Download Free Coloring Books from Nearly 100 Museums & Libraries
We here at Open Culture heartily endorse the practice of viewing art, whether in a physical museum, in the pages of a book, or online. For some, however, it tends to have one serious shortcoming: all the colors are already filled in. If you’re itching to use your own colored pencils, crayons, watercolors, or other tools of choice on drawings, paintings, and a variety of other works besides in the possession of well-known art institutions, these past few months are a time of year to savor thanks to the initiative Color Our Collections.
Each February, Color Our Collections releases its latest round of coloring books free online, assembled from contributions by the likes of the Bibliothèque nationale de France, Eton College, the New York Botanical Garden, the Toronto Public Library, and the University of California, San Francisco.
“Launched by The New York Academy of Medicine Library in 2016,” says its about page, it hosts an “annual coloring festival on social media during which libraries, museums, archives and other cultural institutions around the world share free coloring content featuring images from their collections.”
The de-colored pictures you see here offer just a taste of all you can find in this year’s Color Our Collections crop. Some of the participating institutions provide colorable selections from across their holdings, some stick to a certain theme, and some contribute actual volumes, digitized whole or created for the occasion. Take, for instance, the Ol’ Medical Colouring Book from Queen’s University Library, which promises hours of fun with pages like “anterior view of the skeletal system,” “ventral view of the brain,” and “urinary system shown on the female form.”
These are some distance from the bunnies and buttercups we colored in as children; so are the vigorous nineteen-thirties motorcycle advertisements assembled by the Harley-Davidson Archive, or the architectural and archaeological drawings from the Médiathèque de Châteaudun. But Color Our Collections 2023 also contains a good deal of kid-directed material as well, including Princeton University Library’s lively package of animal images from issues of Kodomo no Kuni, or The Land of Children — a magazine directed toward the kids of Japan a century ago, but then, some childhood pleasures know no cultural or temporal bounds. Enter the archive of 2023 coloring books here.
Related content:
The Very First Coloring Book, The Little Folks’ Painting Book (Circa 1879)
The First Adult Coloring Book: See the Subversive Executive Coloring Book From 1961
Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.
Read More...The Most Popular Song from Each Month Since January 1980: 40+ Years of Changing Musical Tastes in 50 Minutes
As Helen Reddy sang in the 70s:
You live your life in the songs you hear
On the rock n’ roll radio…
The 80s ushered in a new era, leaving the music industry forever changed, though the songs themselves retained their power to speak to us on a deeply personal level.
In 1979, the English New Wave band The Buggles’ “Video Killed the Radio Star” — which famously became the very first song played on MTV the following year (1980) — was getting a lot of attention.
40 years later Puerto Rican rapper and reggaeton artist Bad Bunny dominates, which speaks not only to the public’s evolving musical tastes but also to the expanded access and opportunities of the Internet age.
Listening to all 512 songs on Boogiehead’s mashup Most Popular Song Each Month Since January 1980 in their entirety would take over 24 hours, so Boogiehead settles instead on a single representative phrase, getting the job done in a whirlwind 50 minutes. Watch it above.
For many of us, that’s all it takes to unleash a flood of memories.
Queen, Madonna, David Bowie, and Michael Jackson make strong showings, as do, more recently, Rhianna, Beyoncé, Lady Gaga, Bruno Mars, and Ariana Grande.
Elsewhere, there are reminders that fame is not just fleeting, but often tethered to a single hit.
That said, sometimes those hits have remarkable staying power.
Witness Dexys Midnight Runners’ Come On Eileen from 1982, with its prescient lyric “I’ll hum this tune forever…”
And some songs turn out to be an unexpected slow burn. How else to explain one of the third-to-last earworms on Boogiehead’s list, “Running Up That Hill” from English singer-songwriter Kate Bush’s 1985 album Hounds of Love?
Its appearance on the hit series Stranger Things led it to go viral on TikTok, netting the 64-year-old Bush a host of new fans in their teens and 20s as well as a couple million dollars. Talk about old wine in new bottles!
Forbes’ Peter Suciu observes how songs’ shelf lives and in-roads are longer and wider than they were in the 80s and 90s:
Running Up That Hill has certainly become more popular now than it was when it was released – and one factor could be that social media has changed the way people listen to music. In 1985, when Michael Jackson was the undisputed King of Pop, Kate Bush would have been relegated to “alternative” music radio stations, which were few and far between, or college radio.
