Skeptophilia (skep-to-fil-i-a) (n.) - the love of logical thought, skepticism, and thinking critically. Being an exploration of the applications of skeptical thinking to the world at large, with periodic excursions into linguistics, music, politics, cryptozoology, and why people keep seeing the face of Jesus on grilled cheese sandwiches.

Wednesday, July 14, 2021

Doggie determination

Our dog Guinness has brought home the truth of the quip that cats are teenagers, dogs are toddlers.

His engine has two settings: "full throttle" and "off."  We got him two and a half years ago as an eleven-month-old rescue, so he has settled down a little as compared to the irrepressible puppy exuberance he came with.  Which is a bit of a relief.  Handling seventy pounds' worth of irrepressible puppy exuberance can be a little exhausting.

He is never content unless he's interacting with either me or my wife.  "Will you please go entertain yourself for a while?" is a common phrase heard around Chez Bloomgarden-Bonnet.  And he doesn't just want to interact with us any old way; it has to be exactly the right way.  He loves to play fetch -- can do so for hours on end -- but not if we're standing on the patio.  No, throwing the ball into the lawn from the patio is not the proper way.  A true game of fetch must be played from a seated position, in one of the lawn chairs next to the pond.  I kid you not.  From the patio, he'll chase the ball once, pick it up, and then stare at us with an expression like, "What the hell am I supposed to do with this?"  Move a hundred yards in a westward direction to the lawn chairs by the pond, and he will happily retrieve over and over.  And over and over and over.

No, I don't get it, either.

Be that as it may, he is extraordinarily sensitive to our moods, tone of voice, and body language, and seems to watch us constantly for cues about what is going on.  We can talk about him without using any obvious clue-words like his name, or even dog or play or ball, and he immediately knows (to judge by the fact that his tail will start wagging, even if he appeared to be sound asleep).  When we talk to him directly, he stares at us with this eager expression, like he really wants to understand every word we're saying.  If it's a bit above his head, he gives us the Canine Head-Tilt of Puzzlement:


"I'm so disappointed in myself," he seems to be saying.  "I will try much harder to understand next time."

You might even say he shows dogged determination.  *rimshot*

He's also one of the most affectionate dogs I've ever known.  Like I said, his number one priority is interacting with us as much as possible.


The reason all this comes up is because of a study that appeared this week in the journal Current Biology that strongly suggests dogs come pre-wired to connect with humans -- i.e., this isn't learned behavior.  Dogs may refine these skills, and learn specific cues and behaviors, but the ability is innate.

Led by Hannah Salomons of Duke University, this study compared the behavior of puppies and wolf cubs, both groups of which had been given equal prior exposure to humans.  They found that the puppies automatically responded to people -- they were much more willing to come up to a person spontaneously, make eye contact, and look to the human for cues about what to do.  Wolves, on the other hand, started out afraid, and would huddle in the corner when a person came close, and even once habituated to people's presence would mostly ignore them rather than interact.  "They acted like I was a piece of furniture," Salomons said.

Most fascinating of all, puppies seem to come equipped with at least some level of a "theory of mind" -- knowledge that their own perspective isn't shared by everyone, and that the world would look different through the eyes of another.  One of the most rudimentary theory-of-mind tests is to point at a treat on the floor that is visually hidden from the dog -- i.e., you can see it, the dog can't.  Wolves don't respond to this at all; dogs usually pick up on it right away.  And it's a more sophisticated response than it seems at first.  To figure out what pointing means, the dog has to think, "If I was standing where (s)he is, sight-lining down the arm toward the floor, where would it be indicating?"

"Dogs are born with this innate ability to understand that we're communicating with them and we're trying to cooperate with them," Salomons said, in an interview with Science Daily.

We not only cooperate with them, we also provide a valuable opportunity for them to get dressed up fancy now and again.


It seems like this in-touchness dogs are born with has come from millennia of domestication, where their use as companions meant that generation after generation people were selecting the most responsive, interactive dogs, meaning their capacity for bonding to humans increased over time.  Contrast that to cats -- and I mean no disparagement of our feline friends -- but they are often characterized as more aloof and self-reliant than dogs.  No surprise, really; having cats as companion animals is a relatively recent innovation, while there is good evidence that dogs have been companions back at least thirty thousand years.

"This study really solidifies the evidence that the social genius of dogs is a product of domestication," said Brian Hare, professor of evolutionary anthropology at Duke, senior author of the study.  "It's this ability that makes dogs such great service animals.  It is something they are really born prepared to do."

Now, y'all'll have to excuse me.  Guinness wants something.  I'm not sure if it's food, petting, or an early round of fetch-the-ball.  Maybe some of each.  Don't worry, I'll figure it out.

Which, incidentally, brings up the awkward question of who domesticated whom.

