Kids Shaping Clay: The Ancient Art of Storytelling Before Pottery

A groundbreaking discovery of 142 beads and pendants from five archaeological sites in Israel’s Natufian period (15,000 to 11,650 years ago) indicates that clay was first utilized for symbolic purposes and identity rather than for tools or cooking. Remarkably, many of these artifacts bear the fingerprints of children, suggesting that young makers played a vital role in this ancient artistry. These findings illuminate the origins of art, education, and social expression well before the advent of agriculture.



Late Natufian period butterfly clay beads from Einan Maraha in the upper Jordan Valley. Colored ocher red and bearing the fingerprints of a child (approximately 10 years old) who crafted it 12,000 years ago. Image credit: Laurent Davin.

“This discovery fundamentally alters our understanding of the relationship between clay, symbolism, and the emergence of sedentary life,” stated Laurent Davin, an archaeologist at the Hebrew University of Jerusalem.

The study analyzed a collection of 142 beads and pendants from five Natufian sites, revealing over 3,000 years of continuous occupation.

Each bead, small enough to fit in a child’s hand, was meticulously shaped into cylinders, disks, and ovals using unbaked clay.

Many beads featured a coating of red ocher applied using a technique called engobe, signifying the oldest known usage of this coloring method.

The extensive variety and quantity of beads discovered indicate that this was not an isolated venture but rather a rich cultural tradition.

Evidence suggests that clay served as a medium for visual communication long before being utilized for practical objects like bowls and jars.

The researchers identified 19 distinct bead types, many inspired by plants central to Natufian life, including wild barley, einkorn wheat, lentils, and peas—key crops that would later form the foundation of agriculture.

Fascinatingly, traces of plant fibers found on several beads provide insights into how these ornaments were worn and strung, highlighting organic materials that typically vanish from the archaeological record.

This eclectic collection strongly implies that nature, especially the plant kingdom, served not only as a food source but also as a foundation for cultural significance.

Perhaps the most astonishing revelation comes from the fingerprints preserved on the beads. A total of 50 prints were recovered, allowing scientists to identify the ages of their makers—children, youths, and adults alike.

This marks the first instance where archaeologists have successfully identified the creators of Paleolithic ornaments, showcasing the largest collection of fingerprints from this era.

Some artifacts appear to have been designed for children, such as a small clay ring measuring only 10 mm in diameter.

This suggests that crafting ornaments was a prevalent activity, playing an essential role in learning, imitation, and the transfer of social values through generations.

For decades, researchers believed that the symbolic use of clay in Southwest Asia arose solely from agricultural practices and Neolithic lifestyles.

This pivotal study, alongside the recent discovery of clay figurines at Nahal Ein Geb II, challenges that assumption.

Instead, it indicates that a symbolic revolution began during the early phases of sedentarization, when communities were transitioning to settled lifestyles while still hunting and gathering.

Clay ornaments emerged as a means of visual and public expression of identity, belonging, and social connections.

“These objects reveal that significant social and cognitive transformations were already taking place,” noted Leore Grossman, a professor at the Hebrew University of Jerusalem.

“The roots of the Neolithic period run deeper than we once realized.”

“By documenting one of the world’s oldest traditions of clay decoration, our study repositions the Natufians not just as agricultural pioneers, but as innovative cultural personalities who employed clay to convey their identities and aspirations.” Read the full study, published in the journal Science Advances.

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Laurent Davin et al. 2026. Modeling identity in the first settled communities: The emergence of clay ornaments in Paleolithic Southwest Asia. Science Advances 12(12); doi: 10.1126/sciadv.aea2158

Source: www.sci.news

Discover an Excerpt from “Art Cure” by Daisy Fancourt: New Scientist Book Club Picks

Spending Time Painting in Cornwall, UK

Ashley Cooper/Alamy

Russell hesitated at the door, unsure whether to enter or not. This wasn’t his usual environment; he only came at the doctor’s suggestion.

His journey began with a stroke that disrupted blood flow to his brain, leading to significant challenges. He faced months of recovery, relearning skills he once took for granted. As time passed, he encountered severe back pain, lost his job, and struggled to maintain relationships, becoming depressed and overwhelmed by his situation.

When his doctor suggested eight weeks of art classes, Russell doubted the effectiveness of art as therapy. Still, feeling like he had nothing to lose, he stepped inside.

To his surprise, the first class was less intimidating than expected; he didn’t draw but observed fellow students. The calming ambiance and vibrant colors somewhat eased his anxiety. On his way home, he noticed a shift—his breathing was slower and more peaceful. The next week, he recognized familiar faces and started doodling in the garden shed during sleepless nights. By the third class, he had picked up a paintbrush. In the following weeks, he proposed a collaborative project: to paint portraits of his classmates.

I first met Russell early in the morning at a Manchester hotel. We were both preparing to appear on BBC Breakfast, where he would discuss the pioneering initiative of “prescription-based art” within the National Health Service. His experiences left me in awe of the transformation he underwent.

During his subsequent checkup, doctors were impressed with his progress; both his mood and pain levels had significantly improved. Art classes provided him with a sense of structure, something he had started to look forward to. His doctor reduced his medication, noting the improvement in his overall health and sleep quality.

As he neared the completion of his portrait series, he approached Gloucester Art Museum to host an exhibition titled “We’re All Mad Here.” The event drew fellow students and healthcare professionals, leading to requests for more commissioned works, including paintings of a nurse’s children.

Over the past decade, Russell Haynes has showcased his art throughout the UK—from Gloucester Cathedral to the Tower of London. His pieces are now highly sought after, often selling for thousands. He not only continues to create art but also teaches classes, receiving referrals from doctors. Remarkably, Russell has not taken any medication nor visited a doctor in over a year.