Readers, what song from Boogiehead’s Most Popular Song Each Month Since January 1980 do you most wish would make a comeback? Which of the newer songs could you imagine listening to forty years from now? Let us know in the comments.
Listen to the playlist of every song featured on the Most Popular Song Each Month Since January 1980 here.
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All the Music Played on MTV’s 120 Minutes: A 2,500-Video Youtube Playlist
– Ayun Halliday is the Chief Primatologist of the East Village Inky zine and author, most recently, of Creative, Not Famous: The Small Potato Manifesto and Creative, Not Famous Activity Book. Follow her @AyunHalliday.
Read More...Understanding Espresso: A Six-Part Series Explaining What It Takes to Pull the Ideal Shot
It doesn’t take long to learn how to pull a shot of espresso. Search for that phrase on Youtube, and you’ll find hours’ worth of sound instruction, most of it in the form of brief and easily digestible videos. All of them cover the same basic stages of the process: grinding, dosing, tamping, and brewing. When examined closely, each of those stages reveals a formidable body of knowledge to master. If any one Youtuber can lay claim to having mastered all of them, it must be James Hoffmann, previously featured here on Open Culture for his videos on subjects from deep-fried coffee to the classic Bialetti Moka Express. In the six-part series above, he offers viewers an overview of all they need to know to achieve a true understanding of espresso.
Episode by episode, Hoffmann explains how to choose the right dose of coffee, ratio between the amount of ground and liquid coffee, brew time, grind size, brew temperature, and pressure. Of course, there is no single universally correct setting or amount of any of these things: each is a variable with its own range of effects on the shot of espresso ultimately yielded.
Each drinker, too, has a different conception of the taste and texture of the ideal espresso shot, and consistently realizing those qualities — or at least getting close — necessitates no small amount of trial and error. But those who listen well to Hoffmann’s explanations will surely end up with fewer errors, and in any case get more enjoyment from the trials.
Watch “Understanding Espresso,” and you’re going to want to know how Hoffmann pulls shots for himself. This he addresses in a bonus episode — unsurprisingly, the longest one of the bunch — which shows his entire process in detail, from preparing the beans to stirring and sipping. Along the way, he also introduces the variety of specialized devices he uses: a strong draw for his many coffee-gearhead subscribers, but one he presents with the caveat that you really don’t need to go high-end all the way in order to live your best espresso life. Even so, the dedicated home enthusiast must put in considerably more time and attention than the average chain-coffee-shop barista. “Cafés want to make good espresso as quickly and easily as possible,” he reminds us. “We want to make incredible espresso every time.”
You can watch the entire playlist, from start to finish, at the very top of the post.
Related content:
The Birth of Espresso: The Story Behind the Coffee Shots That Fuel Modern Life
Coffee College: Everything You Wanted to Know about Coffee Making in One Lecture
All Espresso Drinks Explained: Cappuccino, Latte, Macchiato & Beyond
Life and Death of an Espresso Shot in Super Slow Motion
Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.
Read More...Watch 13 Levels of Drumming, from Easy to Complex, Explained by Snarky Puppy Drummer Larnell Lewis
Above, Snarky Puppy drummer Larnell Lewis explains drumming in 13 levels of difficulty, from easy to complex, showing how “drum techniques build upon each other as the easiest levels incorporate the hi-hat, bass and snare drums, and more difficult levels include polyrhythms, the floor tom, ride cymbals, syncopation and much more.” It’s fun to watch. In another video from the same series produced by Wired magazine, musician Jacob Collier explains the concept of harmony with increasing difficulty to five different people– a child, a teen, a college student, a professional, and jazz legend Herbie Hancock. Enjoy…
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The Neuroscience of Drumming: Researchers Discover the Secrets of Drumming & The Human Brain
What Makes John Bonham Such a Good Drummer? A New Video Essay Breaks Down His Inimitable Style
The Case for Why Ringo Starr Is One of Rock’s Greatest Drummers
Read More...A Student Writes a Rejection Letter Rejecting Harvard’s Rejection Letter (1981): Hear It Read by Actor Himesh Patel
The documentary filmmaker and sports editor Paul Devlin has won five Emmy awards, but he may well be better known for not getting into Harvard — or rather, for not getting into Harvard, then rejecting Harvard’s rejection. “I noticed that the rejection letter I received from Harvard had a grammatical error,” Devlin writes. “So, I wrote a letter back, rejecting their rejection letter.” His mother then “sent a copy of this letter to the New York Times and it was published in the New Jersey section on May 31, 1981.” In 1996, when the New York Times Magazine published a cover story “about the trauma students were experiencing getting rejected from colleges,” she seized the opportunity to send her son’s rejection-rejection letter to the Paper of Record.
