterle.

    The Geissenklösterle flute has previously been modeled to evaluate its sound characteristics; this has not been done for the new flutes:

    The smaller, three-holed bone flute, made from the radius of a swan, that was recovered from the Aurignacian deposits of archaeological horizon II at the nearby cave of Geienklösterle can be played by blowing obliquely into its proximal end to produce four basic notes (10, 11, 12, 13). Three additional overtones can be produced by blowing more sharply into the flute. Given that the three-holed flute from Geienklösterle produces a range of notes comparable to many modern kinds of flute, we expect flute 1 from Hohle Fels to provide a comparable, or perhaps greater, range of notes and musical possibilities (14).

    I for one am tired of the boring New-Agey flute music that has been creeping into documentaries about ancient people. So I hope that somebody out there will think a little more broadly about the kind of musical environment these flutes were part of. There would have been a huge potential variety of percussion artifacts. Singing and clapping. Probably not strings, although as long as we're going to talk seriously about arrows in the Upper Paleolithic, a good bowstring has a nice pluck to it.

    Now if you're a composer of documentary caveman music, you don't want to take this too far. And by "too far", I mean Ewok celebration from Return of the Jedi "too far." That would not be my idea of a "happy hour." Kapiche?

    References:

    Conard NJ, Malina M, Münzel SC. 2009. New flutes document the earliest musical tradition in southwestern Germany. Nature (advance online) doi:10.1038/nature08169

  • Goddess on a cave bottom

    Sat, 2009-05-16 11:51 -- John Hawks

    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

  • Neolithic grave relations

    Mon, 2008-11-17 23:08 -- John Hawks

    An interesting story:

    One of the graves contained a woman with three children, at least two of whom were not hers. The researchers suggest the woman might be their aunt or a stepmother. Another grave contained a family of four, according to the analysis — making it the oldest molecular genetic evidence of a nuclear family ever obtained.

    “Normally a family doesn’t die at the same time,” Dr. Haak said. So that was one clue to what happened. Others were found in bones: fractured skulls, an arrowhead in a spine and signs of defensive injuries to arms and hands.

    You might answer quite a lot of interesting questions if you could find first-order relatives in the archaeological record.

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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

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Acceleration

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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.