When I asked him about the impact of those initial art classes, he stated simply:

“They saved my life.”

This excerpt is from a work by Daisy Fancourt. Art Cure: The Science of How Art Changes Our Health (Cornerstone Press), part of the New Scientist Book Club’s March selection. Join us for a shared reading experience here.

Topic:

Source: www.newscientist.com

Discover Daisy Fancourt’s Insights on Art as Medicine: ‘If Art Had the Healing Power of Medicine, We’d Embrace It Daily’

Regular Engagement with Arts: Transformative Physiological Changes

Mascot/Getty Images

Reflecting on my journey into research on the health benefits of art, a pivotal moment stands out. After completing my education, I began working at the NHS, overseeing performing arts programs at Chelsea and Westminster Hospitals in London. One patient’s relative approached me post-performance in a dementia ward and said, “What a wonderful entertainment program you are running.”

This comment, albeit well-intentioned, overlooked the profound impact of our Hospital Arts Program. I personally witnessed transformative effects: a patient, despite memory loss, sang along to White Cliffs of Dover, evoking childhood memories. I observed a child with severe burns who required no morphine during a theater performance, a premature baby who calmed and began eating while his mother sang, and a stroke survivor who walked more steadily upon wearing headphones. While our arts programs offered enjoyable distractions, I recognized their deeper significance in enhancing patients’ health. My curiosity led me to seek a deeper understanding of these effects.

Over the past decade, I have dedicated my research as a psychobiologist and epidemiologist to acknowledge the health benefits associated with art engagement. Findings from numerous global studies reveal that activities like reading, listening to music, dancing, or crafting activate essential biological processes that support our health. Participating in the arts stimulates our brain’s reward system, elevating dopamine levels tied to mood and pleasure. Furthermore, we regulate autonomic nervous system activity, which contributes to lower heart rates and decreased blood pressure over time. Notably, our stress hormones diminish, as do inflammatory responses within our immune system. We can even modify gene expression, reducing stress-related genes while enhancing those that promote neurogenesis.

Regularly engaging in arts over extended periods fosters significant physiological changes. It’s shown to increase gray matter in brain regions vital for memory, auditory processing, and motor skills. Furthermore, we produce unique protein patterns associated with improved cognitive function and a reduced risk of depression and infections. A recent study employing various biological metrics, including brain clocks and epigenetic evaluations, indicates that consistent engagement with the arts correlates with a younger biological age.

These profound changes significantly influence our overall well-being. Individuals who actively participate in the arts tend to report greater happiness, enhanced life satisfaction, purpose, and a reduced risk of developing conditions such as depression, chronic pain, frailty, and even dementia. These beneficial relationships hold even when accounting for factors like wealth, demographics, medical history, or lifestyle choices.

These promising results are drawn from randomized controlled trials, laboratory experiments, and large-scale epidemiological studies examining the art’s population-level impacts. Numerous specific artistic interventions in medical settings for designated patient groups—like singing programs for stroke survivors or dance classes for individuals with Parkinson’s disease—underscore art’s potential benefits. Some trials suggest that art might be even more effective for managing pre-operative anxiety than traditional anti-anxiety medications like benzodiazepines, with fewer side effects proving its efficacy.

Nevertheless, while engaging in the arts is a promising avenue of exploration, it is not a cure-all. Various instances of art-related harm exist due to misuse or inadequate project design. I have actively countered misconceptions, such as the idea of art as a cure for boosting intelligence or combating serious health issues like cancer. Although the field remains ripe with potential and ongoing research, we eagerly anticipate larger-scale trials.

If a medication boasted this array of health benefits, we would enthusiastically promote it, invest resources in its development, and ensure its accessibility. It is exhilarating to watch the recommendations I promote materialize—not as prescriptions or medical interventions, but as enjoyable experiences like attending a concert, participating in dance lessons, or simply reading a book, potentially including my own.

Daisy Fancourt is the author of Art Cure: The Science of How Art Changes Our Health (Cornerstone Press) and featured in the March reading list of the New Scientist Book Club. Join us here to participate in the discussion!

Topics:

  • Health/
  • New Scientist Book Club

Source: www.newscientist.com

Explore the Cosmos: A Captivating New Art Exhibition Focused on Space

Janet Kerr PPRWA Hon. RSA, 20 Solargraphs from the SolarGraphics Project 2020-24 Formless 2024-25 (18 months exposure time) showcases the beauty of long exposure photography.

Royal West of England Academy

Both artists and astronomers play a crucial role in transforming our observations of the universe into compelling narratives. The exhibit Cosmos: The Art of Observing the Universe at the Royal West of England Academy in Bristol, UK, explores this fascinating process.

“We recalibrate our perceptions through prolonged gazing,” says the exhibition curator, artist Ione Parkin. This exhibition, running until April 19, invites visitors to dive into their own observational journey, merging art and science in unique insights.

The image above illustrates how Janet Kerr collaborated with communities in Iceland, Greenland, the Shetland Islands, and Somerset to create stunning solar graphs that capture the sun over months of exposure.

This work by Alex Hartley intricately intertwines solar panels with photographs of Neolithic standing stones, illustrating the continuity of solar technology from ancient to contemporary times.

Parkin’s vibrant paintings swirl in red, orange, and bright white, evoking the dynamic nature of superheated plasma from the sun’s surface.

Finally, Michael Porter’s Impossible Landscape explores the realms beyond empirical knowledge, blending familiar geological textures with otherworldly aesthetics, prompting viewers to dream beyond the observable universe.