It turned out that Devlin’s letter had already run there, having long since gone the pre-social-media equivalent of viral. “The New York Times accused me of plagiarism. When they discovered that I was the original author and they had unwittingly re-printed themselves, they were none too happy. But my mom insists that it was important to reprint the article because the issue was clearly still relevant.”
Indeed, its afterlife continues even today, as evidenced by the new video from Letters Live at the top of the post. In it actor Himesh Patel, well-known from series like EastEnders, Station Eleven, and Avenue 5, reads aloud Devlin’s letter, which runs as follows:
Having reviewed the many rejection letters I have received in the last few weeks, it is with great regret that I must inform you I am unable to accept your rejection at this time.
This year, after applying to a great many colleges and universities, I received an especially fine crop of rejection letters. Unfortunately, the number of rejections that I can accept is limited.
Each of my rejections was reviewed carefully and on an individual basis. Many factors were taken into account – the size of the institution, student-faculty ratio, location, reputation, costs and social atmosphere.
I am certain that most colleges I applied to are more than qualified to reject me. I am also sure that some mistakes were made in turning away some of these rejections. I can only hope they were few in number.
I am aware of the keen disappointment my decision may bring. Throughout my deliberations, I have kept in mind the time and effort it may have taken for you to reach your decision to reject me.
Keep in mind that at times it was necessary for me to reject even those letters of rejection that would normally have met my traditionally high standards.
I appreciate your having enough interest in me to reject my application. Let me take the opportunity to wish you well in what I am sure will be a successful academic year.
SEE YOU IN THE FALL!
Sincerely,
Paul Devlin
Applicant at Large
However considerable the moxie (to use a wholly American term) shown by the young Devlin in his letter, his reasoning seems not to have swayed Harvard’s admissions department. Whether it would prove any more effective in the twenty-twenties than it did in the nineteen-eighties seems doubtful, but it must remain a satisfying read for high-school students dispirited by the supplicating posture the college-application process all but forces them to take. It surely does them good to remember that they, too, possess the agency to declare acceptance or rejection of that which is presented to them simply as necessity, as obligation, as a given. And for Devlin, at least, there was always the University of Michigan.
Related content:
Read Rejection Letters Sent to Three Famous Artists: Sylvia Plath, Kurt Vonnegut & Andy Warhol
Gertrude Stein Gets a Snarky Rejection Letter from Publisher (1912)
Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.
Read More...Hear De La Soul’s Highly Acclaimed & Influential Hip-Hop Albums Streaming Free for the First Time
If you don’t listen to rap, you’ve heard the same questions over and over in response to that confession. One of the most common is “But have you heard De La Soul?” — which in recent years was easier said than done, at least on streaming platforms. “What kept De La’s tunes out of rotation was a frustrating morass of outdated contracts and record label parsimony,” writes Oliver Wang at NPR. One complication had to do with sampling, a standard hip hop practice conducted in such a far-reaching, freewheeling, and elaborate manner by De La Soul that the prospect of renegotiating each and every sonic snippet they’d cleared in the CD-and-tape era inspired untold corporate intransigence.
But as of this month, “all this has finally been rectified. The group’s most important recordings are now legally available on the internet.” None of them is more important than their debut, 3 Feet High and Rising, originally released in 1989 and added to the Library of Congress’ National Recording Registry in 2010.
As Wang writes, the album “reshaped the public imagination of what hip-hop could be. The core trio — Posdnuos, Trugoy and DJ Pasemaster Mase — assisted by mentor/producer Prince Paul all came straight outta the wilds of suburban Long Island, rapping about advice-spouting crocodiles, Martian transmissions, and an artistic meta-concept they dubbed The D.A.I.S.Y. (Da Inner Soul, Y’all) Age.”
Clearly, De La Soul had a set of artistic priorities all their own. “Sample-hungry rap producers had spent the previous few years mining the James Brown and P‑Funk catalogs and though De La sampled from both on their debut, they were more likely to create memorable musical moments from children’s television songs (‘The Magic Number’), obscure doo-wop singles (‘Plug Tunin”) and classic ’80s pop hits (‘Say No Go’),” to say nothing of a learn-at-home French record. The first time I remember hearing De La Soul was when an early-morning college-radio DJ put on the 3 Feet High track “Eye Know,” which samples Steely Dan — as well as the Mad Lads, Lee Dorsey, and Otis Redding.
