Showing posts with label cave art. Show all posts
Showing posts with label cave art. Show all posts

15/10/2023

What Do Neanderthals Tell About Us?

 



For generations, Neanderthals have been a source of fascination for scientists. This species of ancient hominim inhabited the world for around 500,000 years until they suddenly disappeared around 40,000 years ago. Today, the cause of their extinction remains a mystery.

Archaeologist Ludovic Slimak and his team have spent three decades excavating caves, studying ancient artefacts and delving into the world of Neanderthals – and they’ve recently published provocative new findings. In this week’s episode of The Conversation Weekly podcast, we speak to Slimak about how Neanderthals lived, what happened to them, and why their extinction might hold profound insights into the story of our own species, Homo Sapiens.

Neanderthals migrated to Europe around 400,000 years ago from Africa, the birthplace of humanity. Until now, the general consensus among archaeologists has been that Homo Sapiens were a lot slower to leave Africa, only migrating to Europe approximately 42,000 years ago and in one wave that coincided with the extinction of Neanderthals.

But Slimak, an archaeologist at Université Toulouse III - Paul Sabatier in France, has published controversial new work that challenges this.

In 2022, he published research from the Mandrin Grotte in the Rhône valley in southern France, which suggested he’d found a Homo Sapiens tooth within Neanderthal sediment layers. He explains:

 “”We began to work in the middle of these layers that were dated at 54,000 years, and then we began to find incredibly modern Homo Sapiens technologies sandwiched between very classic Neanderthal technologies.”

Slimak’s subsequent research suggests that, rather than a single wave of Homo Sapiens migration from west Asia to Europe, there were in fact three waves, the last of which happened around 42,000 years ago. These findings are provocative: they would rewrite the timeline to suggest that Homo Sapiens arrived in Europe about 10,000 years earlier than previously thought, and so co-existed with Neanderthals for much longer.

What tools reveal

To understand the factors that led to the extinction of Neanderthals and the survival and dominance of Homo Sapiens, Slimak has also compared the tools crafted by both species during the period they co-inhabited Europe. His hypothesis is that examining the evolution of these tools and how they’re made might provide clues into the differing fates of the two human species.

 During a three-year study, he compared flint tools found in Lebanon’s Ksar ‘Akil cave to those in France. Slimak noticed a striking similarity in the flint points atop spears crafted by Homo Sapiens, even those produced tens of thousands of years apart. He explains:

“If you take Homo Sapiens tools or weapons technology, after you’ve seen a hundred of these tools, they are precisely the same. So, we have a process of standardisation, of production in series that is very specific to our species. But now, if you take Neanderthal tools … each of them will be different from the others. That is systematic among all Neanderthal societies.”

Slimak argues that Homo Sapiens’ disposition for systematisation and standardisation might have conferred an evolutionary advantage during that period. It wasn’t a matter of Homo Sapiens wiping out other human species such as Neanderthals. Rather, their efficient ways may have played an pivotal role in their survival.

To find out more, listen to the full episode of The Conversation Weekly podcast.

  

A tooth that rewrites history? The discovery challenging what we knew about Neanderthals – podcast. By Mend Mariwany. The Conversation, October 12, 2023.

Neanderthals: what their extinction could tell us about Homo Sapiens. The Conversation Weekly, October 12, 2023,





They were long derided as knuckle-draggers, but new discoveries are setting the record straight. As we rethink the nature of the Neanderthals, we could also learn something about our own humanity

There’s a human type we’ve all met: people who find a beleaguered underdog to stick up for. Sometimes, the underdog is an individual – a runt of a boxer, say. Sometimes, it is a nation, threatened by a larger neighbour or by the rising sea. Sometimes, it is a tribe of Indigenous people whose land and health are imperilled. Sometimes, it is a language down to its last native speakers. The underdog needn’t be human: there are species of insect, even of fungi, that have their advocates. But what all these cases all have in common is that the objects of concern are still alive, if only just. The point of the advocacy is to prevent their extinction. But what if it’s too late? Can there be advocates for the extinct?

The past few years have seen an abundance of works of popular science about a variety of human beings who once inhabited Eurasia: “Neanderthals”. They died out, it appears, 40,000 years ago. That number – 40,000 – is as totemic to Neanderthal specialists as that better known figure, 65 million, is to dinosaur fanciers.

 What distinguishes these new books isn’t just what they tell us about an extinct sub-species of humans, but the surprising passion they bring to their subject. Their authors are enraged that popular ideas about the Neanderthals lag so far behind the cutting edge of paleontological research – research that has brought the Neanderthals closer to us than they have been in 40,000 years.

In speculative fiction by HG Wells, Philip K Dick, Isaac Asimov, Michael Crichton, William Golding, and even, improbably, William Shatner, the Neanderthals have tended to be either brutes or hippies, savages or shamans. A band formed in the 1990s called the Neanderthals was best known for singing crude songs in animal skins. A critic once used the phrase “Neanderthal TV” to refer to television for laddish yobs. The fact that we need no explanation for that reference indicates just how widespread the stereotype is.

Dimitra Papagianni and Michael A Morse, authors of a fascinating recent survey of Neanderthal science, The Neanderthals Rediscovered, write in the hope that they might “restore some dignity to those we replaced”. But what could they mean? Since there are no Neanderthals around any more, the fight for Neanderthal dignity risks seeming not merely quixotic but absurd. What does it take to be indignant on behalf of the dead – no longer here to care much, if they ever did, for their own dignity?

Some basic facts about the Neanderthals are now pretty well settled. Of the many species of hominin, they were the dominant ones from roughly 400,000 years ago until 40,000 years ago. (Hominin is the now orthodox scientific term for any member of the genus Homo: a group of species that includes all human-like creatures but excludes, for instance, gorillas.) Their brains were large, their physical strength considerable. Remains of their bodies have been found scattered widely across Europe, even as far south as Gibraltar. Why they aren’t still around remains a vexed question. There are plenty of plausible hypotheses – and conjectures galore about their psychology and behaviour – but nothing yet approaching a consensus.

Our conjectures about the Neanderthals began in 1856, when workers in a limestone quarry near Düsseldorf discovered a cave full of bones, some of abnormal bulk. A local naturalist, with uncanny intuition, thought the bones had to be from a primitive kind of human. He sent them in a chaperoned wooden box to an anatomist in Bonn, who inspected them and came to the same conclusion. In 1863, Prof William King, delivering a short paper to the British Association for the Advancement of Science, argued forcefully that the bones belonged to a creature for whom we didn’t yet have a name. He went on to propose one: Homo neanderthalensis.




Why that name? The valley where the bones were discovered had been a favourite spot for the wanderings of a 17th-century polymath and nature-lover whose family name had originally been Neumann, before his ancestors rechristened themselves, faux-classically, Neander. “Neander” was Greek for “new man”, “Thal” was German for valley. The Valley of the New Man: “Could there be any more fitting moniker for the place where we first discovered another kind of human?” asks Rebecca Wragg Sykes, the author of Kindred: Neanderthal Life, Love, Death and Art.

The discovery of those bones, and their naming in 1863, came at a time when Europe was coming to terms with the implications of the theories of Charles Darwin. On the Origin of Species had been published only four years earlier, and it was becoming harder to deny that the world was older – dramatically older – than we had supposed.

That name, Homo neanderthalensis, did two things at once. It proposed that we, proud members of Homo sapiens, had not always been the only members of our genus. But the kinship it acknowledged in one breath, it took away from the Neanderthal in the other. Even if they were human, Neanderthals were humans of a distinct type. They were like us; indeed, they were rather more like us than the chimpanzees that we were beginning to acknowledge as our kindred. But they were still other. Perhaps that was the beginning of the denial of the Neanderthals’ dignity against which their 21st-century champions so bridle.

The fossil record was already beginning to show us how different a place the world of the mid-19th century was from the one that the Neanderthals inhabited. There were animals then that are no longer with us: enormous grazing cattle named aurochs, straight-tusked elephants, woolly rhinoceros, and the great auk, a giant penguin-like bird that died out around the time of the discoveries in the Neander valley.

