Humans

Chris Faulkes and Lorna Faulkes
Watch
The Naked Mole-rat: Animal Superhero by evolutionary ecologist Chris Faulkes will explain how this rodent altered our view of human health and ageing. This online talk by London’s Linnean Society is on 13 April at 12.30 BST.

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The Book of Minds by Philip Ball argues that we must look beyond our own brains and delve into the minds of other creatures if we want to truly understand ourselves and comprehend the possibility of alien or machine intelligence.Advertisement
Amazon Studios
Watch
Outer Range stars Josh Brolin as a rancher in the Wyoming wilderness whose grip on reality is called into question when a mysterious black void opens up in his western pasture. It will stream on Amazon Prime from 15 April.

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A new micro-genre of science fiction explores how mind control is at the very heart of our networked existence

Humans

6 April 2022

By Sally Adee

In our hyper-networked world, memetic spread has become uncontrolledShutterstock/Mircea Moira
And Then I Woke Up
Malcolm Devlin
Tordotcom (from 12 April)Advertisement

“THE quality wasn’t very good, but it was good enough for a debate,” says Spence, the narrator of Malcolm Devlin’s short but powerful horror novella And Then I Woke Up. He is describing the viral video that kicked off the zombie apocalypse. “Some people said the men were kissing, some insisted one was biting the neck of the other,” Spence recalls. “He was eating him, they said. Eating him!”
Without giving too much away, Spence is recounting these events from the rehabilitation facility where infected people are slowly reintegrated into society. But if you think I just spoiled the plot, think again. This zombie apocalypse is nothing like what you have been taught to expect by previous books and movies. Devlin has written a horror story where the “zombies” are memes.
Memes are, of course, ideas that lend themselves to jumping from one brain to another. Like that trick where someone tells you not to think about an elephant, once the image has made its way into your mind, you can’t stop the chain of events that unfolds. Richard Dawkins coined the term meme for the phenomenon in 1976, back when it was a relatively unproblematic aspect of how units of culture are transmitted through society. But in our hyper-networked world, memetic spread has become uncontrolled and uncontrollable, and there is something a little unsettling about it. From the QAnon conspiracy theory to the cheezburger cat, there is no telling what will show up in your feed or who produced it. Whether you consent or not, it will nestle between the folds of your brain and start to lay its eggs.
This sinister process is well established in neuroscience: where our expectations lead, our perceptions of reality follow. Memes can set those expectations, distorting and warping them with someone else’s narrative. Sometimes, these are harmless, like the dress that seems to be both blue and white or the audio version, yanny/laurel. Other times, they are more sinister, like the kissing men who may or may not be cannibals, or a conspiracy theory that a pizza restaurant had paedophiles in its basement. Memes can even distort what is right in front of your face.
While the events of Devlin’s book are horrifically plausible, in There is No Antimemetics Division by Sam Hughes (also known by the pseudonym qntm), perceptual expectations are managed by some of the creepiest supernatural beings imaginable. As they lurk unseen by almost everyone, they wreak havoc on an unsuspecting public, who make sense of things by inventing narratives to explain the horrors around them. An entity that creeps around collecting fingers, for example, is explained away as an unusually high rate of kitchen and carpentry accidents.
Devlin and Hughes aren’t the first to explore the power that infectious memes wield over our reality. In The City & the City, China Miéville showed readers two overlapping metropolises in which citizens are trained from birth to “unsee” any evidence of the other city and its residents.
Authors are increasingly waking to the hypnotic power of memes, a topic that is becoming more relevant by the year. These three books are a great introduction to this growing micro-genre of science fiction. I recommend all three of them to the skies. You might end up with a mild case of existential horror, but at least, unlike the stories’ protagonists, you will know what to expect.
Sally also recommends…

Sea of Tranquility
Emily St John Mandel
Picador (from 28 April)

From the fine mind that produced Station Eleven and The Glass Hotel comes another treat: a century-spanning, genre-crossing, time-travel book about the nature of reality, set in a near-future of pandemics and parallel worlds.