**************************************

I've loved Neil de Grasse Tyson's brilliant podcast StarTalk for some time.  Tyson's ability to take complex and abstruse theories from astrophysics and make them accessible to the layperson is legendary, as is his animation and sense of humor.

If you've enjoyed it as well, this week's Skeptophilia book-of-the-week is a must-read.  In Cosmic Queries: StarTalk's Guide to Who We Are, How We Got Here, and Where We're Going, Tyson teams up with science writer James Trefil to consider some of the deepest questions there are -- how life on Earth originated, whether it's likely there's life on other planets, whether any life that's out there might be expected to be intelligent, and what the study of physics tells us about the nature of matter, time, and energy.

Just released three months ago, Cosmic Queries will give you the absolute cutting edge of science -- where the questions stand right now.  In a fast-moving scientific world, where books that are five years old are often out-of-date, this fascinating analysis will catch you up to where the scientists stand today, and give you a vision into where we might be headed.  If you're a science aficionado, you need to read this book.

[Note: if you purchase this book using the image/link below, part of the proceeds goes to support Skeptophilia!]


Tuesday, July 13, 2021

Eat like a werewolf

I'm sure that by now all of you have heard of the "Paleo Diet," that claims that the path to better health comes from eating like a cave man (or woman, as the case may be) -- consuming only foods that would have been eaten by our distant ancestors living on the African savanna.  The "Paleo Diet," therefore, includes grass-fed meat (cow is okay if you can't find gazelle), eggs, fish, root vegetables, fruits, nuts, and mushrooms.  Not included are dairy products (being that domestication of cattle and goats was post-cave-man), potatoes, salt, sugar, and refined oils.

Despite gaining some traction, especially amongst athletes and bodybuilders, the "Paleo Diet" has been looked upon with a wry eye by actual dieticians.  A survey of experts in the field, sponsored by CNN, placed the "Paleo Diet" as dead last in terms of support from peer-reviewed research and efficacy at promoting healthy weight loss.

But the "Paleo Diet" will sound like quantum physics, technical-science-wise, as compared to the latest diet to take the world of poorly-educated woo-woos by storm:

The "Werewolf Diet."

I wish I were making this up.  I also wish, for different reasons, that it was what it sounded like -- that people who sign up find themselves, once a month, sprouting fur and fangs and running around naked and eating unsuspecting hikers.  That, at least, would be entertaining.

[Image from Weird Tales (November 1941) is in the Public Domain]

But no such luck.  The Werewolf Diet, however, does resemble being an actual werewolf in that (1) what you get to eat is tied to the phases of the Moon, (2) it more or less ruins your health, and (3) it completely fucks up any chance at a normal social life.

The site "Moon Connection" describes the whole thing in great detail, but they make a big point of their stuff being copyrighted material, so I'll just summarize so that you get the gist:

You have two choices, the "basic plan" or the "extended plan."  On the "basic plan," you fast for 24 hours, either on the full Moon or the new Moon.  You can, they say, "lose up to six pounds of water weight" by doing this, but why this is a good thing isn't clear.

The "extended plan," though, is more interesting.  With the "extended plan," you fast during the full Moon, then eat a fairly normal diet during the waning part of the Moon cycle (with the addition of drinking eight glasses of water a day to "flush out toxins").  On the new Moon, you should fast again, only consuming dandelion tea or green tea (more toxin flushing).  During the waxing part of the Moon cycle, you must be "disciplined" to fight your "food cravings," and avoid overeating.  "Thickeners," such as sugar and fats, should be avoided completely, and you can't eat anything after 6 PM because that's when the Moon's light "becomes more visible."

Then you hit the full Moon and it all starts over again.

Well, let me just say that this ranks right up there with "downloadable medicines" as one of the dumbest things I have ever read.  We have the whole "flushing toxins" bullshit -- as if your kidneys and liver aren't capable of dealing with endogenous toxic compounds, having evolved for millions of years to do just that.  We're told, as if it's some sort of revelation, that our "food cravings will increase" after we've been consuming nothing but green tea for 24 hours.  Then we are informed that the Moon's gravitational pull has an effect on us, because we're 60% water -- implying that contrary to what Isaac Newton said, the gravitational pull an object experiences depends not on its mass but on what it's made of.  Or that your bloodstream experiences high tide, or something, I dunno.  And also, the gravitational pull the Moon exerts upon you somehow depends on the phase it's in, because, apparently, the amount of light reflecting from the Moon's surface mysteriously alters its mass.