That world, barely a blink of an eye in geological time, was, as Wragg Sykes puts it with sincere excitement, “sparkling with hominins”: Homo antecessor, Homo bodoensis, Homo heidelbergensis, many of which inhabited the Earth during the very same periods. There are at least a half dozen now that are widely recognised, and more seem to be discovered all the time.

The Neanderthals have been joined, much more recently, for instance, by such species as Homo floresiensis, irritatingly referred to as “hobbits” after the discovery of a diminutive skeleton in Indonesia in 2003. In 2010, we got decisive proof of the Denisovans, another hominin, in Siberia. In the years since, the hominin ranks have swelled yet further to include Homo naledi (South Africa) and Homo luzonensis (the Philippines). No one doubts that further archaeological work, particularly in Africa, will yield yet more hominins. But the parade of archaic humans all began with the most popular of our fellow hominins: the Neanderthals.

The most recent defence of Neanderthal dignity to appear in English is The Naked Neanderthal by the French paleoanthropologist Ludovic Slimak. He reports encountering an anthropologist at Stanford who joked, while projecting a slide of a Neanderthal skull, that “if I got on a plane and saw that the pilot had a head like that, I’d get off again”. Blunter still was the Russian academic who kept insisting that the Neanderthals were, simply “different”. Different how? “Ludovic,” he said, “they have no soul.”

What exactly is that supposed to mean? Dragged out of the realm of idle metaphor, the Russian scientist must have been saying that there were psychological capacities that we, Homo sapiens, have – capacities distinctive of our humanity – that Homo neanderthalensis lacked. But what were they? That is a scientific question, to be answered by research, not simply a matter for philosophical speculation.

It is beyond doubt now that the knuckle-dragging stereotype of the Neanderthal was based on a crude mistake. Marcellin Boule, a French pioneer in the subject, has much to answer for: faced with a well-preserved specimen from a French cave in 1908, he chose to reconstruct, for no obvious scientific reason, its legs and spine as stooped. A widely circulated illustration of a reconstructed body depicting the Neanderthal as more ape-like than recognisably human set the tone for the popular misunderstanding of Neanderthals: inarticulate, slouching, slow; therefore other; therefore inferior.

Like other champions of the Neanderthals’ dignity, the evolutionary biologist Clive Finlayson, author of The Smart Neanderthal and The Humans Who Went Extinct, was exasperated by the cultural influence of Boule’s scientifically groundless reconstruction. Armed with better-preserved skulls and fewer assumptions about the inferiority of the Neanderthals, he was in a position to show why our anatomical differences from Neanderthals have been overstated. In 2016, he went so far as to commission a pair of forensic artists to reconstruct full Neanderthal bodies based on a pair of skulls that had been discovered in Gibraltar, a trove of Neanderthal remains.





The reconstructed “Flint” and “Nana”, standing proudly erect, looked as he expected: uncannily (as we are tempted to say) human. “The exaggerated features of skull anatomy,” Finlayson writes, “really fade away once you put skin and flesh to the bone.” The philosopher Ludwig Wittgenstein once wrote that the best image of the human soul was the human body. Acknowledging the soul – the dignity – of the Neanderthal might well have to start with acknowledging how alike their bodies were to ours.

Does the difference, then, between the Neanderthal and sapiens consist in something to do with intelligence? But how exactly can we compare our intelligence with that of beings who aren’t available to sit an IQ test? The answer appears to lie in working out, from archaeological remains, what they were able to do.

What immediately catches the eye about the new Neanderthal research is that it has managed to gather so much from so little. Even in France, where Neanderthal research thrives, Slimak reminds us that “no archaeological operation has turned up a new Neanderthal body since the late 1970s”. But the scientists have learned to make do with the meagre traces the Neanderthals left behind. A bone and a flint here, a cave there, have proven enough to tell us vastly more than we knew when the first Neanderthal skeletons appeared in Germany.

A hypothesis from the 1960s offers a vivid example of the kind of evidence that can be adduced for Neanderthal intelligence. A team led by the Cambridge archaeologist Charles McBurney was excavating at a seaside cliff on the Channel Island of Jersey. An early 20th-century dig had already turned up remnants – in the form of surviving teeth – of Neanderthal occupation. But at the base of the cliff, they found an uncommonly large number of bones belonging to mammoth and rhinoceros. Why were they there?

McBurney’s field assistant, Katharine Scott, advanced an intriguing hypothesis. Could the bones be there because the mammoths had tumbled to their deaths from the high cliff that overlooked the graveyard? Scott pointed to evidence, from surviving hunter-gatherer societies, of “drive lanes” used to kill large numbers of bison. The Native American hunters who had been known to practise this kind of hunting used controlled grass fires to send the animals towards the cliff, and carefully positioned hunters to keep the animals moving. Had the Neanderthals used similar hunting techniques?

 Papagianni and Morse propose that Scott’s hypothesis, if correct, attributes to the Neanderthals some quite advanced cognitive capacities. To pull off such a hunt, they “would have had to choreograph and execute a complex series of moves, testifying to their ability to plan several steps ahead and communicate that plan”. This suggests a picture of Neanderthals as well organised, co-operative killers, with advanced communicative systems.

The old picture of Neanderthals proposed that they had, at best, a tenuous grasp of how fire worked – perhaps they were able to use fire when they discovered it, but were unable to produce it when needed. But this is quite improbable. It is difficult to sustain the idea that a relatively fur-less species could have survived in Europe during the glacial periods, when they appear to have thrived, without a mastery of fire.

And so the archaeological record indeed suggests. Excavation sites are full of pieces of flint that show evidence of fire-making. Charcoal remains at these sites indicate that they were keenest on using resin-rich pine wood as fuel, suggesting they had decided tastes based on a long history of experimentation. They may even have learned to use bones to prolong the life of a fire, keeping them warm while they slept.

The study of ancient Neanderthal fires is itself a triumph of modern science. The name of the method – a mouthful – is “fuliginochronology”, a technique by which one turns a sooty cave into an archive, a veritable guest book of Neanderthal inhabitation. A fire burning in a cave will leave a mark in the form of “nano-scale stripes”, which, as Wragg Sykes helpfully explains, are “essentially tiny stratigraphies written in soot … formed when the fires of Neanderthals in residence ‘smoked’ the roof and walls, leaving thin soot films”. As one band of Neanderthals left the cave and another arrived, and started a new fire, the pattern of soot would produce a sort of unique barcode. All these fires could hardly be the work of a species with a tenuous grasp of its workings.

The Neanderthals, in other words, walked erect, hunted big game and knew how to control fire: hardly the knuckle-draggers of stereotype.

Last year, the Nobel prize in physiology or medicine was given to the scientist whose work has put a number to just how human the Neanderthals were. Svante Pääbo, a Swedish geneticist, was a pioneer in the study of “paleogenetics”, which began with the discovery of how DNA might be extracted from a range of sources: old bones and teeth, naturally, but also from cave sediments. The techniques he and his colleagues refined have enabled us to know vastly more about the Neanderthals, their bodies, their habits and their habitats, than their 19th-century discoverers could ever have imagined possible.

Perhaps the most entertaining thing about Pääbo’s 2014 book, Neanderthal Man: In Search of Lost Genomes, is how much of it is dedicated to an account of the palaeogeneticist’s greatest enemy: contamination. Pääbo takes us through the punctilious quest for absolute cleanliness in the laboratory and for methods that will help distinguish real Neanderthal DNA from samples contaminated with, say, the investigator’s own.

Having cut his teeth on trying to extract DNA from Egyptian mummies in the late 1970s, Pääbo began to apply his methods to even older bodies. His methods culminated in a series of triumphs. First, he managed to extract mitochondrial DNA from a piece of ancient bone allowing him to publish, in 1997, the first Neanderthal DNA sequences. Thirteen years later came the publication of a full Neanderthal genome, based on DNA extracted from only three individuals.




The genome offered strong support to what had previously been only a hypothesis: that Homo sapiens and the Neanderthals had had a common ancestor who lived about 600,000 years ago. More significantly, it showed that when early Homo sapiens had walked from their original home in Africa into Eurasia, they had encountered Neanderthals there and interbred with them. The Neanderthals were among the genetic ancestors of modern Europeans and Asians (but not of modern Africans). Eurasians today have between 1.5 and 2.1% of Neanderthal DNA.