As if 3 Feet High and Rising weren’t enough of a cavalcade of wonders, it comes as only one of six De La Soul albums newly available to stream. On the group’s official Youtube channel and other streaming platforms, you can also hear De La Soul Is Dead (1991), Buhloone Mindstate (1993), Stakes Is High (1996), and the Art Official Intelligence pair Thump and Bionix (2001), each of which marks an expansion of the group’s already considerable ambitions. They all join the already-streamable albums released over the twenty years up to the death of founding member David “Trugoy” Jolicoeur last month, an event that may put end to De La Soul as a recording entity. But if you do listen through their expansive and inventive body of work, be prepared for another question: have you heard A Tribe Called Quest?
Related content:
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The Birth of Hip Hop: How DJ Kool Herc Used Turntables to Change the Musical World (1973)
Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.
Read More...
Discover Pemmican, The Power Bar Invented Centuries Ago by Native American Tribes
Outdoor enthusiasts of a non-vegetarian stripe, do you weary of garden variety energy bars and trail mix?
Perhaps you’re feeling adventurous enough to make your own pemmican, variously described by Tasting History’s Max Miller, above, as “history’s Power Bar” and “a meaty version of a survival food that has a shelf life not measured in months but in decades, just like hard tack.”
Perhaps you’re already well acquainted with this low-carb, ketogenic portable provision, a culinary staple of the upper half of North America long before the first European traders set foot on the land. Many indigenous communities across North America are still producing pemmican for both personal and ceremonial consumption.
Back in 1743, Hudson’s Bay Company fur trader James Isham was one of the first to document pemmican production for an English readership:
[Meat] beat between two Stones, till some of itt is as small as Dust…when pounded they putt itt into a bag and will Keep for several Years, the Bones they also pound small and Boil them…to Reserve the fatt, which fatt is fine and sweet as any Butter…Reckon’d by some Very good food by the English as well as Natives.
Perhaps now would be a good time to give thanks for the plentiful food options most of us have access to in the 21st-century (and pay it forward with a donation to an organization fighting food insecurity…)
A time may come when knowing how to make pemmican could give us a leg up on surviving, but for now, execution of this recipe is likely more of a curiosity satisfier.
To be fair, it’s not designed to be a delicacy, but rather an extremely long lasting source of calories, four times as nourishing as the same weight of fresh meat.
If you want to try it, lay in 2 pounds of meat — bison is historically the most popular and most documented, but deer, elk, moose, beef, fish, or fowl work well too.
You’ll also need an equal amount of suet, though heed Miller’s advice and add just enough to make things stick.
Bump the flavor up a notch with ground dried berries, sugar, or salt.
(Miller went the traditional route with chokeberries, procured in an extremely 21st-century manner.)
In terms of appliances, feel free to use such modern conveniences as your oven, your blender, and a small pan or mold.
(Please report back if you take the old school route with fire, direct sunlight, mortar, pestle, and a bag formed from undressed hide.)
Given Miller’s response to the finished dish, we’re hunching most of us will rest content to feast on historical context alone, as Miller digs into the Pemmican Proclamation of 1814, the Seven Oaks Incident and the unique role the biracial, bilingual Métis people of Canada played in the North American fur trade…
Those still up for it should feel free to take their pemmican to the next level by boiling it with wild onions or the tops of parsnips, to produce a rubaboo or rechaud, as bushcrafter Mark Young does below.
You can also get a taste of pemmican by ordering the Tanka Bars that Oglala Lakota-owned small business produces on South Dakota’s Pine Ridge Reservation.
Watch more of Max Miller’s Tasting History videos here.
– Ayun Halliday is the Chief Primatologist of the East Village Inky zine and author, most recently, of Creative, Not Famous: The Small Potato Manifesto and Creative, Not Famous Activity Book. Follow her @AyunHalliday.
Read More...Pink Floyd’s The Dark Side of the Moon Turns 50: Hear It Get Psychoanalyzed by Neuroscientist Daniel Levitin
Coming after the maturation of the market for high-fidelity stereo systems but before the advent of home video, the nineteen-seventies provided just the right cultural and economic conditions for a heroic age of the record album. What’s Going On, Blue, Blood on the Tracks, Exile on Main Street, Born to Run, Rumours, Aja: that these and other seventies releases always rank high on best-of-all-time lists can be no accident. But no other mega-selling album of that decade achieved quite the combination of commercial and critical success as Pink Floyd’s The Dark Side of the Moon, which was originally released fifty years ago yesterday — and which remains on the Billboard charts today.