I mean, I'm not a dietician, but really.  And fortunately, there are dieticians who agree.  Keri Gans, a professional dietician and author of The Small Change Diet, said in an interview, "This diet makes me laugh.  I don’t know if it’s the name or that people will actually believe it.  Either way, it is nothing but another fad diet encouraging restriction.  Restriction of food will of course lead to weight loss, but at what cost to the rest of your body?  If only celebrities, once and for all, would start touting a diet plan that makes sense and is based on science."

Yes.  If only.  But unfortunately, fewer people have heard of Gans, and (evidently) the scientific method, than have heard of Madonna and Demi Moore, who swear by the Werewolf Diet.  Not that Moore, especially, is some kind of pinnacle of rationality; she is a devotee of Philip Berg's "Kabbalah Centre," which preaches that "99% of reality cannot be accessed by the senses."

Nor, apparently, by logic and reason.

Interestingly enough, as I'm writing this it's just past the new Moon, so we're all supposed to be subsisting on dandelion tea.  To which I answer: the hell you say.  I'm off to get some bacon and eggs.  Detoxify that, buddy.

**************************************

I've loved Neil de Grasse Tyson's brilliant podcast StarTalk for some time.  Tyson's ability to take complex and abstruse theories from astrophysics and make them accessible to the layperson is legendary, as is his animation and sense of humor.

If you've enjoyed it as well, this week's Skeptophilia book-of-the-week is a must-read.  In Cosmic Queries: StarTalk's Guide to Who We Are, How We Got Here, and Where We're Going, Tyson teams up with science writer James Trefil to consider some of the deepest questions there are -- how life on Earth originated, whether it's likely there's life on other planets, whether any life that's out there might be expected to be intelligent, and what the study of physics tells us about the nature of matter, time, and energy.

Just released three months ago, Cosmic Queries will give you the absolute cutting edge of science -- where the questions stand right now.  In a fast-moving scientific world, where books that are five years old are often out-of-date, this fascinating analysis will catch you up to where the scientists stand today, and give you a vision into where we might be headed.  If you're a science aficionado, you need to read this book.

[Note: if you purchase this book using the image/link below, part of the proceeds goes to support Skeptophilia!]


Monday, July 12, 2021

The evolution of clumps

If humans operated by logic, rationality, and evidence, there would be arguments we would no longer be having.  A sampler:

  • Climate change is real and the vast majority of the change we're seeing is caused by humans.
  • Vaccines are safe, effective, and the risk of serious side effects is low.
  • Trump lost.
  • The Earth is an oblate spheroid.
  • The biodiversity we see around us came about from evolution by natural selection.

The last one is the reason this topic comes up, even though -- as I've pointed out umpteen times -- there is zero doubt amongst biologists (and the majority of educated laypeople) that evolution occurred, and is still occurring.  As Richard Dawkins put it, you could instantaneously destroy every fossil in the world, and the remaining evidence for evolution would still be overwhelming.

But the subject resurfaces because of an elegant experiment I found out about because of a buddy of mine, that (should you still be on the fence, belief-in-evolution-wise) is the 3,948,105th nail in the coffin of the various anti-evolutionary models.  The study looks at multicellularity -- a step in the process of the evolution of complex life that has been a bit of a mystery.  We know it happened; there is a clear progression in Precambrian fossils from single-celled life forms to undifferentiated clumps of more-or-less identical cells to multicellular organisms with differentiated cell types, but exactly how it happened was unclear.

The study was led by Lutz Becks, biologist at the Limnological Institute of the University of Konstanz, and used a simple green algae (Chlamydomonas reinhardtii) to show that in short order, with the appropriate natural selection, multicellularity can evolve from a single-celled ancestor species.

C. reinhardtii does sometimes form clumps of cells, but they are usually small and transitory.  (Nota bene: remember that evolution doesn't create traits; it acts on variations that were already present in the population due to mutations.)  Becks and his team introduced a selective predator, the rotifer Brachionus calyciflorus, which is small enough to have a preference for individual algae cells and smaller cell groups.  The researchers then kept track of the proportion of single to multiple cells in the algae population, as well as the size of any multi-cell groups.

You've probably already guessed what happened.  The population of algae containing predators tilted toward becoming composed almost entirely of larger multicellular groups -- in only five hundred generations (which seems like a lot, but for algae that's only about six months).  Algae raised without the predator didn't change, remaining largely single-celled with a few smaller clumps scattered around.

What is coolest about this is that Becks and his team didn't stop there.  They took samples of the algae from both cultures and analyzed them genetically.  They found 76 different genes that showed significant differential expression between the two samples -- so not only were the traits of the population changing, the gene frequencies and activity were, as well.

Just as the evolutionary model predicts.

"We had actually expected that the formation of colonies can be achieved by different mechanisms in the algal cells and we would therefore find different mutations," Becks said, in an interview with Phys.org.  "In fact, we have seen a very high level of repeatability.  This suggests that the selection pressure has had a very targeted effect."