Unusually for a piece of genetics research, Pääbo’s results became the stuff of salacious tabloid headlines. Playboy magazine interviewed Pääbo about his research, producing a four-page story titled “Neanderthal Love: Would You Sleep with This Woman?” The mucky Amazonian Neanderthal woman featured in their illustration was not designed to be a fantasy object. Meanwhile, men wrote to Pääbo volunteering to be “examined for Neanderthal heritage” – perhaps seeking a scientific basis for their stereotypically Neanderthal traits, being “big, robust, muscular, somewhat crude, and perhaps a little simple”. It was mostly men who wrote in, though there was the occasional woman convinced her husband was a Neanderthal.

Other readers of this research have found Pääbo’s conclusions a source of comfort. Those wondering what had happened to the Neanderthals 40,000 years ago had long been tempted by a dark speculation: perhaps we, Homo sapiens, with our superior weapons and new microbes, had killed them off. But Pääbo’s conclusions give an otherwise tragic story something of a silver lining: the Neanderthals are still alive, as alive as the archaic Homo sapiens they interbred with. They live on, to use an apt cliche, in us, their (very) hybrid heirs. The one vital trace they have left behind lies in our genes, in the frustrating susceptibility that modern Eurasians with Neanderthal DNA have to burn in the sun and develop Crohn’s disease. Perhaps that is a surer way to restore them to dignity than any other: to see them not as falling prey to our ancestors but as our ancestors.

Not all Neanderthal researchers draw such comfort from the DNA studies. Ludovic Slimak thinks the Neanderthals no more live on “in us” than an extinct wolf lives on in the poodle who shares sections of the archaic wolf genome. In Slimak’s way of thinking about the question, the comforting idea that there was no extinction, only a sort of “dilution”, is tantamount to a failure to see that Neanderthals were a genuinely “other” kind of humanity, neither better nor worse, and certainly not “soulless”. “That humanity”, he writes with a brutal brevity, “is extinct, totally extinct.”

Researchers anxious to emphasise how much Neanderthals were like us may well be motivated by the same worthy aspirations of those who thought they could fight racism by denying the existence of any real difference between human groups. But that, Slimak proposes, is itself racist. “Racism is the refusal of difference … Racism is those old images of Plains Indians trussed up in three-piece suits: just like us.” He sees this as a denial of radical difference, or “alterity” – a term popular in French philosophy and the social scientific theory inspired by it.

The old knuckle-dragging conceptions of Neanderthals certainly don’t do justice to what the evidence tells us. But they at least did the Neanderthals the courtesy of allowing them to be different from us. The challenge, Slimak argues, is not to dignify the Neanderthal by making them, effectively, identical to us, a sort of “ersatz sapiens”. The challenge is to let them have their dignity while remaining themselves, a different kind of human, a different kind of humanity.

The unavoidable talk of “humanity” in these debates forces us to confront a more fundamental philosophical question of what exactly we take the “human” to mean in the first place. Agustín Fuentes, an American primatologist, writes that the deep moral lesson of our new research on the Neanderthals is that we now need to “reconceptualise the human to recognise our contemporary diversity, complexity, and distinction as part of a narrative of hundreds of thousands of years of life, love, death, and art”. The contemporary champions of the Neanderthals do indeed seem to take the task before us to be one of recognition, of acknowledgment. But Slimak worries that the language of “recognition” conceals what is really going on: projection. And projection, even from the most honourably egalitarian of motives, is still a distortion and a failure to respect the dignity of difference.

There appear to be perils in both directions, perils that the analogy with racism brings out. These debates echo conversations that have haunted us since Columbus arrived in the New World in 1492. But it is an essential part of our conversations about colonialism that enough of the colonised – and enough of their ways of life – have survived for them, or their descendants, to give their own answers to these questions about similarity and difference. Importantly, not every person in a colonised nation has given the same answer to these questions. Maybe we shouldn’t even assume it has a single correct answer.

It is surprising just how affecting accounts of Neanderthal extinction can be, how often it moves otherwise sober science writers to unaccustomed pitches of lyricism. Being a responsible scientist, Wragg Sykes is aware that “ascribing any level of formal spirituality to Neanderthals would go far beyond the archaeological evidence”. But she is convinced that we have enough evidence to be able to say that “they too encountered all of life’s sensory marvels. Perhaps as photons from a salmon-belly sunset saturated their retinas, or the groaning song of a mile-high glacier filled their ears, Neanderthals’ brains translated this to something like awe”. Her “perhaps” registers her awareness that all this is speculation, maybe even wishful thinking, not (yet) science.

The Neanderthals cannot speak. As we put our insistent questions to their bones, their genes and their hearths, we can never be sure that the voice that answers isn’t just ours, echoing back to us from an ancient cave. But perhaps the mistake lies in thinking that the question “Are they like us or different?” presents a real choice. Perhaps the correct answer to that question is, quite simply, “Yes”. Maybe the best way to accord them their dignity is to treat them as we treat each other in at least one respect: by allowing them to be puzzling.

In puzzling over them, we reveal something of ourselves. Why might some of us care so much about creatures so long extinct? No doubt part of the answer is that questions about the Neanderthals serve as proxies for questions about ourselves. The old fiction writer’s choice between a picture of the Neanderthals as thugs and one of them as prototypical flower children no doubt reflects anxieties about human nature that have haunted the last few centuries of our history: are we built for war or peace?

 There is more to this than a projection of narcissistic concern. Contemporary scientists appear to be divided between those who think Neanderthal dignity calls for a recognition of their similarity to us, and those who think it calls for a recognition of their difference. It is striking that the camps are of one mind in thinking that dignity – or respect or something of that kind – is owed here, and that fact itself needs an explanation.

But is it really all that eccentric? Is it really odder to want justice for extinct Neanderthals than it is to want a wrongly convicted friend to be posthumously exonerated? Thinkers dismissed in their lifetimes as kooks or cranks have been vindicated several centuries after their martyrdom, by those who rejoiced that justice had finally been done. It is, if anything, a part of human nature to resist the idea that our interests die with us: a part of our nature, and a beautiful one at that. And it makes one wonder: when the civilisations of Homo sapiens have been reduced to bones and rubble, will our successors on this planet, digging up our mounds of plastic waste, be as anxious to give us our due?

 

Justice for Neanderthals! What the debate about our long-dead cousins reveals about us. By Nikhil Krishnan. The Guardian, September 19, 2023.





Explorer Ludovic Slimak has dedicated decades to unearthing the mystery of our prehistoric ancestors. Now he has found a missing piece that radically reshapes our understanding – not just of the Neanderthals but of humanity itself

There’s no confusing Ludovic Slimak for just another hotel guest. It’s a sweltering Sunday afternoon in late August and we’ve arranged to meet in the car park of a guesthouse on the outskirts of Montélimar, southeastern France. The lawn sprinklers are in full swing; a couple of kids play in the fenced-off poolside area. Hiding from the heat in my rental car, I’d been concerned we’d struggle to find each other: Slimak’s email and WhatsApp communication until now have been at best irregular; the phone signal is patchy in this rural French corner. As soon as he pulls up in a dust-covered Volkswagen minivan, however, I realise there’d been no need to worry. Amid the trickle of blissed-out holidaymakers, Slimak seriously sticks out: he has wild, long hair and an overgrown, grey-flecked beard; there’s dirt deep beneath his fingernails. It’s 43C, according to the screen on my dashboard. In shorts and a T-shirt, I’m sweating. Meanwhile, the man now waving in my direction is dressed in a herringbone waistcoat, stained linen trousers, denim shirt and Indiana Jones panama hat. There’s no need for introductions to confirm he’s the man I’m here to visit. Ludovic Slimak looks a picture-perfect archeological adventurer; a self-described Neanderthal hunter.