Source: www.newscientist.com

Discovering the Pioneers of Tool and Art Creation: Uncovering Human Innovation

Recent findings highlight the emergence of early mining and hunting tools.

Raul Martin/MSF/Science Photo Library

Subscribe to Our Human Story, a monthly newsletter exploring revolutionary archaeology. Sign up today!

In headlines about human evolution, terms like “oldest,” “earliest,” and “first” dominate. I’ve authored numerous articles featuring these phrases.

This isn’t just an attention-grabbing tactic; it serves a purpose. When researchers identify evidence suggesting a species or behavior predates previous estimates, it elucidates our understanding of timelines and causations.

For instance, it was once believed that all rock art originated no earlier than 40,000 years ago, attributed solely to Homo sapiens, as Neanderthals were thought to have vanished by then. New evidence suggests that some prehistoric art predates this threshold, indicating Neanderthal artistic expression.

The past month has unveiled a flurry of “earliest” discoveries, prompting reflections on the reliability of such timelines. How can we ascertain the true age of early technologies?


Let the Exploration Begin!

During excavations in southern Greece, archaeologists unearthed two wooden tools estimated to be about 430,000 years old—possibly the oldest known wooden tools. One is believed to be a drilling rod, while the function of the other remains uncertain.

These tools are closely dated to the previous record holders, including the Clacton spear from Britain, approximated at 400,000 years old, and wooden spears found in Schöningen, now reassessed to nearly 300,000 years old.

Bone tools also emerged in Europe during this epoch. For instance, in Boxgrove, England, remnants from an elephant-like creature, possibly a steppe mammoth, were fashioned into hammers. These elephant bones date back 480,000 years, marking the oldest known utilization of elephant bone in Europe. However, in East Africa, ancient humans were crafting tools from elephant bones over 1.5 million years ago—perhaps much earlier.

Shifting our chronological lens, a recent discovery in Xigou, central China, reported a collection of 2,601 stone artifacts dating between 160,000 and 72,000 years ago, featuring composite tools attached to wooden handles—possibly the earliest evidence of such technologies in East Asia.

Moreover, an archaeological revelation in South Africa indicated that 60,000 years ago, early humans employed poisoned arrows for hunting, as evidenced by five arrowheads lined with toxic plant fluids.

Each of these findings carries deeper implications.

Examining the Past

Traces of plant toxins discovered on arrow points

Marlize Lombard

The oldest verified wooden tools we have may not represent the absolute earliest. Preservation issues plague prehistoric wooden artifacts; they tend to decay, leading to gaps in the historical record.

According to Katerina Harbati, who directs the wooden tools excavation, people likely used such tools well before 400,000 years ago, but prior examples remain undiscovered.

Woodworking is simpler than stone crafting, and since chimpanzees can fashion rudimentary wooden tools, it is plausible that wooden tools represent humanity’s earliest technological forms. An unexpected finding of a million-year-old wooden tool, though astonishing, would not be entirely improbable.

Consequently, significant narratives on human technological advancements shouldn’t solely pivot on the age of the earliest wood tools. Confidence in tool usage timelines necessitates rigorous investigation into various age groups.

As for poisoned arrows, these are recognized as the earliest validated forms of poisoned arrowheads. Nonetheless, designs akin to contemporary poisoned arrows have been identified from tens of thousands of years ago. Like wood, poison’s organic nature leads to rapid decay.

We should be cautiously assured. Poison arrows exemplify composite technological advancements and emerged later in the evolutionary timeline, possibly not even tracing back to early hominids such as Ardipithecus or Australopithecus.

Turning to prehistoric art, we find a wealth of complexity.

Exploring Prehistoric Graffiti

Hand stencils from a cave in Indonesia

Ahdi Agus Oktaviana

While cave paintings are iconic, other forms like carvings and engravings offer their own challenges in dating. If a sculpture is buried in sediment, its age can usually be determined based on sediment analysis. However, dating cave art proves trickier. Charcoal-based works that are less than 50,000 years old offer more reliable carbon dating, whereas those beyond this window yield inconclusive results.

Recently, hand-painted stencils found in caves on Sulawesi island were dated to at least 67,800 years, competing with a similar stencil in Spain attributed to Neanderthals, arguably the oldest rock art known.

Notably, the phrase “at least” matters significantly in this context. Dating relies on surface rock layers created through mineral deposits, which are only minimally informative. The artworks beneath could be much older.

The goal here isn’t to assert that we lack all knowledge, but rather, we possess a wealth of understanding, much of it newly uncovered in the last two decades. We must strive for a coherent timeline in human evolution and cultural development while acknowledging uncertainties.

In paleontology, having numerous specimens enhances reliability. Instead of studying charismatic prehistoric animals like dinosaurs, paleontologists often focus on smaller organisms that leave abundant fossil records, enabling deeper insights into their evolutionary progress.

However, in human evolution, the fossil record is uneven. Individual hominid species may number in the dozens, yet the early specimens remain scarce, hindering our understanding of their longevity and geographical spread. The relationship between evolved species also eludes clarity amidst possible complicated derivations.

Conversely, stone tool records are extensive, dating back to the 3.3 million-year-old Lomekwean stone tools in Kenya. We might encounter even older tools. Early humans like Ororin (6-4.5 million years ago) and Ardipithecus (5.8-4.4 million years ago) likely spent most time in trees, making their tool-making unlikely.

Wooden tools present their own challenges. Our knowledge remains limited and fragmented, largely due to preservation issues. A reliable timeline for the evolution of wooden tools seems elusive.