Keep in mind, too, that C. reinhardtii is an asexually-reproducing species -- so the cells are clones, and the only differences genetically are caused by mutations.  This should put to rest the nonsense that mutations can't create "new information" but only corrupt the "old information" that was already there.

In any case, here's yet another experiment supporting the fact that if a population has genetic variations and those variations are subject to a selecting agent, it will evolve.  Here, it's evolved fast enough to see it happening in real time.

Which would be convincing to the anti-evolutionists if they had any respect for evidence.  Which they don't.  So I'm not particularly hopeful that this will change the minds of the creationists and the intelligent-design cadre.  As Thomas Paine put it, "To argue with a man who has renounced the use and authority of reason is like administering medicine to the dead."

**************************************

I've loved Neil de Grasse Tyson's brilliant podcast StarTalk for some time.  Tyson's ability to take complex and abstruse theories from astrophysics and make them accessible to the layperson is legendary, as is his animation and sense of humor.

If you've enjoyed it as well, this week's Skeptophilia book-of-the-week is a must-read.  In Cosmic Queries: StarTalk's Guide to Who We Are, How We Got Here, and Where We're Going, Tyson teams up with science writer James Trefil to consider some of the deepest questions there are -- how life on Earth originated, whether it's likely there's life on other planets, whether any life that's out there might be expected to be intelligent, and what the study of physics tells us about the nature of matter, time, and energy.

Just released three months ago, Cosmic Queries will give you the absolute cutting edge of science -- where the questions stand right now.  In a fast-moving scientific world, where books that are five years old are often out-of-date, this fascinating analysis will catch you up to where the scientists stand today, and give you a vision into where we might be headed.  If you're a science aficionado, you need to read this book.

[Note: if you purchase this book using the image/link below, part of the proceeds goes to support Skeptophilia!]


Saturday, July 10, 2021

F-word origin

Being a linguistics nerd, I've often wondered why the phonemic repertoire differs between different languages.  Put more simply: why do languages all sound different?

I first ran into this -- although I had to have it pointed out to me -- with French and English.  I grew up in a bilingual family (my mom's first language was French), so while I'd heard, and to a lesser extent spoken, French during my entire childhood I'd never noticed that there were sounds in one language that didn't occur in the other.  When I took my first formal French class as a ninth-grader, the teacher told us that French has two sounds that don't occur in English at all -- the vowel sound in the pronoun tu (represented in the International Phonetic Alphabet as /y/) and the one in coeur (represented as /ø/).  Also, the English r-sound (/r/) and the French r-sound (/ʁ/) aren't the same -- the English one doesn't occur in French, and vice-versa.

The International Phonetic Alphabet [image is in the Public Domain]

Not only are there different phonemes in different languages, the number of phonemes can vary tremendously.  The Hawaiian language has only thirteen different phonemes: /a/, /e/, /i/, /o/, /u/, /k/, /p/, /h/, /m/, /n/, /l/, /w/, and /ʔ/.  The last is the glottal stop -- usually represented in written Hawaiian as an apostrophe, as in the word for "circle" -- po'ai.

If you're curious, the largest phonemic inventory of any human language is Taa, one of the Khoisan family of languages, spoken mainly by people in western Botswana.  Taa has 107 different phonemes, including 43 different "click consonants."  If you want to hear the most famous example of a language with click consonants, check out this recording of the incomparable South African singer Miriam Makeba singing the Xhosa folk song "Qongqothwane:"


It's a mystery why different languages have such dramatically different sound systems, but at least a piece of it may have been cleared up by a paper in Science last week that was sent my way by my buddy Andrew Butters, writer and blogger over at the wonderful Potato Chip Math.  The contention -- which sounds silly until you see the evidence -- is that the commonness of the labiodental fricative sounds, /f/ and /v/, is due to an alteration in our bites that occurred when we switched to eating softer foods when agriculture became prominent.

I was a little dubious, but the authors make their case well.  Computer modeling of bite physiology and sound production shows that an overbite makes the /f/ and /v/ phonemes take 29% less effort than someone with an edge-to-edge bite exerts.  Most persuasively, they found that current languages spoken by hunter-gatherer societies have only one-quarter the incidence of labiodental fricatives as other languages do.

So apparently my overbite and fondness for mashed potatoes are why I like the f-word so much.  Who knew?  As I responded to Andrew, "Wow, this is pretty fucking fascinating."