He suggests we drive in convoy to our final destination, the Grotte Mandrin, a hillside cave hidden deep in Rhône Valley woodland. “It’s almost impossible to find the place unless you’ve been there many times,” Slimak explains in fluent English with a French accent. “And it’s better that way: we don’t want any random people to – accidentally or otherwise – come across all the treasures we’re finding.” One of the world’s leading experts on Neanderthals, Slimak has spent decades travelling across continents in search of insights into this mysterious, extinct prehistoric species. Just a short drive away, he assures me, is one the most significant archaeological sites he’s ever spent time working at. “I started digging there 33 years ago,” he says, “and for the past 20 years I’ve spent a lot of time in this cave, trying to understand Neanderthals better. It’s here we’re making discoveries that are radically reshaping our understanding of the history of both Neanderthals and humans, too.” His book, The Naked Neanderthal, is the result of this research. In 2022, it was published in France to great acclaim. Now, it’s been translated into English. That’s why I’m here.

For 15 minutes, we drive in convoy further into the countryside. From a deserted road, we turn on to an unassuming dirt track. I park up, as instructed, and get into his VW. We make a bumpy climb a few hundred metres uphill, before we jump out. I follow him down an overgrown footpath I’d never have noticed. “This cave can be seen for miles around,” Slimak says, a few steps in front of me. “Locally, it’s known as ‘The rock of the guide’. The oldest occupation here, we think, is at least 115,000 years ago. We know there were 500 phases of occupation in this cave. It’s a hyper-strategic location.”

Sandwiched between Marseille and Lyon, it feels as if we’re in the middle of nowhere, save the regular rumble of high-speed trains a hundred or so metres below. “The national highway and railway lines here represent 70% of European movement along the north/south axis: a path through the mountains. It’s why this has historically been very significant.” We turn a final corner. Ahead of us, an archaeological dig is in full swing. Slimak guides me to the top of the cave area, where we sit and observe. Seven or eight expert are at work: brushing, noting, photographing, sorting. His wife – the fellow Neanderthal expert Dr Laure Metz – is one of those present. Their two sons, nine and six, are back at the 12th-century castle they rent while on site. Others here are PhD students and researchers drawn to the dig from all over.

“By all accounts,” Slimak says, “as a species, Neanderthals are our closest relatives. And we have parallel histories; common ancestors, I believe, between 300,000 and 500,000 years ago. But then there’s a great divergence.” A separation of the two creatures. “Homo Sapiens – our ancestors – were mostly in Africa, although we can see early traces of them in the Near East and Eurasia. There’s an anomaly, however, with Europe, where we believe Sapiens didn’t really travel to, home to the largest Neanderthal populations.” The first Neanderthal skull was discovered in a Belgian cave in 1829; the first bones were found near Düsseldorf in the 1850s. For millennia, these creatures coexisted on the planet in different places. “More recently,” Slimak continues, “we have started to discover there were, in fact, moments where these species met. And here in this very cave, we’ve made an exciting new discovery.”

At the age of four, Slimak was asked by his father what he’d like to do when he grew up. “I said I wanted to make holes in the ground to find old things. I didn’t know it was a job, until he told me about archaeology.” He’s been at it ever since. Slimak was born in 1973; his father was a forester. His early years were spent surrounded by trees, as the family moved across France. “My grandfather lived in the Pyrenees. He was born in 1918, but really, he was a man from the 19th century. I spent so much time with him that I also feel like a man from another era, lost in the modern world.”

By 10, Slimak had talked his way into various archeological digs he’d come across near their home. At 14, he was already something of an expert. “By 18, I was working on a dig here in the Rhône Valley, at a Neanderthal site maybe 70km north.” These Neanderthals were cannibals. “From then on, I knew I wanted to dedicate my entire life to these creatures.” At first, university didn’t feel a fit for this born outdoor explorer. In his 20s, he realised a degree would help him carve out a career, so enrolled in a course at Aix-Marseille University. To help pay his way, Slimak learned to play the bagpipes after writing to Glasgow’s College of Piping, and through busking and playing in Marseille’s premier late-90s Celtic band earned enough to keep his research afloat. In 2004, he completed his PhD and was soon recruited by Stanford University, before being hired by France’s prestigious Centre National de la Recherche Scientifique, where he’s worked ever since.

 His Neanderthal hunting has seen him direct digs everywhere from the Horn of Africa to the Arctic Circle. “It’s an exploration,” he says. “On this planet now, there is no longer any exploring to do horizontally in space, but there’s so much to do in time. Neanderthals offer a huge unknown; still, it’s the greatest exploration.”

What happened to the Neanderthals – their extinction – is one of the greatest unsolved mysteries. About 40,000 years ago, they vanished. It’s a topic that has consumed both academic research and fiction. Much effort has been spent trying to ascertain what led to their demise. But the way Slimak sees it, this might no longer be the most prescient question. “Normally, archaeologists find that if Sapiens come into Neanderthal territory, that’s the end of the Neanderthals. But here we’ve made a unique discovery.” He jumps down in the dig itself, pointing between various layers of rock and sediment. “We are finding thousands of things at every level: this is a flint, a flint, a flint, a bone, a flint, tooth, flint, rib…” The team here can date every bone, tool or rock they discover while digging. “Neanderthals first occupied this site more than 100,00 years ago. Then, we now know that 54,000 years ago, the first Homo Sapiens lived here. After that, there were at least five further phases of Neanderthal inhabitants over a 12,000 year period.”




It sounds complex, but Slimak is keen to make clear the takeaway is short and simple. “Finding Homo Sapiens sandwiched between Neanderthal occupants in these caves? It totally reshapes our understanding of our origins and rewrites what we’ve believed previously. If both species brushed up against each other over this long period of time, far more important than what happened to Neanderthals, we should be asking: what did these two species do together? Did they communicate? And most importantly, how did they interact? Because Neanderthals experienced and existed in the world differently to our ancestors. Not just by culture, but by their very nature.”

He points to the way prehistoric Homo Sapiens and Neanderthal crafts are vastly different. “We might not know much about Neanderthals,” he goes on, “but through what they created, we can see something incredible. When you take Homo Sapiens tools made of flint, spanning tens of thousands of years, in different parts of the world, they’re always the same. Standardised. It can’t be cultural.” There was likely little contact between these different settlements. “There’s something innate within the behaviour of Homo Sapiens – within our behaviour – to act and think in a certain way. It’s in our nature.” Neanderthal crafts, though, don’t share this pattern of standardisation. “Look carefully at Neanderthal tools and weapons. They’re all unique. Study thousands and you’ll find each is completely different. My colleagues never realised that. But when I did, I saw there was a deep divergence in the way Homo Sapiens and Neanderthals each understand the world.”

Historically, he believes humanity has had a problem. “To truly understand something, you need to be able to compare it to something else. But us as Sapiens? We’ve never had a species to compare ourselves to.” Yes, there are other animals: great apes, chimps, gorillas. “But we diverged from these creatures maybe 10m years ago. Of course, compared to a gorilla we have more creativity and skills. It gives us a certain image of ourselves– one of superiority. But what happens if we compare ourselves to something far closer – something far more like humanity, although different, that only disappeared 40,000 years ago?” Imagine, he suggests, how differently we’d see ourselves if confronted by hyper-intelligent aliens.

 Slimak feels this comparison can and should be made with Neanderthals. “Their tools and weapons are more unique than ours. As creatures, they were far more creative than us. Sapiens are efficient. Collective. We think the same, and don’t like divergence. And I don’t just mean western culture. Go to any Aboriginal society: there are clear rules and customs, and shared styles of clothing. Expectation to act in a certain manner; to follow regulations.” Our ancestors, he says, lived like this instinctively. “You don’t see that with Neanderthals.” By seeing Neanderthals as a reference point against which we can measure ourselves, Slimak reckons humanity is offered a gift: “We have an opportunity to look in a mirror and see ourselves for what we truly are. To help us redefine, which we must do urgently.”




The way he sees it, this isn’t just an interesting philosophical theory. “Neanderthals vanished, I think, because of high human efficiency. And this efficiency now threatens to destroy us, too. That’s what’s killing the planet’s biodiversity.” For Slimak, The Naked Neanderthal isn’t a history book. “It’s about us in the present. Urging humanity to see itself for what it is by comparing us to something else, in the hope of changing the course of our future. Because by understanding our nature – and the risk this efficiency poses – we can save ourselves from a similar fate.” Over millennia, humankind has also developed an advanced, impressive technology and culture, of a type Neanderthals could never have imagined. “So while there is something dangerous in our nature, as a collective we can control and reshape it. Understanding this is the key to humanity’s future. Because if we don’t think carefully, next time it won’t be Neanderthals that our efficiency destroys, it’ll be humankind itself that’s the victim.”