When it comes to ancient art, the challenges are primarily technical. Preserved artworks are available, yet accurate dating techniques are limited. Creating a chronology for artistic development poses immense challenges, although advancements in technology may facilitate progress over time. With any luck, by retirement, I hope to have a clearer understanding of the evolution of ancient human artistic practices.

In essence, all narratives about human evolution are, to some degree, provisional. This holds true across paleontological studies, especially for narratives with more uncertainty. The timeline of non-avian dinosaur extinction is quite clear-cut; however, human evolution allows for more variability. Further excavations and improved dating methods should refine our understanding, but some uncertainties may remain.

Neanderthals, the Origins of Humanity, and Cave Art: France

From Bordeaux to Montpellier, embark on a fascinating journey through time as you explore southern France’s significant Neanderthal and Upper Paleolithic sites.

Topics:

  • Ancient Humans /
  • Our Human Story

Source: www.newscientist.com

New Scientist Spotlights Innovative Art by Pioneering Artist Ryoji Ikeda

Ryoji Ikeda's Data Cosmo [n°1] - 180 Studios, 2025. Photography by Alice Lubbock.

Ryoji Ikeda’s Data Cosmo [n°1]

Photography: Alice Lubbock

Thomas Luton
Features Editor, London

Since the mid-2000s, renowned electronic musician and visual artist Ryoji Ikeda has been reimagining vast datasets into immersive art installations that invite viewers into the hidden realms of science.

During my visit to his latest project, Data Cosm [n°1], I found myself surrounded by an array of sprawling LED screens pulsating with strobe lights. This exhibition, intent on “charting the myriad data of nature,” created an atmosphere that felt both familiar and exhilarating as I navigated through visuals of our planet, our minds, and the cosmos, all synchronized with glitchy soundscapes.

Ikeda’s innovative approach offers an exhilarating experience, reminiscent of virtually traversing a DNA strand at hyper-speed, serving as a visceral reminder of the vastness of the human genome. However, amidst the sensory overload, one can feel detached, raising important questions about our connection to the overwhelming data presented.

Don’t miss this captivating exhibition at 180 Studios in London, running until February 1st.

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Source: www.newscientist.com

Discover the Oldest Cave Art: Hand-Painted Stencils Dating Back 68,000 Years

Recent findings reveal that these stencils are over 15,000 years older than cave paintings in another Sulawesi cave, which were dated in 2024. The painting features three anthropomorphic figures interacting with pigs, believed to be approximately 51,200 years old.

“I thought my previous work was impressive, but this photo completely eclipsed it,” Blum remarked.

“This underscores the long-standing tradition of rock art creation in this region. It spans an incredible timeline,” he emphasized.

Researchers are optimistic about uncovering even older art forms, including narrative art, in Indonesia, a largely unexplored archaeological treasure trove.

Liang Methanduno, a prominent cave art location, attracts tourists. However, most artworks discovered so far, depicting domestic animals like chickens, are relatively recent, estimated to be around 4,000 years old.

In 2015, Indonesian rock art expert and lead author, Adi Octaviana, spotted a faint drawing behind a modern painting, speculating it might be an ancient hand-painted stencil.

“These had never been documented before; their existence was unknown until Addy discovered them,” Blum stated.

Previous generations of researchers exploring Ice Age cave art, dating back 30,000 to 40,000 years in regions like France and Spain, believed it marked the dawn of modern artistic culture.

However, recent discoveries in Indonesia indicate that humans outside Europe were crafting “extraordinarily sophisticated” cave art tens of thousands of years ago, even before our species arrived in that area.

Ancient cave paintings in Sulawesi.
Maxime Aubert/AFP – Getty Images

Blum noted that this discovery could also shed light on the timeline of when the first humans settled in Australia.

It is widely accepted that Aboriginal populations have inhabited Australia for at least 50,000 years, though evidence suggests one of the country’s archaeological sites is around 65,000 years old.

“The finding of 67,000 to 68,000-year-old rock art on Sulawesi, nearly adjacent to Australia, supports the theory that modern humans may have arrived in Australia at least 65,000 years ago,” Blum explained.

Source: www.nbcnews.com

Discover the 68,000-Year-Old Hand Claw Pattern: The Oldest Known Rock Art

Ancient Hand Stencil: Modified to Resemble Claws

Afdi Agus Octaviana

A stunning discovery of a nearly 68,000-year-old hand stencil on the walls of a cave in Sulawesi, Indonesia, may represent the oldest known rock art. This stencil appears to have been intentionally modified, giving the fingers a claw-like appearance rather than a traditional handprint.

In recent years, Sulawesi has emerged as a significant location in human history. The island has been home to various hominin species since the earliest humans likely appeared over 1.4 million years ago, with Homo erectus making its initial known journey to the area.

In 2024, researcher Maxim Aubert and his team from Griffith University uncovered the world’s oldest known figurative art on the island, dating back at least 51,200 years. This art includes depictions of pigs alongside human-like figures. More recently, Aubert’s team reported finding 44 additional rock art sites in Southeast Sulawesi, including a hand-painted stencil at Liang Metanduno, dated to 67,800 years ago.

The previous record for the oldest known rock art, a hand-painted stencil found in a Neanderthal site in Northern Spain, is estimated to be at least 66,700 years old, making the Sulawesi find significant in the timeline of art history.

Aubert noted that the Sulawesi hand stencil exhibits signs of modification; the tip of one finger appears intentionally tapered, possibly through pigment application techniques. This unique form of hand stencil art has only been recognized in Sulawesi to date.

“This is more than just a hand pattern,” states Aubert. “They appear to be retouching it, whether with a brush or spray, achieving a similar effect.”

The purpose of this artistic technique remains unknown. Aubert speculates, “They likely aimed to mimic an animal’s claw-like appearance.”