Once a language develops a sound system, it's remarkably resistant to change, probably because one of the first pieces of language a baby learns is the phonetic repertoire, and after that it's pretty well locked in for life.  In her wonderful TED Talk, linguist Patricia Kuhl describes studying the phonetics of babbling.  When babies first start to vocalize at age about three months, they make sounds of just about every sort.  But between six and nine months, something fascinating happens -- they stop making sounds they're not hearing, and even though they're still not speaking actual words, the sound repertoire gradually becomes the one from the language they're exposed to.  One example is the English /l/ and /r/ phonemes, as compared to the Japanese liquid consonant [ɾ] (sometimes described as being halfway between an English /l/ and an English /r/).  Very young babies will vocalize all three sounds -- but by nine months, a baby hearing English will retain /l/ and /r/ and stop saying [ɾ], while a baby hearing Japanese does exactly the opposite.

If you've studied a second language that has a different phonemic set than your native language, you know that getting the sounds right is one of the hardest things to do well.  As a friend of mine put it, "My mouth just won't wrap itself around French sounds."  This is undoubtedly because we learn the phonetics of our native language so young -- and once that window has closed, adding to and rearranging our phonemic inventory becomes a real challenge.

So if you've ever wondered why your language has the sounds it does, here's at least a partial explanation.  I'll end with another video that is a must-watch, especially for Americans who are interested in regional accents.  I live in upstate New York but was raised in Louisiana and spent ten years living in Seattle, so I've thought of my own speech as relatively homogenized, but maybe I should listen to myself more carefully.

*************************************

Most people define the word culture in human terms.  Language, music, laws, religion, and so on.

There is culture among other animals, however, perhaps less complex but just as fascinating.  Monkeys teach their young how to use tools.  Songbirds learn their songs from adults, they're not born knowing them -- and much like human language, if the song isn't learned during a critical window as they grow, then never become fluent.

Whales, parrots, crows, wolves... all have traditions handed down from previous generations and taught to the young.

All, therefore, have culture.

In Becoming Wild: How Animal Cultures Raise Families, Create Beauty, and Achieve Peace, ecologist and science writer Carl Safina will give you a lens into the cultures of non-human species that will leave you breathless -- and convinced that perhaps the divide between human and non-human isn't as deep and unbridgeable as it seems.  It's a beautiful, fascinating, and preconceived-notion-challenging book.  You'll never hear a coyote, see a crow fly past, or look at your pet dog the same way again.

[Note: if you purchase this book from the image/link below, part of the proceeds goes to support Skeptophilia!]


Friday, July 9, 2021

On being seen

A writer friend and I have been in an interesting dialogue about the private (and public) side of writing.

The topic arose because she's just finished the first draft of a wonderful novel, a coming-of-age story about a girl making the transition between high school and college.  Knowing my friend as well as I do, it is easy to see that she shares some personality traits with her main character.  My friend worries that if people read her novel -- which I hope they will, some day -- readers will become convinced that the story is, at least on some level, autobiographical, and will judge her based on the actions of the character she created.

My reply was that there will be this label that says "Fiction" on the spine of the book, so anyone who doesn't notice that or doesn't know the definition of the word deserves everything they get.  But on a deeper level, her question is a profound one.  Because in some sense, all fiction writing is autobiographical -- or at the very least, deeply self-revealing.

I can say, without exception, that every protagonist I've ever written -- and more than one of the antagonists and minor characters -- is, in some way, me.  You can't write what you don't know, and that extends just as much to characters as it does to setting, time period, and plot.  None of them are intended to actually be me, of course; all of them have traits, quirks, and personal history that is different (for a lot of them, very different) from my own.  But in a real sense, if you want to find out who I am, read my fiction.  Then you'll know me.

This gives a serious spin to my friend's question, because to be read means to be seen, on a fundamental level.  Parts of you are exposed that you may have long kept hidden, and a discerning eye can often see more than you realize.  I've recounted here before how my long-time writing partner, the inimitable Cly Boehs, knew I was bisexual long before I told her.  Direct quote from her -- "You think I didn't know that?  Every story you've written has at least one scene with a sexy bare-chested man."

I was dumbstruck.  I honestly didn't think it was that obvious.  So much for hiding in the shadows.

[Image licensed under the Creative Commons Marcus Quigmire from Florida, USA, Hiding in the darkness (3443966860), CC BY-SA 2.0]

It's a scary proposition, especially for someone who is as face-to-face shy as I am.  I've already closed my eyes and leapt off that high diving board, of course; my first book was published in 2015, and I've gone on to publish over a dozen more.  But truly, it still terrifies me in a lot of ways, and it's not just getting the inevitable "your writing sucks" reviews that all authors dread; part of it comes from the fact of exposing my soul in public.  There's something about having people read your work that's a little like walking out into the middle of the road, bare-ass naked.