‘I feel like a man from another era’: Neanderthal hunter Ludovic Slimak. By Michael  Segalov. The Guardian, September 10, 2023. 




More than 57,000 years have passed since Paleolithic humans stood before the cave wall, with its soft, chalky rock beckoning like a blank canvas. Their thoughts and intentions are forever unknowable. But by dragging their fingers across the rock and pushing them into the cave wall, these creative cave dwellers deliberately produced enduring lines and dots that would lie hidden beneath the French countryside for tens of thousands of years.

Now, scientists have discovered that these arresting patterns are the oldest known example of Neanderthal cave engravings.

Authors of a study published Wednesday in PLOS One analyzed, plotted and 3D modeled these intriguing markings and compared them with other wall markings of all types to confirm that they are the organized, intentional products of human hands. The team also dated deep sediment layers that had buried the cave’s opening to reveal that it was sealed up with the engravings inside at least 57,000 and as long as 75,000 years ago—long before Homo sapiens arrived in this part of Europe.

This find, supported by the cave’s array of distinctly Neanderthal stone tools, identifies Neanderthals as the cave art creators and adds to growing evidence that our closest relatives were more complex than their dim caveman stereotype might suggest.

“For a long time it was thought that Neanderthals were incapable of thinking other than to ensure their subsistence,” notes archaeologist and study co-author Jean-Claude Marquet, of the University of Tours, France. “I think this discovery should lead prehistorians who have doubts about Neanderthal skills to reconsider.”

La Roche-Cotard is an ancient cave nestled on a wooded hillside above the Loire River. It was first uncovered in 1846 when quarries were operated in the area during construction of a railroad line. When it was first excavated in 1912, the array of prehistoric stone implements and cut-marked and charred bones of bison, horses and deer within revealed that Paleolithic hunters had frequented the site many thousands of years earlier.

Scientists first noted the finger tracings, with their organized appearance, as early as the 1970s. Beginning in 2016, the authors of the new study diligently plotted the various distinct panels and created 3D models for comparisons with other known examples of Paleolithic engravings. They also identified the cave’s many other wall markings made by the claws of animals, like cave bears, and by metal or other implements during modern incursions into the cave after 1912. Marquet says this process helped to show that the engraved panels were created in a structured and intentional manner. “These panels were not produced in a hurry, without thought,” he says.

The results also suggested that the designs were created by human hands, working the soft chalk wall, a material known as tuffeau, made of fine quartz grains and ancient mollusk shell fragments. The rock is permeable and covered with a fragile sandy-clay film.

“When the tip of a finger comes into contact with this film, a trace is left in the shape of an impact; when the tip of the finger moves, an elongated digital trace is left,” Marquet says. He knows this process firsthand. The team reproduced this method in a nearby cave made of the same type of rock. They marked walls using tools of bone, wood, antler and stone, as well as with their fingers, which produced engravings very similar to the ancient examples.

 Co-author Eric Robert, an archaeologist at the National Museum of Natural History in Paris, says the graphics are impossible to interpret because they were made by a vanished people for viewing by their contemporaries.

“These images are not for us, and we do not have the keys to understanding their meaning, their possibly diverse and multiple functions,” he says.




Scientists know that the cave’s assemblage of discarded stone tools are of the Mousterian technology, sophisticated flake implements that are typically associated with Neanderthals. This suggests the cave was in use exclusively by Neanderthals, who in turn created the carvings on the walls. However, the authors note they can’t establish a direct relationship between those discarded tools and the engravings.

But another strong line of geological evidence comes from analyzing nearby sediments. During the Paleolithic, the Loire River, once closer to the hillside, flooded the cave numerous times and helped to carve out parts of it. Eventually those floods deposited thick sediments that, aided by erosion from wind and the hillside above after the river changed course, completely sealed off the cave. Clear evidence remains showing how layers of sediment were put down over the years, which would have completely covered the slope and cave entrance to a depth of more than 30 feet.

This covering persisted in place until 1846, when material was extracted for the railroad embankment, exposing the cave entrance. The sediments above and around the cave entrance, part of the layers that covered it before 19th-century excavations, were dated by optically stimulated luminescence dating, which can determine how long it has been since grains of sediment like quartz were exposed to daylight. A total of 50 sediment samples collected showed the cave was very likely sealed up at least 57,000 years ago, well before humans lived in this part of France. Previously, the oldest cave engravings attributed to Neanderthals were an abstract cross-hatching pattern found in Gorham’s Cave, Gibraltar, and dated to some 39,000 years ago.

Robert notes that several lines of evidence—the presence of Neanderthal tools, the geological evidence and the analysis of the engravings themselves—converge to demonstrate that the cave walls were adorned by Neanderthals.

 “The authors present as convincing a case as can be made from a site disturbed by early excavations that the animal and human marks on its walls were left long before the arrival of our own species in Europe,” says archaeologist Paul Pettitt of Durham University in England, who wasn’t involved with the research. “Given that the cave’s archaeology is exclusively indicative of Neanderthals, with no evidence of subsequent Upper Paleolithic occupation, presumably because the cave was by this time inaccessible, this provides strong indirect, cumulative evidence that Neanderthals produced the finger markings.”

Humans from our family of ancestors began expressing themselves visually a very long time ago; Homo erectus carved zigzag patterns onto a shell more than half a million years ago. A series of handprints and footprints, which may have been deliberately placed by hominin children some 200,000 years ago, has been found on the Tibetan Plateau.

 Neanderthals, or Homo neanderthalensis, may also be responsible for the world’s oldest known cave paintings. Pettitt was part of a team that found 65,000-year-old paintings in three Spanish caves that they attribute to Neanderthal artists. The early humans left red pigmented designs by drawing around their hands or pressing stained fingertips to the walls.

Examples of Homo sapiens’ very different style of cave art appear later. A purplish pig found on the walls of a cave hidden in a highland valley on the Indonesian island of Sulawesi was painted an estimated 45,500 years ago. If that date is correct, the Leang Tedongnge cave could be the earliest known work of figurative art, in which painters recreate real-world objects rather than producing abstract designs. The collections at Spain’s El Castillo cave and France’s Chauvet cave, where sophisticated lions and mammoths were painted perhaps 30,000 to 40,000 years ago, are notable early examples of this complex, figurative art that is unlike anything Neanderthals are known to have produced—at least so far.

But that distinction doesn’t necessarily mean that Neanderthal creations should be regarded as products of simpler minds or thought processes. Robert believes that comparisons between Neanderthal and Sapiens traditions aren’t necessary. For each species, he believes, the appearance of prehistoric carvings and paintings is less about when people were capable of making them and more about when social dynamics created a need for them at a specific time—even if those needs are a mystery to us today.

Oldest Known Neanderthal Engravings Were Sealed in a Cave for 57,000 Years : The art was created long before modern humans inhabited France’s Loire Valley. By Brian Handwerk. Smithsonian Magazine, June 21, 2023.






Neanderthals may have lived in larger groups than previously believed, hunting massive elephants that were up to three times bigger than those of today, according to a new study.
 
The researchers reached their conclusions, published in the journal Science Advances on Wednesday, based on examinations of the 125,000-year-old skeletal remains of straight-tusked elephants found near Halle in central Germany.
 
The bones of about 70 elephants from the Pleistocene era were discovered in the 1980s in a huge coal quarry that has since been converted into an artificial lake.
 
Elephants of the time were much larger than the woolly mammoth and three times the size of the present-day Asian elephant: an adult male could weigh up to 13 tonnes.
 
“Hunting these giant animals and completely butchering them was part of Neanderthal subsistence activities at this location,” Wil Roebroeks, a co-author of the study, told AFP.
 
 “This constitutes the first clearcut evidence of elephant-hunting in human evolution,” said Roebroeks, a professor of archeology at Leiden University in the Netherlands.
 
The study suggests that the Neanderthals who lived in the area for 2,000 to 4,000 years were less mobile and formed social units “substantially larger than commonly envisaged”.
 
“Neanderthals were not simple slaves of nature, original hippies living off the land,” Roebroeks said.
 