“In 1973, Pink Floyd was a somewhat known progressive rock band,” writes neuroscientist and music producer Daniel Levitin, but The Dark Side of the Moon “catapulted them into world class rock-star status.”
Its masterful engineering “propelled the music off of any sound system to become an all-encompassing, immersive experience” comprising songs that “flow into one another symphonically, with seamless musical coherence, as though written as part of a single melodic and harmonic gesture. Lyric themes of madness and alienation connect throughout,” enlivened by an “array of new electronic sounds, spatialization, pitch and time bending” as well as “clocks, alarms, chimes, cash registers, footsteps” and other elements not normally heard in rock music.
This description comes from an essay Levitin wrote for the Library of Congress in 2012, when The Dark Side of the Moon was inducted into the US National Recording Registry. For the album’s fiftieth anniversary, National Public Radio’s Morning Edition invited him to psychoanalyze it on-air. “Themes of madness and alienation permeate the record,” he says, making reference to the story of departed Pink Floyd member Syd Barrett. But “we can’t know for sure which specific lyrics were about Barrett, as opposed, more generally, to mental anguish,” a condition bound to afflict anyone too deep into the rock-star lifestyle.
In The Dark Side of the Moon’s lyrics Levitin hears Pink Floyd co-founder Roger Waters’ metaphorical treatment of the difficult decision to fire Barrett, as well as his realization that “life wasn’t going to start later. It had started. And the idea of ‘Time’ was to grasp the reins and start guiding your own destiny.” As on the album as a whole, the theme comes through in not just the words but the soundscape: “Right off the bat, they’re playing with time. You hear that clop-clop sound, like a heartbeat or a clock ticking. And you think that the higher-pitched one is the downbeat. But as soon as the instruments come in, you realize you’re off the beat, and everything’s upside down. And your sense of time is distorted.”
Musical artistry accounts in part for the album’s massive success in part, but only in part. Storm Thorgerson’s iconic cover art, still seen on the walls of college dorm rooms today, also had something to do with its success as both cultural phenomenon and consumer product. But it could hardly have sold more than 45 million copies to date without chancing to hit the zeitgeist at a favorable angle: as Pink Floyd drummer Nick Mason said, it was “not only about being a good album but also about being in the right place at the right time.” And with the heroic age of the album long over, The Dark Side of the Moon — a newly re-recorded version of which Waters announced just this year — isn’t about to be eclipsed.
Related content:
Pink Floyd’s Entire Studio Discography is Now on YouTube: Stream the Studio & Live Albums
The Dark Side of the Moon Project: Watch an 8‑Part Video Essay on Pink Floyd’s Classic Album
Watch Documentaries on the Making of Pink Floyd’s Dark Side of the Moon and Wish You Were Here
Download Pink Floyd’s 1975 Comic Book Program for The Dark Side of the Moon Tour
A Live Studio Cover of Pink Floyd’s The Dark Side of the Moon, Played from Start to Finish
Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.
Read More...A 3D Computer Animation of the Panopticon, Jeremy Bentham’s 18th Century Design for an All-Controlling Prison
Nearly two centuries after his death, the eighteenth-century utilitarian philosopher and social reformer Jeremy Bentham — or most of him, anyway — still sits in state in the main building of University College London. For a time in the mid-twenty-tens, he was equipped with the PanoptiCam, “an online camera that streams what Bentham sees while sitting in his cabinet at UCL.” That most everyone gets the joke behind its name speaks to the enduring relevance of one of Bentham’s ideas in particular: the Panopticon, “a prison designed so that a prison guard could look into all cells at any time, and ensure that prisoners modified their behavior for the better.”
In Bentham’s Panopticon, many prisoners could be monitored effectively by just a few unseen guards. This accords, as Michel Foucault writes in 1975’s Discipline and Punish, with the principle that “power should be visible and unverifiable. Visible: the inmate will constantly have before his eyes the tall outline of the central tower from which he is spied upon. Unverifiable: the inmate must never know whether he is being looked at any one moment; but he must be sure that he may always be so.” Foucault drew connections between the Panopticon and the complex, large-scale societies that had developed since Bentham’s day. Imagine if he’d lived to see the rise of social media.