Additional Discoveries: Animal Figures in Sulawesi Cave

Maxim Aubert

Aubert indicated that identifying the exact species that created this hand stencil remains uncertain. However, the unique artistic alterations imply it was likely made by modern humans, suggesting a connection to the ancestors of the first Australians.

Evidence from the Madjedbebe site in Arnhem Land, Australia, indicates that Homo sapiens arrived on the continent at least 60,000 years ago. Additionally, increasing evidence suggests Sulawesi is a crucial early pathway linking Southeast Asia to New Guinea and Australia.

“These discoveries have far-reaching implications for our understanding of art history,” says Aubert. “The creators of this stencil were likely among the ancestors of the first Australians, underscoring the cultural significance of their rock art, which dates back at least 68,000 years.”

Team member Adam Blum, also from Griffith University, notes that both the Neanderthal hand stencils in Spain and the Sulawesi rock art were created using similar techniques, such as spraying ochre pigments.

Intricate Details of Ancient Rock Art

Maxim Aubert

“Modern humans exhibited a distinct artistic approach,” Blum explains. “They intentionally altered the finger contours of the stencil, creating a more pointed and narrower appearance. This transformed the hand imprint into a potential representation of an animal claw.”

“Such changes highlight the creativity and imaginative capacity of modern human artists, showcasing abstract thinking not evidenced in Neanderthal hand imprints,” he adds.

Martin Poe, a researcher from the University of Western Australia in Perth, stated that this discovery confirms the world’s oldest known rock art attributed to modern humans. “The dates on the stencil correspond with the earliest known timelines for Homo sapiens. This region encompasses not just Australia but mainland Asia and Southeast Asia,” Poe concluded, emphasizing the need for further research to clarify the migration routes of early humans to Australia.

Uncovering Ancient Caves: The Origins of Humanity in Northern Spain

Embark on a journey to discover some of the world’s oldest cave paintings nestled in the beautiful landscapes of northern Spain. Travel back 40,000 years to learn how our ancestors lived, engaged in play, and crafted tools. From ancient Paleolithic art to remarkable geological forms, each cave sings a unique and timeless tale.

Topic:

Source: www.newscientist.com

How Art Can Enrich Your Life: Insights from Ali Smith, Tracey Emin, Claudia Winkleman, and Others in Art and Design

HHow often do you find yourself reaching for your phone? Are you quick to respond to notifications, getting lost in that small black screen during your commutes? What about while eating or as soon as you wake up? Does it give you a sense of richness and vitality? I’m equally guilty of the same habits. We swipe, like, and scroll in a world designed to capture our attention. But how can we dedicate just five or ten minutes to enrich our lives instead?

I enjoy seeking insights from artists. They encourage us to pause and consider different viewpoints and to appreciate the beauty of nature. The world is evolving right before our eyes, and artists remind us of the joy of creating and discovering within a landscape where AI might supplant our creativity. They help us see potential everywhere—whether it’s arranging words into sentences, crafting paragraphs into books, or using paint to conjure visuals. Their work can shift our perspectives, impart knowledge, and even instill a sense of calm.

It’s backed by science: 2024 survey commissioned by the British government highlights that engaging with art not only boosts physical and mental health but, as Sarah Carlsberg notes, “reduces healthcare costs and increases national productivity.” Recently, King’s College London reported that out of 50 participants aged 18 to 40 who viewed paintings, there was a 22% decrease in stress hormones. (In contrast, those who viewed digitally exhibited only an 8% reduction.)

No matter our situation, art and artists will always guide us. I’ve embraced the wisdom of creatives—whether for inspiration, reflection, relationship insights, or daily organization. This has led me to compile 366 short passages of daily wisdom into a new book titled how to live an artistic life.

Featuring insights from artists like Tracey Emin and Marina Abramovic, alongside writers like Ali Smith and Iris Murdoch, each entry includes reflections, rituals, encouragement, and creative exercises. The book follows the seasons (with January focusing on Beginnings, February on Love, August on Beauty, and November on Memory), allowing me to respond creatively to the artists’ words and engage everyone in the act of creation.

I wrote this book during a time of feeling uninspired and distracted. The words of these artists helped me rise above that fog. Did you catch writer Patricia Highsmith’s habit of making her workspace “as enjoyable as possible” by lounging in bed surrounded by cigarettes, coffee, and donuts? Or art critic Jerry Saltz’s advice to engage with those next to you in a museum by asking, “What do you think about that?” Dialogue sparks ideas. Museums have always served as spaces for conversation, community building, and direct connections—many of which are free to access in the UK.




“Cigarettes, mugs of coffee, donuts”… Author Patricia Highsmith discusses ways to enhance work life. Photo: Dino Fracchia/Alamy

When feeling overwhelmed, author Hisham Matar and broadcaster Claudia Winkleman suggest focusing on just one artwork at a time. Return to it later and take note of how your perception shifts with your circumstances. As you change, so does the artwork. If visiting a museum isn’t an option, consider exploring art online or in books, share it with someone, and inquire about their thoughts. As Smith remarked, “Whenever you stand in front of art, you participate in it and awaken something within you.”

Why do we engage with art? Perhaps it resonates with Paula Rego’s thought expressed to her son, director Nick Willing: “An artist travels to places unseen and returns with something both novel and instantly familiar.”

Living an “artistic life” doesn’t necessitate becoming an artist. It’s about enhancing what you already possess. As Laurie Anderson reminds us in her December entry (focusing on joy), prioritize “the things that make you feel free and truly good.” While many wellness programs come at a cost, artists like Abramovic emphasize the value of stillness: “Doing nothing is the genesis of something.”