“They were actually shaping their environment, by fire … and also by having a big impact on the biggest animals that were around in the world at that time.”
 
The researchers determined the elephants had been hunted – and not just scavenged – because of the age and sex profile of the remains found in the quarry.
 
Most of them were males and there were few young or old ones.
 
“It’s a typical selection made by hunters who went for the biggest prey,” Roebroeks said.
 
Adult male elephants would have been easier to hunt than females, who tend to move in herds protecting their young. “Whereas adult males are solitary animals most of the time,” Roebroeks said. “So they are easier to immobilise, driving them into mud and pit traps.
 
“And they are the biggest calorie bombs that are walking around in these landscapes.”
 
The researchers said the Neanderthals were able to preserve the huge quantities of food provided by a single elephant and it would sustain them for months.
 
“An average male elephant of about 10 tonnes would have yielded something like, minimally, 2,500 daily portions for an adult Neanderthal,” Roebroeks said.
 
“They could deal with it, either by preserving it for longer time periods – that is already something that we didn’t know – or simply by the fact that they lived in much, much larger groups than we commonly infer.”
 
The researchers said the Neanderthals butchered the animals with flint tools, which left clear traces on the well-preserved bones.
 
“They are classical cut marks that are generated by cutting and scraping off the meat from the bones,” Roebroeks said.
 
Traces of charcoal fires used by the Neanderthals were also found, suggesting they may have dried meat by hanging it on racks and building a fire underneath.
 
Roebroeks said that while the study provides evidence the Neanderthals lived in large social units, it is difficult to estimate exactly how large those groups actually were.
 
“But if you have a 10-tonne elephant and you want to process that animal before it becomes rotten, you need something like 20 people to finish it in a week,” he said.
 
Pit find in Germany reveals how Neanderthals hunted huge elephants. By AFP, The Guardian,  February 1, 2023.














25/12/2019

Cave Art from the Paleolithic Age and the Importance of Collective Effort








In 1940, four teenage boys stumbled, almost literally, from German-occupied France into the Paleolithic Age. As the story goes, and there are many versions of it, they had been taking a walk in the woods near the town of Montignac when the dog accompanying them suddenly disappeared. A quick search revealed that their animal companion had fallen into a hole in the ground, so—in the spirit of Tintin, with whom they were probably familiar—the boys made the perilous fifty-foot descent down to find it. They found the dog and much more, especially on return visits illuminated with paraffin lamps. The hole led to a cave, the walls and ceilings of which were covered with brightly colored paintings of animals unknown to the twentieth-century Dordogne—bison, aurochs, and lions. One of the boys, an apprentice mechanic, later reported that, stunned and elated, they began to dart around the cave like “a band of savages doing a war dance.” Another recalled that the painted animals in the flickering light of the boys’ lamps also seemed to be moving. “We were completely crazy,” yet another said, although the build-up of carbon dioxide in a poorly ventilated cave may have had something to do with that.

This was the famous and touristically magnetic Lascaux cave, which eventually had to be closed to visitors lest their exhalations spoil the artwork. Today, almost a century later, we know that Lascaux is part of a global phenomenon, originally referred to as “decorated caves.” They have been found on every continent except Antarctica—at least 350 of them in Europe alone, thanks to the cave-rich Pyrenees—with the most recent discoveries in Borneo (2018) and the Balkans (April 2019). Uncannily, given the distances that separate them, all these caves are adorned with similar “decorations”: handprints or stencils of human hands, abstract designs containing dots and crosshatched lines, and large animals, both carnivores and herbivores, most of them now extinct. Not all of these images appear in each of the decorated caves—some feature only handprints or megafauna. Scholars of paleoarcheology infer that the paintings were made by our distant ancestors, although the caves contain no depictions of humans doing any kind of painting.

There are human-like creatures, though, or what some archeologists cautiously call “humanoids,” referring to the bipedal stick figures that can sometimes be found on the margins of the panels containing animal shapes. The nonhuman animals are painted with almost supernatural attention to facial and muscular detail, but, no doubt to the disappointment of tourists, the humanoids painted on cave walls have no faces.

This struck me with unexpected force, no doubt because of my own particular historical situation almost twenty thousand years after the creation of the cave art in question. In about 2002 we had entered the age of “selfies,” in which everyone seemed fascinated by their electronic self-portraits—clothed or unclothed, made-up or natural, partying or pensive—and determined to propagate them as widely as possible. Then in 2016 America acquired a president of whom the kindest thing that can be said is that he is a narcissist. This is a sloppily defined psychological condition, I admit, but fitting for a man so infatuated with his own image that he decorated his golf clubs with fake Time magazine covers featuring himself. On top of all this, we have been served an eviction notice from our own planet: the polar regions are turning into melt-water. The residents of the southern hemisphere are pouring northward toward climates more hospitable to crops. In July, the temperature in Paris reached a record-breaking 108.7 degrees Fahrenheit.

You could say that my sudden obsession with cave art was a pallid version of the boys’ descent from Nazi-dominated France into the Lascaux cave. Articles in the New York Times urged distressed readers to take refuge in “self-care” measures like meditation, nature walks, and massages, but none of that appealed to me. Instead, I took intermittent breaks from what we presumed to call “the Resistance” by throwing myself down the rabbit hole of paleoarcheological scholarship. In my case, it was not only a matter of escape. I found myself exhilarated by our comparatively ego-free ancestors who went to great lengths, and depths, to create some of the world’s most breathtaking art—and didn’t even bother to sign their names.

Cave art had a profound effect on its twentieth-century viewers, including the young discoverers of Lascaux, at least one of whom camped at the hole leading to the cave over the winter of 1940–41 to protect it from vandals and perhaps Germans. More illustrious visitors had similar reactions. In 1928, the artist and critic Amédée Ozenfant wrote of the art in the Les Eyzies caves, “Ah, those hands! Those silhouettes of hands, spread out and stenciled on an ochre ground! Go and see them. I promise you the most intense emotion you have ever experienced.” He credited the Paleolithic artists with inspiring modern art, and to a certain degree they did. Jackson Pollock honored them by leaving handprints along the top edge of at least two of his paintings. Pablo Picasso reportedly visited the famous Altamira cave before fleeing Spain in 1934, and emerged saying “Beyond Altamira, all is decadence.”

Of course, cave art also inspired the question raised by all truly arresting artistic productions: “But what does it mean?” Who was its intended audience and what were they supposed to derive from it? The boy discoverers of Lascaux took their questions to one of their schoolmasters, who roped in Henri Breuil, a priest familiar enough with all things prehistoric to be known as “the pope of prehistory.” Unsurprisingly, he offered a “magico-religious” interpretation, with the prefix “magico” serving as a slur to distinguish Paleolithic beliefs, whatever they may have been, from the reigning monotheism of the modern world. More practically, he proposed that the painted animals were meant to magically attract the actual animals they represented, the better for humans to hunt and eat them.

Unfortunately for this theory, it turns out that the animals on cave walls were not the kinds that the artists usually dined on. The creators of the Lascaux art, for example, ate reindeer, not the much more formidable herbivores pictured in the cave, which would have been difficult for humans armed with flint-tipped spears to bring down without being trampled. Today, many scholars answer the question of meaning with what amounts to a shrug: “We may never know.”


If sheer curiosity, of the kind that drove the Lascaux discoverers, isn’t enough to motivate a search for better answers, there is a moral parable reaching out to us from the cave at Lascaux. Shortly after its discovery, the one Jewish boy in the group was apprehended and sent, along with his parents, to a detention center that served as a stop on the way to Buchenwald. Miraculously, he was rescued by the French Red Cross, emerging from captivity as perhaps the only person on earth who had witnessed both the hellscape of twentieth-century Fascism and the artistic remnants of the Paleolithic age. The latter offered no glimpse of an earthly paradise such as modern keto-drunk paleophiles like to imagine, in which our distant ancestors lounged around making up dance tunes and gnawing on ungulate bones. As we know from the archeological record, it was a time of relative peace among humans. No doubt there were homicides and tensions between and within human bands, but it would be at least another ten thousand years before the invention of war as an organized collective activity. The cave art suggests that humans once had better ways to spend their time.