And there's no doubt that it can backfire sometimes.  I still recall, with some pain, when I let a (former) friend read the first three chapters of a work-in-progress, and her critique began with a sneer: "This story is somewhere between a computer crash and a train wreck."  How that was supposed to be helpful, I don't know, and in fact with the perspective of time (this incident happened about twenty years ago) I now find myself wondering whether it was supposed to be helpful.  The critic in question was herself an off-again-on-again writer who had never completed a manuscript, and I suspect that the viciousness of the critique had at least something to do with envy.  At the time, however, her response so derailed my confidence that it was years before I actually picked up (and eventually completed) that novel.  (If you're curious, the novel is The Hand of the Hunter -- which is still one of my personal favorites of the stories I've written, and scheduled to be published early in 2022.)

So, in a way, all writing is personal, and all writers have a narcissistic streak.  We wouldn't write about something we didn't care about; our personalities shape our stories, and therefore our stories are reflections of who we are as people.  I pour my heart into what I write, and so, I believe, do most authors.  It is an act of bravery to put what we create out on public display, whether that display is on the level of sending it out to a few friends or publishing it for international purchase.  We are actually selling little portraits of our own spirits, and hoping and praying that the ones who look at them won't say, "Wow, what an ugly picture that is."

*************************************

Most people define the word culture in human terms.  Language, music, laws, religion, and so on.

There is culture among other animals, however, perhaps less complex but just as fascinating.  Monkeys teach their young how to use tools.  Songbirds learn their songs from adults, they're not born knowing them -- and much like human language, if the song isn't learned during a critical window as they grow, then never become fluent.

Whales, parrots, crows, wolves... all have traditions handed down from previous generations and taught to the young.

All, therefore, have culture.

In Becoming Wild: How Animal Cultures Raise Families, Create Beauty, and Achieve Peace, ecologist and science writer Carl Safina will give you a lens into the cultures of non-human species that will leave you breathless -- and convinced that perhaps the divide between human and non-human isn't as deep and unbridgeable as it seems.  It's a beautiful, fascinating, and preconceived-notion-challenging book.  You'll never hear a coyote, see a crow fly past, or look at your pet dog the same way again.

[Note: if you purchase this book from the image/link below, part of the proceeds goes to support Skeptophilia!]


Thursday, July 8, 2021

Art (pre)history

The human drive to produce beauty is a curious thing, and one that science has thus far been unable to explain fully.  No less a luminary than Albert Einstein highlighted this when he said, "It would be possible to describe everything scientifically, but it would make no sense; it would be without meaning, as if you described a Beethoven symphony as a variation of wave pressure."

Many of us -- most of us, I suspect -- feel at least some need to create.  I'm defining this in its broadest sense; I mean not only the most obvious examples of art and music, but abstract beauty in writing, the graceful fluidity of truly gifted dancers and athletes, and the simple, everyday enjoyment of gardening, crocheting, macramé, and all of the other dozens of creative hobbies we engage in.

I'm no stranger to this drive myself.  My primary outlets are writing and music, but I'm also an amateur potter.  I came to art rather late in the game, which is odd because both of my parents were talented artists -- my mother was an oil painter and porcelain sculptor, while my father made jewelry and stained glass windows.  I showed no aptitude for art while growing up, but on a lark (and mainly because my wife was doing it and encouraged me to give it a try) took a class in making wheel-thrown pottery about ten years ago.  I got hooked, and stuck with it despite the fact that such skills do not come naturally to me.  By this point I can turn out some pieces that are pretty decent even to my hypercritical and rather unforgiving eye.

A stoneware bottle from my most recent firing

The open question is why so many of us feel a compulsion to do these sorts of things.  That they serve no practical purpose has become something of a running joke between my wife and I; "I'm heading out to the studio, because heaven knows we need more pottery" is a phrase one of us utters on nearly a daily basis.

The facile answer ("'cuz it's fun") doesn't really explain very much, and although it's tempting to ascribe an evolutionary/selective rationale -- that art and music and so on foster social cohesion, perhaps, giving the group stronger bonds and a better chance of surviving through enhanced cooperation -- explanations like those rest on some pretty tenuous grounds.  The truth is we don't know, but given the ubiquity of creative endeavors, it's certainly a powerful driver whatever its origins and purpose.

And it has quite a significant history in our species.  Two recent papers have looked at different aspects of truly ancient art, and found that (1) the impulse to create art goes back at least fifty thousand years, and (2) our ancestors were motivated enough to create it that they were willing to undergo considerable hardships to do so.

In the first, which appeared in Nature this week, a team of archaeologists working at a site called Einhornhöhle in northern Germany found a deer bone engraved with what appear to be symbolic carvings (i.e. not just knife marks left by butchering).  The bone has been dated at 51,000 years old -- at which point that region of Europe was populated by Neanderthals.

So wherever this artistic impulse comes from, we apparently share it with our cousins.