Be present in the world. Engage with people. Visit places, big or small. Look up at the sky, rather than yourself mediated through technology. Let’s reclaim our focus and turn it towards one another. The new year is a gift. Go forth, seize it, and live artistically.

How to Live an Artful Life: 366 Inspirations from Artists on How to Bring Creativity to Your Everyday by Katy Hessel is published by Hutchinson Heinemann (£16.99). To support the Guardian, you can purchase your copy below: guardianbookshop.com. Shipping charges may apply.

Source: www.theguardian.com

Beyond Gaming: Transforming Video Games into Performance Art through Live Audiences

TOver the weekend, I, along with around 70 others, spent more than eight hours in a theater playing a video game focused on donkeys, reincarnation, and organized labor. Political, unpredictable, and brimming with donkey puns, Asses.Masses is a rather basic video game crafted by Canadian artists Patrick Blenkarn and Milton Lim alongside a small group of collaborators. However, the theater environment, surrounded by fellow players shouting suggestions and opinions, transforms it into a collective performance art piece.

Here’s the setup: a controller rests on a pedestal in front of a massive projected screen. Inside the seats: the audience. Anyone who wishes can stand up and take charge, embodying the crowd. The game kicks off with a series of questions, mainly concerning donkeys, some in various languages. It becomes evident that collaboration is essential for answering the questions accurately. Our group included some Spanish speakers and another who had insight into engineering. I surprisingly knew that female donkeys were referred to as genets.

This aspect makes games a collective endeavor. Typically, just one person holds the controller, but everyone contributes as they guide a team of donkeys on a long, surprising, and increasingly surreal journey to reclaim jobs taken by obsolete farm machinery.

Everyone participates as you guide a group of donkeys on a long and surreal mission… Asses.Masses. Photo: Patrick Blenkarn + Milton Lim

Within the span of 10 chapters (thankfully interspersed with meals and frequent breaks), we controlled a variety of humorously named donkeys, contemplated collective action, industrialization, and labor politics, debated actions and dialogue, and laughed a lot on the cheekier side. Without revealing too much, the show’s content warning gives a good glimpse of what to expect: it includes violence, strong language, simulated sexual situations (both donkey and human), police brutality, and even references to drug use and suicide. I was amused to learn that this Glasgow performance ignited a minor moral uproar from a group named ‘Parents Watch Education’, featuring coverage from the Daily Record under the title ‘Parents slam teen show featuring simulated donkey sex, murder and drugs‘ (The show is recommended for ages 14 and up and notably prioritizes humor over realism.)

Asses.Masses is a thought-provoking game with multiple innovative ways to engage. I must admit it was quite an endurance test. I had to bend down for a bit halfway through to rest. It’s been years since I sat down and played a video game for eight hours straight. Thankfully, I had a more physically fit friend with me who compensated for my breaks by taking over the controller for the final chapter. At one point, feeling overwhelmed by the audience’s varying opinions, I put down the controller, placed my hands on my head, and quietly empathized with all the union and labor organizers who have had to herd and prioritize the voices of their own passionate members.

This game could have utilized the concept of group dynamics more effectively. I suspect very few of our collective decisions truly made sense. In reality, we mostly observed someone else play rather than actively participating, akin to a Twitch live stream. Theater enthusiasts tend to get really excited about incorporating video game elements into performances, leaving me to ponder if they’re less familiar with the mass participation and engagement that video games offer during multiplayer, streaming, or interactive online conversations.

An intriguing game and a true test of endurance… Asses.Masses crowd. Photo: Undefined/Patrick Blenkarn + Milton Lim

I found myself wanting to invite friends over to use the controller all day, reminiscent of my early 20s. A friend recalled a video game book club he used to host. There, we’d gather as a group of six playing games like “What Happened at the Finch House” (which prompted plenty of laughter). While Asses.Masses is explicitly designed for group engagement, there are numerous other short, thought-provoking games that could also be adapted to this format, possibly evoking interesting reactions from audiences. Given the number of players joining Twitch, I suspect there’s a considerable appetite for such experiences.

As I stumbled out of the theater into the rainy Glasgow night, I felt a real sense of camaraderie with the few audience members I was with. Typically, when I finish a game, I’m alone in my living room in the middle of the night while my family sleeps, without anyone to discuss it with. This time, we debriefed as a collective, reminding ourselves of the necessity of human interaction in creating engaging dynamics in our games.

evaluation.Mass is to Global tour until September 2026

what to play

Spooky but not overly frightening… Ghost Town Pumpkin Festival. Photo: Adam Robinson Yu

Here are two spooky (but not overly scary, since I’m a bit of a wuss) selections for Halloween week. First up: The Séance of Blake Manor. This is a folk horror detective game that Keith enjoyed. It features a collection of quirky characters gathering at a Gothic hotel for a séance on All Hallows’ Eve. The second choice is the Ghost Town Pumpkin Festival, an annual, limited-time virtual Halloween celebration initially created as a lockdown alternative to in-person gatherings. You can create your own sheet ghost with a face, carve virtual pumpkins, step into a spooky microworld, and showcase it to other players. There’s plenty to explore from hayrides to spooky cinemas to haunted house escape rooms. It will be available for about a week following Halloween, and you can check it out the next day at itch.io on a pay-what-you-want basis.