If they were humans; and the worldwide gallery of known cave art offers so few stick figures or bipeds of any kind that we cannot be entirely sure. If the Paleolithic cave painters could create such perfectly naturalistic animals, why not give us a glimpse of the painters themselves? Almost as strange as the absence of human images in caves is the low level of scientific interest in their absence. In his book What Is Paleolithic Art?, the world-class paleoarcheologist Jean Clottes devotes only a couple of pages to the issue, concluding that: “The essential role played by animals evidently explains the small number of representations of human beings. In the Paleolithic world, humans were not at the center of the stage.” A paper published, oddly enough, by the Centers for Disease Control and Prevention, expresses puzzlement over the omission of naturalistic depictions of humans, attributing it to Paleolithic people’s “inexplicable fascination with wildlife” (not that there were any non-wild animals around at the time).




The marginality of human figures in cave paintings suggests that, at least from a human point of view, the central drama of the Paleolithic went on between the various megafauna—carnivores and large herbivores. So depleted is our own world of megafauna that it is hard to imagine how thick on the ground large mammals once were. Even the herbivores could be dangerous for humans, if mythology offers any clues: think of the buffalo demon killed by the Hindu goddess Durga, or of the Cretan half-man, half-bull Minotaur who could only be subdued by confining him to a labyrinth, which was, incidentally, a kind of cave. Just as potentially edible herbivores like aurochs (giant, now-extinct cattle) could be dangerous, death-dealing carnivores could be inadvertently helpful to humans and their human-like kin, for example, by leaving their half-devoured prey behind for humans to finish off. The Paleolithic landscape offered a lot of large animals to watch and plenty of reasons to keep a close eye on them. Some could be eaten—after, for example, being corralled into a trap by a band of humans; many others would readily eat humans.

Yet despite the tricky and life-threatening relationship between Paleolithic humans and the megafauna that comprised so much of their environment, twentieth-century scholars tended to claim cave art as evidence of an unalloyed triumph for our species. It was a “great spiritual symbol,” one famed art historian, himself an escapee from Nazism, proclaimed, of a time when “man had just emerged from a purely zoological existence, when instead of being dominated by animals, he began to dominate them.” But the stick figures found in caves like Lascaux and Chauvet do not radiate triumph. By the standards of our own time, they are excessively self-effacing and, compared to the animals portrayed around them, pathetically weak. If these faceless creatures were actually grinning in triumph, we would of course have no way of knowing it.

We are left with one tenuous clue as to the cave artists’ sense of their status in the Paleolithic universe. While twentieth-century archeologists tended to solemnize prehistoric art as “magico-religious” or “shamanic,” today’s more secular viewers sometimes detect a vein of sheer silliness. For example, shifting to another time and painting surface, India’s Mesolithic rock art portrays few human stick figures; those that are portrayed have been described by modern viewers as “comical,” “animalized” and “grotesque.” Or consider the famed “birdman” image at Lascaux, in which a stick figure with a long skinny erection falls backwards at the approach of a bison. As Joseph Campbell described it, operating from within the magico-religious paradigm:


“   a large bison bull, eviscerated by a spear that has transfixed its anus and emerged through its sexual organ, stands before a prostrate man. The latter (the only crudely drawn figure, and the only human figure in the cave) is rapt in a shamanistic trance. He wears a bird mask; his phallus, erect, is pointing at the pierced bull; a throwing stick lies on the ground at his feet; and beside him stands a wand or staff, bearing on its tip the image of a bird. And then, behind this prostrate shaman, is a large rhinoceros, apparently defecating as it walks away.”

Take out the words “shaman” and “shamanistic” and you have a description of a crude—very crude—interaction of a humanoid with two much larger and more powerful animals. Is he, the humanoid, in a trance or just momentarily overcome by the strength and beauty of the other animals? And what qualifies him as a shaman anyway—the bird motif, which paleoanthropologists, drawing on studies of extant Siberian cultures, automatically associated with shamanism? Similarly, a bipedal figure with a stag’s head, found in the Trois Frères cave in France, is awarded shamanic status, making him or her a kind of priest, although objectively speaking they might as well be wearing a party hat. As Judith Thurman wrote in the essay that inspired Werner Herzog’s film The Cave of Forgotten Dreams, “Paleolithic artists, despite their penchant for naturalism, rarely chose to depict human beings, and then did so with a crudeness that smacks of mockery.”


But who are they mocking, other than themselves and, by extension, their distant descendants, ourselves? Of course, our reactions to Paleolithic art may bear no connection to the intentions or feelings of the artists. Yet there are reasons to believe that Paleolithic people had a sense of humor not all that dissimilar from our own. After all, we do seem to share an aesthetic sensibility with them, as evidenced by modern reactions to the gorgeous Paleolithic depictions of animals. As for possible jokes, we have a geologist’s 2018 report of a series of fossilized footprints found in New Mexico. They are the prints of a giant sloth, with much smaller human footprints inside them, suggesting that the humans were deliberately matching the sloth’s stride and following it from a close distance. Practice for hunting? Or, as one science writer for The Atlantic suggested, is there “something almost playful” about the superimposed footprints, suggesting “a bunch of teenage kids harassing the sloths for kicks”?


Then there is the mystery of the exploding Venuses, where we once again encounter the thin line between the religious (“magico,” of course) and the ridiculous. In the 1920s, in what is now the Czech Republic, archeologists discovered the site of a Paleolithic ceramics workshop that seemed to specialize in carefully crafted little figures of animals and, intriguingly, of fat women with huge breasts and buttocks (although, consistent with the fashion of the times, no faces). These were the “Venuses,” originally judged to be either “fertility symbols” or examples of Paleolithic pornography. To the consternation of generations of researchers, the carefully crafted female and animal figures consisted almost entirely of fragments. Shoddy craftsmanship, perhaps? An overheated kiln? Then, in 1989, an ingenious team of archeologists figured out that the clay used to make the figurines had been deliberately treated so that it would explode when tossed into a fire, creating what an art historian called a loud—and one would think, dangerous—display of “Paleolithic pyrotechnics.” This, the Washington Post’s account concluded ominously, is “the earliest evidence that man created imagery only to destroy it.”

Or we could look at the behavior of extant Stone Age people, which is by no means a reliable guide to the behavior of our distant ancestors but may contain clues as to their comical abilities. Evolutionary psychiatrists point out that anthropologists contacting previously isolated peoples like nineteenth-century Australian aborigines found them joking in ways comprehensible even to anthropologists. Furthermore, anthropologists report that many of the remaining hunter-gatherers are “fiercely egalitarian,” deploying humor to subdue the ego of anyone who gets out of line:

   “  Yes, when a young man kills much meat he comes to think of himself as a chief or a big man, and he thinks of the rest of us as his servants or inferiors. We can’t accept this. We refuse one who boasts, for someday his pride will make him kill somebody. So we always speak of his meat as worthless. This way we cool his heart and make him gentle.”

Some lucky hunters don’t wait to be ridiculed, choosing instead to disparage the meat they have acquired as soon as they arrive back at base camp. In the context of a close-knit human group, self-mockery can be self-protective.

In the Paleolithic, humans were probably less concerned about the opinions of their conspecifics than with actions and intentions of the far more numerous megafauna around them. Would the herd of bison stop at a certain watering hole? Would lions show up to attack them? Would it be safe for humans to grab at whatever scraps of bison were left over from the lions’ meal? The vein of silliness that seems to run through Paleolithic art may grow out of an accurate perception of humans’ place in the world. Our ancestors occupied a lowly spot in the food chain, at least compared to the megafauna, but at the same time they were capable of understanding and depicting how lowly it was. They knew they were meat, and they also seemed to know that they knew they were meat—meat that could think. And that, if you think about it long enough, is almost funny.

Paleolithic people were definitely capable of depicting more realistic humans than stick figures—human figures with faces, muscles, and curves formed by pregnancy or fat. Tiles found on the floor of the La Marche cave in France are etched with distinctive faces, some topped with caps, and have been dated to fourteen to fifteen thousand years ago. A solemn, oddly triangular, female face carved in ivory was found in late nineteenth-century France and recently dated to about twenty-four thousand years ago. Then there are the above mentioned “Venus” figurines found scattered about Eurasia from about the same time. But all these bits of artwork are small and were apparently meant to be carried around, like amulets perhaps, as cave paintings obviously could not be. Cave paintings stay in their caves.