The authors write:

While there is substantial evidence for art and symbolic behaviour in early Homo sapiens across Africa and Eurasia, similar evidence connected to Neanderthals is sparse and often contested in scientific debates.  Each new discovery is thus crucial for our understanding of Neanderthals’ cognitive capacity.  Here we report on the discovery of an at least 51,000-year-old engraved giant deer phalanx found at the former cave entrance of Einhornhöhle, northern Germany.  The find comes from an apparent Middle Palaeolithic context that is linked to Neanderthals.  The engraved bone demonstrates that conceptual imagination, as a prerequisite to compose individual lines into a coherent design, was present in Neanderthals.  Therefore, Neanderthal’s awareness of symbolic meaning is very likely.  Our findings show that Neanderthals were capable of creating symbolic expressions before H. sapiens arrived in Central Europe.

In the second, which appeared last week in PLOS-ONE, a team of researchers led by archaeologist Iñaki Intxaurbe of the University of the Basque Country (Leioa, Spain) decided to see what technical hurdles our distant kin had to overcome in order to create cave art.  Working barefoot while carrying torches made of juniper branches or carved stone lamps filled with animal fat -- a decent guess for the kinds of artificial lighting they might have used -- Intxaurbe and his team found that producing paintings in deep caves (like the ones at Lascaux, France and Armintxe, Spain) took some serious planning.  Torches give good lighting, but burn out quickly (an average of 41 minutes) and produce a lot of smoke.  Lamps are relatively smokeless but produce much lower illumination.  And each site presented different challenges because of issues like dampness, temperature, and airflow.

So whatever significance these paintings had -- whether they were some kind of representative ritual magic, or whether (like many of us) they simply felt driven to create -- we might never know.  But what seems certain is that we are the inheritors of a very, very powerful drive, and one that goes back at least fifty millennia.

Think about that next time you get out the knitting needles, paintbrushes, or clay.

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Most people define the word culture in human terms.  Language, music, laws, religion, and so on.

There is culture among other animals, however, perhaps less complex but just as fascinating.  Monkeys teach their young how to use tools.  Songbirds learn their songs from adults, they're not born knowing them -- and much like human language, if the song isn't learned during a critical window as they grow, then never become fluent.

Whales, parrots, crows, wolves... all have traditions handed down from previous generations and taught to the young.

All, therefore, have culture.

In Becoming Wild: How Animal Cultures Raise Families, Create Beauty, and Achieve Peace, ecologist and science writer Carl Safina will give you a lens into the cultures of non-human species that will leave you breathless -- and convinced that perhaps the divide between human and non-human isn't as deep and unbridgeable as it seems.  It's a beautiful, fascinating, and preconceived-notion-challenging book.  You'll never hear a coyote, see a crow fly past, or look at your pet dog the same way again.

[Note: if you purchase this book from the image/link below, part of the proceeds goes to support Skeptophilia!]


Wednesday, July 7, 2021

The birds and the bees and the flowers and the trees

One of the most fascinating aspects of evolution, and one of the least appreciated (outside of the biology-nerd community, anyhow), is how insects and flowering plants have coevolved.

Coevolution occurs when two different species (or groups of species) reciprocally affect each other's evolutionary changes.  A commonly-cited example is the pair made up of cheetahs and impalas; the fastest cheetahs get more food than the slowest, and the slowest impalas get turned into food more than the fastest, so each species has a tendency to get faster and faster (at least until other considerations, like the limitations of physiology, kick in).  This specific type of coevolution is sometimes called an evolutionary arms race, and can occur not only with speed but with issues like toxicity (in the species being eaten) and toxin tolerance (in the species doing the eating).

The coevolutionary relationship between flowering plants and insects is a curious one.  Certainly, there are insects that eat (and damage, sometimes fatally) plants; witness the gypsy moths that this year have shredded trees in our part of New York state.  Fortunately for our apple and cherry trees and other susceptible species, most trees attacked by gypsy moths survive defoliation and are able to put out another set of leaves once the moths' caterpillars are gone, and because the moths are a "boom-and-bust" species, they seldom mount a serious infestation like this year's more than once a decade or so.

But there's a "nicer" side to coevolution between insects and flowering plants, and that has to do with pollination.  We all learned in elementary school how bees and butterflies pollinate flowers, but it's more complicated than that; insects and plants have in some senses opposite interests in pollination.  For insects, the more different species of flowers they can visit, the more potential nectar sources they can access; but that's actively bad for flowers, because if a bee visits (for example) a rose and then a clover blossom, any pollen transferred does the plant no good at all because the two species aren't cross-fertile.  That pollen is "wasted," from the plant's perspective.