In a series of posts by Philosophy for Change, Tim Rayner takes up just such an exercise. “By making our actions and shares visible to a crowd, social media exposes us to a kind of virtual Panopticon,” he writes. “This is not just because our activities are monitored and recorded by the social media service for the purposes of producing market analysis or generating targeted advertising.” But “the surveillance that directly affects us and impacts on our behavior comes from the people with whom we share.” In the online Panopticon, “we are both guards and prisoners, watching and implicitly judging one another as we share content.” Rayner wrote these words more than a decade ago, but anyone who has experienced life on social media then can hardly deny the parallels with Bentham’s vision.
Far from improving our behavior, however, this constant online surveillance has in a fair few cases made it considerably less appealing. Whatever the nature of its actual effects on those who inhabit it, the Panopticon is an undeniably powerful structure, at least metaphorically speaking. But we should remember that Bentham intended it to be a real, physical structure, one that could contain not just prisons but other types of institutions as well. Whether a Panopticon has ever been wholly built to his specifications seems to be a matter of debate, but we can see what one would look like in the 3D rendering by Myles Zhang at the top of the post: an appropriate medium, after all, in which to perceive an idea most fully realized in the digital realm.
Related content:
Jeremy Bentham’s Mummified Body Is Still on Display – Much Like Other Aging British Rock Stars
What Would Michel Foucault Think of Social Media, Fake News & Our Post Truth World?
Michel Foucault: Free Lectures on Truth, Discourse & The Self (UC Berkeley, 1980–1983)
On the Power of Teaching Philosophy in Prisons
Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.
Read More...Archaeologists May Have Discovered a Secret Language in Lascaux & Chauvet Cave Paintings, Perhaps Revealing a 20,000-Year-Old “Proto-Writing” System
Care to take a guess what your smart phone has in common with Paleolithic cave paintings of Lascaux, Chauvet and Altamira?
Both can be used to track fertility.
Admittedly, you’re probably not using your phone to stay atop the reproductive cycles of reindeer, salmon, and birds, but such information was of critical interest to our hunter-gatherer ancestors.
Knowing how crucial an understanding of animal behavior would have been to early humans led London-based furniture conservator Ben Bacon to reconsider what purpose might have been served by non-figurative markings — slashes, dots, and Y‑shapes — on the cave walls’ 20,000-year-old images.
Their meaning had long eluded esteemed professionals. The marks seemed likely to be numeric, but to what end?
Bacon put forward that they documented animal lives, using a lunar calendar.
The amateur researcher assembled a team that included experts from the fields of mathematics, archeology, and psychology, who analyzed the data, compared it to the seasonal behaviors of modern animals, and agreed that the numbers represented by the dots and slashes are not cardinal, but rather an ordinal representation of months.
As Bacon told All Things Considered his fellow self-taught anthropological researcher, science journalist Alexander Marshack, came close to cracking the code in the 1970s:
… but he wasn’t actually able to demonstrate the system because he thought that these individual lines were days. What we did is we said, actually, they’re months because a hunter-gatherer doesn’t need to know what day a reindeer migrates. They need to know what month the reindeer migrates. And once you use these months units, this whole system responds very, very well to that.
As to the frequently occurring symbol that resembles a Y, it indicates the months in which various female animal birthed their young. Bacon and his team theorize in the Cambridge Archeological Journal that this mark may even constitute “the first known example of an ‘action‘ word, i.e. a verb (‘to give birth’).
Taken together, the cave paintings and non-figurative markings tell an age-old circular tale of the migration, birthing and mating of aurochs, birds, bison, caprids, cervids, fish, horses, mammoths, and rhinos … and like snakes and wolverines, too, though they were excluded from the study on basis of “exceptionally low numbers.”
Early humans were able to log months by observing the moon, but how could they tell when a new year had begun, essential information for anyone seeking to arrange their lives around their prey’s previously documented activities?
Bacon and his peers, like so many poets and farmers, look to the rites of spring:
The obvious event is the so-called ‘bonne saison’, a French zooarchaeological term for the time at the end of winter when rivers unfreeze, the snow melts, and the landscape begins to green.
Read the conclusions of their study here.
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- Ayun Halliday is the Chief Primatologist of the East Village Inky zine and author, most recently, of Creative, Not Famous: The Small Potato Manifesto and Creative, Not Famous Activity Book. Follow her @AyunHalliday.
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