What is it about caves? The attraction of caves as art studios and galleries does not stem from the fact that they were convenient for the artists. In fact, there is no evidence of continuous human habitation in the decorated caves, and certainly none in the deepest, hardest-to-access crannies reserved for the most spectacular animal paintings. Cave artists are not to be confused with “cavemen.”

Nor do we need to posit any special human affinity for caves, since the art they contain came down to us through a simple process of natural selection: outdoor art, such as figurines and painted rocks, is exposed to the elements and unlikely to last for tens of thousands of years. Paleolithic people seem to have painted all kinds of surfaces, including leather derived from animals as well as their own bodies and faces, with the same kinds of ochre they used on cave walls. The difference is that the paintings on cave walls were well enough protected from rain and wind and climate change to survive for tens of millennia. If there was something special about caves, it was that they are ideal storage lockers. “Caves,” as paleoarcheologist April Nowell puts it, “are funny little microcosms that protect paint.”

If the painters of Lascaux were aware of the preservative properties of caves, did they anticipate future visits to the same site, either by themselves or others? Before the intrusion of civilization into their territories, hunter-gatherers were “non-sedentary” people, meaning perpetual wanderers. They moved to follow seasonal animal migrations and the ripening of fruits, probably even to escape from the human feces that inevitably piled up around their campsites. These smaller migrations, reinforced by intense and oscillating climate change in the Horn of Africa, added up to the prolonged exodus from that continent to the Arabian Peninsula and hence to the rest of the globe. With so much churning and relocating going on, it’s possible that Paleolithic people could conceive of returning to a decorated cave or, in an even greater leap of the imagination, foresee visits by others like themselves. If so, the cave art should be thought of as a sort of hard drive and the paintings as information: not just “here are some of the animals you will encounter around here,” but Here we are, creatures like yourselves, and this is what we know.

Multiple visits by different groups of humans, perhaps over long periods of time, could explain the strange fact that, as the intrepid French boys observed, the animals painted on cave walls seem to be moving. There is nothing supernatural at work here. Look closely, and you see that the animal figures are usually composed of superimposed lines, suggesting that new arrivals in the cave painted over the lines that were already there, more or less like children learning to write the letters of the alphabet. So the cave was not merely a museum. It was an art school where people learned to paint from those who had come before them and went on to apply their skills to the next suitable cave they came across. In the process, and with some help from flickering lights, they created animation. The movement of bands of people across the landscape led to the apparent movement of animals on the cave walls. As humans painted over older artwork, moved on, and painted again, over tens of thousands of years, cave art—or, in the absence of caves, rock art—became a global meme.

There is something else about caves. Not only were they storage spaces for precious artwork, they were also gathering places for humans, possibly up to a hundred at a time in some of the larger chambers. To paleoanthropologists, especially those leaning toward magico-religious explanations, such spaces inevitably suggest rituals, making the decorated cave a kind of cathedral within which humans communed with a higher power. Visual art may have been only one part of the uplifting spectacle; recently, much attention has been paid to the acoustical properties of decorated caves and how they may have generated awe-inspiring reverberant sounds. People sang, chanted or drummed, stared at the lifelike animals around them, and perhaps got high: the cave as an ideal venue for a rave. Or maybe they took, say, “magic mushrooms” they found growing wild, and then painted the animals, a possibility suggested by a few modern reports from African San rock artists who dance themselves into a trance state before getting down to work.

Each decoration of a new cave, or redecoration of an old one, required the collective effort of tens or possibly scores of people. Twentieth-century archeologists liked to imagine they were seeing the work of especially talented individuals—artists or shamans. But as Gregory Curtis points out in his book The Cave Painters, it took a crowd to decorate a cave—people to inspect the cave walls for cracks and protuberances suggestive of megafauna shapes, people to haul logs into the cave to construct the scaffolding from which the artists worked, people to mix the ochre paint, and still others to provide the workers with food and water. Careful analysis of the handprints found in so many caves reveals that the participants included both women and men, adults and children. If cave art had a function other than preserving information and enhancing ecstatic rituals, it was to teach the value of cooperation, and cooperation—to the point of self-sacrifice—was essential for both communal hunting and collective defense.

In his book Sapiens, Yuval Noah Harari emphasizes the importance of collective effort in the evolution of modern humans. Individual skill and courage helped, but so did the willingness to stand with one’s band: not to scatter when a dangerous animal approached, not to climb a tree and leave the baby behind. Maybe, in the ever-challenging context of an animal-dominated planet, the demand for human solidarity so far exceeded the need for individual recognition that, at least in artistic representation, humans didn’t need faces.

All this cave painting, migrating, and repainting of newly found caves came to an end roughly twelve thousand years ago, with what has been applauded as the “Neolithic Revolution.” Lacking pack animals and perhaps tired of walking, humans began to settle down in villages and eventually walled cities; they invented agriculture and domesticated many of the wild animals whose ancestors had figured so prominently in cave art. They learned to weave, brew beer, smelt ore, and craft ever-sharper blades.

But whatever comforts sedentism brought came at a terrible price: property, in the form of stored grain and edible herds, segmented societies into classes—a process anthropologists prudently term “social stratification”—and seduced humans into warfare. War led to the institution of slavery, especially for the women of the defeated side (defeated males were usually slaughtered) and stamped the entire female gender with the stigma attached to concubines and domestic servants. Men did better, at least a few of them, with the most outstanding commanders rising to the status of kings and eventually emperors. Wherever sedentism and agriculture took hold, from China to South and Central America, coercion by the powerful replaced cooperation among equals. In Jared Diamond’s blunt assessment, the Neolithic Revolution was “the worst mistake in the history of the human race.”



At least it gave us faces. Starting with the implacable “mother goddesses” of the Neolithic Middle East and moving on to the sudden proliferation of kings and heroes in the Bronze Age, the emergence of human faces seems to mark a characterological change—from the solidaristic ethos of small, migrating bands to what we now know as narcissism. Kings and occasionally their consorts were the first to enjoy the new marks of personal superiority—crowns, jewelry, masses of slaves, and the arrogance that went along with these appurtenances. Over the centuries, narcissism spread downward to the bourgeoisie, who, in seventeenth-century Europe, were beginning to write memoirs and commission their own portraits. In our own time, anyone who can afford a smartphone can propagate their own image, “publish” their most fleeting thoughts on social media, and burnish their unique “brand.” Narcissism has been democratized and is available, at least in crumb-sized morsels, to us all.

So what do we need decorated caves for anymore? One disturbing possible use for them has arisen in just the last decade or so—as shelters to hide out in until the apocalypse blows over. With the seas rising, the weather turning into a series of psycho-storms, and the world’s poor becoming ever more restive, the super-rich are buying up abandoned nuclear silos and converting them into “doomsday bunkers” that can house up to a dozen families, plus guards and servants, at a time. These are fake caves of course, but they are wondrously outfitted—with swimming pools, gyms, shooting ranges, “outdoor” cafes—and decorated with precious artworks and huge LED screens displaying what remains of the outside world.

But it’s the Paleolithic caves we need to return to, and not just because they are still capable of inspiring transcendent experiences and connecting us with the long-lost “natural world.” We should be drawn back to them for the message they have reliably preserved for over ten thousand generations. All right, it was not intended for us, this message, nor could its authors have imagined such perverse and self-destructive descendants as we have become. But it’s in our hands now, still illegible unless we push back hard against the artificial dividing line between history and prehistory, hieroglyphs and petroglyphs, between the “primitive” and the “advanced.” This will take all of our skills and knowledge—from art history to uranium-thorium dating techniques to best practices for international cooperation. But it will be worth the effort because our Paleolithic ancestors, with their faceless humanoids and capacity for silliness seem to have known something we strain to imagine.

They knew where they stood in the scheme of things, which was not very high, and this seems to have made them laugh. I strongly suspect that we will not survive the mass extinction we have prepared for ourselves unless we too finally get the joke.

The Humanoid Stain. By Barbara Ehrenreich. The Baffler , November 2019.