A species peony from the Caucasus Mountains, Paeonia mlokosewitschii -- nicknamed "Molly-the Witch" because most people can't pronounce "mlokosewitschii" -- primarily pollinated by ants and wasps  [photo taken this spring in the author's garden]

Plants have adopted a variety of strategies for coping with this.  Some, such as wind-pollinated plants (oaks, maples, willows, grasses, and many others) produce huge amounts of pollen, because they don't have a carrier to bring it from one flower to the next, and much of the pollen never reaches its target.  (This is why wind-pollinated plants like ragweed are primary culprits in pollen allergies.)  The same thing is true of plants that are visited by many different kinds of pollinators, and for the same reasons.

But the other approach is specialization.  If a flower has a shape that fits the mouthparts of only one species of pollinator, the pollen picked up is almost certainly going to be transferred to a flower of the same species.  In stable ecosystems, like rainforests, there are flowers and pollinators that have coevolved together so long that both are completely dependent on the other -- the pollinator's mouthparts don't fit any other flower species, and the flower's shape isn't compatible with any other pollinator's mouthparts.

Anna's Hummingbird (Calypte anna) visiting Crocosmia flowers in San Francisco, California [Image licensed under the Creative Commons Brocken Inaglory, Humming flowers, CC BY-SA 3.0]

As my evolutionary biology professor put it, this strategy works great until it doesn't.  Specialists get hit hardest by ecological change -- all that has to happen is for one of the pair to decline sharply, and the other collapses as well.  Their specialization leaves them with few options if the situation shifts.

The topic comes up because of a paper this week in Biological Reviews that looks at plant species which try to do both at once -- attract various species of pollinators (increasing the likelihood that pollen gets widely distributed, and mitigating the damage if one species of pollinator disappears) while encouraging those pollinators to feed exclusively on the flowers of that species only (decreasing the likelihood that the pollen will be transferred to a flower of an unrelated species).

A trio of researchers -- Kazuharu Ohashi (of the University of Tsukuba), Andreas Jürgens (of Technishe Universität Darmstadt), and James Thompson (of the University of Toronto) found that this complicated "hedging your bets" strategy is more common than anyone realized.  Some of the solutions the plants happen on are positively inspired; the goat willow (Salix caprea) has evolved to be pollinated by two different pollinators, bees and moths -- and the flowers actually change scents, producing one set of esters (chemicals associated with floral fragrance) during the day, and a different one at night, to attract their diurnal and nocturnal visitors most efficiently.  Cardinal shrub (Weigela spp.) flowers change scent as they age -- young flowers have fragrances attracting bees and butterflies, older ones attracting species like drone flies.

"[Y]ou'd expect that flowers would mostly be visited by one particular group of pollinators," said study lead author Kazuharu Ohashi, in an interview with Science Daily.  "But flowers often host many different visitors at the same time and flowers appear to meet the needs of multiple visitors.  The question we wanted to answer is how this happens in nature... Most flowers are ecologically generalized and the assumption to date has been that this is a suboptimal solution.  But our findings suggest that interactions with multiple animals can actually be optimized by minimizing trade-offs in various ways, and such evolutionary processes may have enriched the diversity of flowers."

Evolution is more subtle than a lot of us realize, happening on solutions to ecological problems that nearly defy belief.  The bucket orchid of South America (Coryanthes spp.) has a flower with a complex "trap" that only appeals to one species of bee -- and is so convoluted that when I explained its function to my biology students, I had to assure them more than once that I wasn't making it all up to fool the gullible.  The strategies vary dramatically from species to species, but always fall back to that tried-and-true rule -- evolution is the "law of whatever works."

So there's something to think about when you're working in your garden.  The birds and the bees and the flowers and the trees are a lot more complicated and interconnected than they may seem.  Many of the sophisticated mechanisms they use to assure survival and reproduction are only coming to light now -- and papers like Ohashi et al. give us a new lens into how beautiful and intricate the natural world is.

*************************************

Most people define the word culture in human terms.  Language, music, laws, religion, and so on.

There is culture among other animals, however, perhaps less complex but just as fascinating.  Monkeys teach their young how to use tools.  Songbirds learn their songs from adults, they're not born knowing them -- and much like human language, if the song isn't learned during a critical window as they grow, then never become fluent.

Whales, parrots, crows, wolves... all have traditions handed down from previous generations and taught to the young.

All, therefore, have culture.

In Becoming Wild: How Animal Cultures Raise Families, Create Beauty, and Achieve Peace, ecologist and science writer Carl Safina will give you a lens into the cultures of non-human species that will leave you breathless -- and convinced that perhaps the divide between human and non-human isn't as deep and unbridgeable as it seems.  It's a beautiful, fascinating, and preconceived-notion-challenging book.  You'll never hear a coyote, see a crow fly past, or look at your pet dog the same way again.

[Note: if you purchase this book from the image/link below, part of the proceeds goes to support Skeptophilia!]