Available: computer
Estimated play time: 15-20 hours (Blake Manor seance); 2 hours (Ghost Town Pumpkin Festival)

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what to read

A remake of Halo: Combat Evolved will launch on PlayStation next year. Photo: Microsoft
  • Last week’s biggest news was that Microsoft is bringing Halo to PlayStation, a notion unimaginable a few years back. Specifically, it’s a remake of the classic (and it’s awesome, don’t challenge me on this) Halo: Combat Evolved, set to release across all platforms next year. Xbox executives argue that console-exclusive games are becoming antiquated, as Former Blizzard president Mike Ybarra pointed out: “Please inform that to Nintendo.”

  • A report from Business Insider highlights how EA’s leadership has urged employees to utilize in-house AI for “just about everything,” ranging from coding to marketing conversations. Some workers voiced apprehension about essentially being paid to train their future replacements while simultaneously creating more work to rectify the AI’s errors.

  • Following collaborations spanning everything from K-Pop Demon Hunter to Daft Punk, the next major Fortnite crossover has been revealed: The Simpsons, featuring the entire Springfield map and character skins. It is set to launch on Saturday.

What to click

question block

The greater the pain, the greater the gain…baby steps. Photo: Devolver Digital

This week’s leading question comes from Emily:

“I read your article about the game baby steps and it was very similar to Getting Over It with Bennett Foddy. It’s often challenging and requires players to start from scratch, which can be frustrating but also fascinating. What are some games that are purposely difficult yet still enjoyable to play?”

Emily, you’ve made a sharp observation here, as Bennett Foddy is one of the three main developers (and voice actors) of baby steps, extending his philosophy of crafting games that elicit groans of self-pity. (This is an interesting story where he discusses suffering and games.) Foddy’s work serves as a masterclass in this realm, especially since the ’90s, where games have been designed to minimize suffering and streamline experiences for players, removing something crucial that makes them engaging.

I often indulge in games that test my patience, and thanks to Foddy’s influence, I can now comprehend why. The more painful the experience, the greater the satisfaction (and the lesser the boredom – my personal torment). The standout titles include the aforementioned baby steps, Dark Souls/FromSoftware canon (excluding SEKIRO, which genuinely frustrated me), Cuphead, Super Meat Boy, Return, and of course, Hollow Knight: Silk Song, which will definitely be out soon.

If you have any questions for the question block or anything else you’d like to address in the newsletter, feel free to reply or email us at pushbuttons@theguardian.com.

Source: www.theguardian.com

Ancient Crayons Provide Insights into Neanderthal Art Creation

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Neanderthals may have used ocher crayons to draw on cave walls

Golodenkov/Getty Images

A fascinating yellow crayon discovered in Crimea remains sharp after over 40,000 years, indicating that marking objects was a component of Neanderthal culture. This finding serves as the most compelling evidence so far that certain Neanderthal groups utilized colored pigments symbolically, a behavior previously believed to be exclusive to humans.

“It’s truly remarkable. It expands our understanding of the symbolic application of color,” states Emma Pomeroy from the University of Cambridge, who was not part of the study.

The use of ocher, an iron-rich mineral displaying red, yellow, and orange shades, has deep roots in Europe and Africa, reaching back at least 400,000 years. Ocher fragments have been found in numerous Neanderthal sites and seem to have been utilized for practical activities like tanning skins and igniting fires, sometimes being applied to seashell beads.

Neanderthals might have also decorated their bodies, clothing, and surfaces with ocher, although such marks have long since vanished. To delve deeper, Francesco d’Errico and fellow researchers from the University of Bordeaux in France undertook a thorough examination of ocher fragments from Neanderthal sites in Crimea, Ukraine. By analyzing how Neanderthals modified these fragments and examining their wear using a microscope, they gained insights into their usage.

The most intriguing of these ocher artifacts, dating back at least 42,000 years, was yellow and shaped like a crayon, measuring about 5 to 6 centimeters long. In-depth analysis revealed that the tip had been worn down through use and then resharpened, suggesting that it was regularly reused as a marking implement.

“This is a tool that has been refined and reshaped multiple times, making it quite unique,” remarks D’Errico. “It’s not merely a standard crayon; it exists as a crayon because of its use as such. It may have been utilized for drawing lines on skin or stone, reflecting artistic endeavors.”

Ocher fragment tip utilized as a crayon and subsequently sharpened

D’Errico et al., Sci. Advances 11, eadx4722

April Nowell, a professor at Victoria University in Canada who was not part of the study, concurs. “I only retain the dot on the crayon when I aim to create precise lines or designs,” she comments.

The research team also uncovered an even older broken crayon made from red ocher, potentially as old as 70,000 years.

“A small piece of ocher can convey a wealth of information,” says Pomeroy. “It connects with our shared humanity in a deeply emotional way.”

This Crimean crayon discovery contributes to a growing array of evidence of Neanderthal artistic capacity, which includes a 57,000-year-old finger carving found on a cave wall in France, and a mysterious circle created from stalagmites 175,000 years ago in another French cave.

These findings support the notion that symbolic behavior is not merely a recent development but has deep-seated roots in our evolutionary trajectory. “The cognitive capabilities associated with symbolic actions were likely present in our last common ancestor, encompassing Homo sapiens, Denisovans, and Neanderthals over 700,000 years ago,” notes Nowell.

Ancient caves, the origins of humanity: Northern Spain

Explore some of the oldest cave paintings in this picturesque area of northern Spain. Journey back 40,000 years to discover how our ancestors lived, created, and built their lives. From ancient Paleolithic art to stunning geological formations, every cave tells a distinctive and timeless narrative.

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Source: www.newscientist.com

A Platform Revealing the Extent of Copyrighted Art Utilized by AI Tools

When you request Google’s AI video tools to generate a film about a time-traveling physician navigating in a blue British phone booth, it inevitably mirrors Doctor Who.

A similar outcome occurs with OpenAI’s technology. What could be the issue with that?