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Shutterstock/Madlen
IT WAS out in the desert of New Mexico that humanity first tested the atomic bomb, creating an explosion that left an indelible imprint on our planet. In the same area, just a few dozen kilometres south, scientists are now finding imprints of quite a different sort: human footprints from the Stone Age. These tracks don’t have anything like the historical significance of the first nuclear test – and that is precisely why they are so important.
Archaeology often focuses on the big picture: technological shifts, epic migrations, the fall of civilisations. By contrast, the stones and bones we dig up … More

Spot visual patterns in humanity’s many scripts and boost the science exploring graphical communication with the online game Glyph, says Layal Liverpool

Humans

6 April 2022

By Layal Liverpool
Max Planck Institute for the Science of Human History, PSL SCRIPTA
STOP reading for a moment and instead take a closer look at the letters that make up each of the words in this sentence. What shapes do the different letters in the alphabet have in common? What makes each letter unique?
Yoolim Kim at Harvard University and her colleagues at the Max Planck Institute for the Science of Human History in Germany are trying to answer these questions. They are interested in analysing writing and graphical communication systems from around the world (see picture). You can help them by taking part in the Glyph citizen science project.
In … More

A set of ancient footprints seems to show children splashing around in water that had pooled in tracks left by a now-extinct ground sloth

Humans

6 April 2022

By Colin Barras
A 3D model of footprints discovered at White Sands National Park, New Mexico, created from multiple photographs. It shows the prints of several prehistoric children jostling around the larger marks left by a giant ground slothDavid Bustos/Matthew Bennett
The delight that children find when they jump in muddy puddles has a surprisingly long history. Fossil footprints discovered at an archaeological site in New Mexico show that a group of youngsters living at least 11,500 years ago spent a few carefree minutes engaged in some joyful splashing. But the world was very different back then: the puddles in question had formed in the deep footprints left by a now-extinct giant ground sloth.
The footprints were discovered at White Sands National Park, a site that is rapidly gaining a reputation for its astonishing archaeology. Within the park, there is a playa – a dried up lake-bed – some 100 square kilometres in size. The playa contains thousands of footprints left by humans, mammoths, sabre-toothed cats and other inhabitants of prehistoric North America. Some of the tracks suggest that humans had reached the Americas 23,000 years ago – about 8000 years earlier than we had thought.
But what really sets the ancient human footprints at White Sands apart is their power to vividly show us what life was like for early Americans. Matthew Bennett at Bournemouth University, UK, has been studying tracks at the site for several years. He and his team can measure the prints to work out things like the age of the person who made them and how fast they were walking or running. Then, they can follow them and see how events such as animal hunts unfolded. “It’s written in the tracks what happened,” says Bennett.Advertisement
In unpublished work, Bennett and his team have found one collection of prints that tell a particularly evocative tale. It begins with a set of roughly 40-centimetre-long footprints that show a giant ground sloth – measuring perhaps 3 metres from nose to tail – once lumbered across the landscape.
Later, a group of three to five small children showed up. The jumbled mess of footprints they left are focused around one sloth print. The way the children’s tracks deform the sloth print tells us that the ground was wet, says Bennett. It is impossible to be certain about what was going on, but Bennett says the best interpretation is that water had pooled in the sloth print to create a puddle that was perfect for splashing in – an irresistible target for children, even in prehistory.

Kevin Hatala at Chatham University in Pennsylvania says he is excited to learn more about the tracks once they appear in a formal scientific report. “Records like this demonstrate the unique potential for footprints to record information that is extremely difficult, if not impossible, to observe or infer from other materials such as bones and stone tools,” he says.
Kim Charlie and her sister, Bonnie Leno, have made trips to see Bennett and his colleagues at work, studying the prints. They are both members of the Pueblo of Acoma near Albuquerque in New Mexico, one of several groups of Pueblo people who feel a spiritual connection to White Sands.
Charlie is fascinated by the idea that giant ground sloths were so common in the world inhabited by the first humans at White Sands, who may be among the ancestors of the present-day Pueblo people. “It’s fascinating,” says Charlie. “And you think: jeez, were these animals friendly?”
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A new wave of archaeological investigations is reconstructing intimate details of our ancestors’ lives from fossilised footprints. They give us glimpses of everything from parent-child relationships to the thrill of a giant sloth hunt

Humans

6 April 2022

By Colin Barras
Rupert Gruber
A YOUNG woman is struggling across a muddy plain with a 3-year-old child on her left hip. She puts the youngster down to catch her breath. But she is too afraid to pause for long. The pair are alone, an easy target for the sabre-toothed cats that may lurk nearby. She picks up the child again and hurries on, vanishing into the distance. For a time, all is quiet. Then a giant ground sloth plods across the path she took. The animal catches the woman’s scent and is instantly on guard, rearing up and turning to scan the landscape for human hunters.
What was it like to live in the Stone Age? There must have been moments of joy, fear, love, pain and perhaps even wonder for the people who inhabited Earth tens of thousands of years ago. But emotions don’t fossilise, so we are shut out of those moments, separated by a vast chasm of time. We can find all the bones and tools we like, but they won’t tell us about the experience of life for our ancient ancestors.
Then again, a new window on their everyday existence may be cracking open. As people went about their lives, they left untold numbers of footprints behind. These recorded their behaviour in a unique way, capturing everything from nervous shuffles to determined sprints. What’s more, the tracks have an order to them, meaning events can be read like a narrative. That story of the woman, the child and the giant sloth is a vivid example we have found written in ancient tracks – but it certainly isn’t the only … More

One of the first excavations to find extinct human remains took place on Java in the 1890s, and the original documentation reveals details about the mudflow that encased the fossils there

Humans

30 March 2022

By Michael Marshall
Archaeological dig in Indonesia where the Java Man fossils were foundpublic domain sourced / access rights from Paul Fearn / Alamy Stock Photo
The first large excavation of ancient human remains in Indonesia, in the 1890s, were done with great care – according to an analysis of unpublished documents from the dig.
The original excavations revealed that Homo erectus on Java lived in a lush valley alongside a range of large animals, including antelope and elephants. Researchers including Paul C. H. Albers at the Naturalis Biodiversity Center in the Netherlands have analysed the records, and they say the animals in the fossil bed … More

By Elle Hunt

Through Luna the dairy cow, we see the reality of life lived on human termsMubi
Cow
Andrea Arnold
MUBI and Apple TV+Advertisement

MOST documentaries chronicle exceptional lives that anyone would be curious about, or highly ordinary ones that warrant a second look. Andrea Arnold’s new film does both, providing an immersive look into the world of a dairy cow.
Arnold is the celebrated director of projects as diverse as Red Road and Fish Tank, which explore working-class Britain; the Shia LaBeouf epic American Honey; a 2011 adaptation of Wuthering Heights; and episodes of Transparent and Big Little Lies. In Cow, her fifth feature and first documentary, Arnold turns her trademark unflinching gaze on a subject that is both familiar and entirely other: a cow named Luna on a cattle farm in the English countryside.
Six years in the making, the BAFTA-nominated Cow follows Luna in her day-to-day life, from grazing and mating to birthing and milking. It is about as immersive and visceral a depiction of a non-human being as one can imagine, with Arnold filming from Luna’s perspective as much as possible and using zero narration.
For many viewers, the first surprise may be the immediate, easy charisma of her subject: in an early scene, Luna holds the camera’s gaze, mooing insistently, in such a way that it leaves the audience in no doubt about her curiosity and appraising intelligence. Likewise, shots of her caring for her just-born calf and taking obvious pleasure from an open field suggest a multifaceted mind, which is portrayed clearly and without sentimentality.
For an essentially quiet film, sound is used to great effect in Cow. Mournful pop songs by Billie Eilish and others are piped into the milking shed, adding pathos to the scenes of Luna’s everyday life, while snatches of chatter from her largely faceless farmers lend them structure. The emotion we come to feel for Luna, our investment in her well-being, is organic and earned.
The only point where Arnold relaxes her commitment to realism is a late-night mating sequence, set to R&B pop music and with spliced-in fireworks, a moment that concludes with some post-coital cuddling. The surreal comedy of the scene excuses any charge of anthropomorphism, as does the sequence where Luna is being milked on Christmas morning by a farmer wearing a Santa hat, set to the sound of Fairytale of New York.
This is no hard-bitten slaughterhouse exposé: it is clear that Luna is well cared for, even loved. But the life of a dairy cow is, by definition, one that is punctured with sudden violence. Though Cow may not depict the industrial-scale horrors of animal production, Arnold doesn’t shy away from depicting the indignities and intrusions that feature in a dairy cow’s world. An early scene of calves being dehorned with a cauterising iron reportedly had critics at the Sundance film festival covering their eyes.
The end, when it comes, manages to be at once inevitable and shocking – the harshest possible awakening from the dreamlike state viewers have been lulled into. It encapsulates the film’s understated political point: that, from beginning to end, this is a life led entirely on humanity’s terms, for the production of milk and meat. Luna may not suffer more than is essential to the existence of a dairy cow, but is that a price we are willing to accept?
In honouring the sacrifice of one farm animal, Arnold quietly but insistently invokes the spectre of far more – many of which aren’t treated with the same dignity as Luna, even if we choose to remain ignorant of the details.
Empathetic and often unexpectedly moving, Cow may not instantly turn you vegan, as more aggressive accounts of animal production might – but you will never see its subject in the same way again. Equally, having gently led us to assume the bovine gaze, what may be most unsettling is how we see ourselves.

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