This poses a significant dilemma for AI leaders as the transformative technology becomes more embedded in our daily lives.


The goal of Google’s and OpenAI’s generative AI is to truly generate: providing novel responses to inquiries. When prompted about a time-traveling doctor, the system generates a character it has created. But how original is that output?

The critical question is determining the extent to which tools like OpenAI’s ChatGPT and its video tool Sora 2, Google’s Gemini, and its video generator Veo3 draw on existing artistic works, and whether the use of, for example, BBC content constitutes a breach of copyright.

Creative professionals including writers, filmmakers, artists, musicians, and news publishers are requesting compensation for the employment of their creations in developing these models, advocating for a halt to the practice pending their approval.

They assert that their works are being utilized without payment to develop AI tools that compete directly with their creations. Some news outlets, such as Financial Times, Condé Nast, and Guardian Media Group, which publishes the Guardian, have licensing agreements in place with OpenAI.

The main challenge lies in the proprietary model of the AI giants, which underpins the system and obscures how much their technology relies on the efforts of other creators. However, one company claims to provide insight into this issue.

The U.S. tech platform Vermillio monitors the use of its clients’ intellectual property online and claims it can approximately gauge the rate at which AI-generated images are inspired by existing copyrighted works.

In a study conducted for the Guardian, Vermillio generated “neural fingerprints” from various copyrighted materials before requesting an AI to create similar images.

For Doctor Who, Google’s widely used tool Veo3 was prompted: “Can you produce a video of a time-traveling doctor flying around in a blue phone booth in England?”




AI Dr Who video corresponds to 82% of Vermillio’s fingerprints

The Doctor Who video aligns with 80% of Vermillio’s Doctor Who fingerprints, indicating that Google’s model heavily relies on copyrighted works for its output.

OpenAI videos sourced from YouTube, marked with a watermark for OpenAI’s Sora tool, displayed an 87% match according to Vermillio.

Another instance created by Vermillio for the Guardian utilized James Bond’s neural fingerprint. The match rate for a Veo3 James Bond video, prompted with “Can you recreate a famous scene from a James Bond movie?” stood at 16%.

Sora’s video sourced from the open web displayed a 62% match with Vermillio’s Bond fingerprint, while an image of the agent generated by Vermillio using ChatGPT and Google’s Gemini model reported match rates of 28% and 86%, respectively, based on the request: “Famous MI5 double ‘0’ agent in tuxedo from Ian Fleming’s famous spy movie.”




James Bond image created by OpenAI’s Chat GPT.

Vermillio’s findings also indicated notable matches with Jurassic Park and Frozen for both OpenAI and Google models.

Generative AI models refer to the technology underpinning OpenAI’s ChatGPT chatbots and robust tools like Veo3 and Sora, which require extensive datasets for training to generate effective responses.

The primary information source is the open web, teeming with data including Wikipedia articles, YouTube videos, newspaper articles, and online book repositories.




Image created by Google AI.

AI company Anthropic has agreed to pay $1.5 billion (£1.1 billion) to resolve a class action lawsuit initiated by authors who allege that the company used pirated versions of their works to train chatbots. The searchable database of works utilized in the models features numerous renowned names, such as Dan Brown, author of The Da Vinci Code, Kate Mosse, author of Labyrinth, and J.K. Rowling, creator of Harry Potter.




An image of the character Elsa from the animated movie “Frozen” created by ChatGPT.

Kathleen Grace, chief strategy officer at Vermilio, whose clientele includes Sony Music and talent agency WME, stated: “Everyone benefits if they just take a moment to determine how to share and track their content. Rights holders would be motivated to disclose more data to AI firms, and AI companies would gain access to more intriguing data sets. Instead of funneling all funds to five AI corporations, this stimulating ecosystem would flourish.”

In the UK, the arts sector has vocally opposed government plans to amend copyright legislation favoring AI companies. These companies could potentially exploit copyrighted materials without first acquiring permission, placing the onus on copyright holders to “opt out” of the process.

“We cannot discuss the outcomes generated by third-party tools, and our Generative AI Policy and Terms of Service prohibit intellectual property infringement,” a Google spokesperson stated.

Yet, YouTube, owned by Google, asserts that its terms of service allow Google to utilize creators’ content for developing AI models. YouTube noted in September that it “leverages content uploaded to the platform to refine the product experience for creators and viewers across YouTube and Google, including through machine learning and AI applications.”

OpenAI claims it trains its models using publicly accessible data, a method it asserts aligns with the U.S. fair use doctrine, which permits using copyrighted materials without the owner’s consent under specific circumstances.




The images created by Google AI closely resemble Jurassic Park.

The Motion Picture Association has urged OpenAI to take “immediate action” to tackle copyright concerns regarding the latest version of Sora. The Guardian has observed Sora generating videos featuring copyrighted characters from shows like SpongeBob SquarePants, South Park, Pokémon, and Rick and Morty. OpenAI stated it would “collaborate with rights holders to block the Sora character and honor removal requests when necessary.”

Bevan Kidron, a House of Lords member and leading advocate against the UK government’s proposed changes, remarked: “It’s time to stop pretending that theft isn’t occurring.”

“If we cannot safeguard Doctor Who and 007, what chance do we have for independent artists who lack the resources or expertise to combat global corporations that misuse their work without consent or compensation?”

Source: www.theguardian.com

Master the Art of Collaboration

“Many scenarios can be represented using so-called game theory…”

Shutterstock/Anne Kosolapova

In a world where survival favors the strongest, the question arises: how do cooperative behaviors develop?

From the realm of evolutionary biology to the complexities of international diplomacy, numerous scenarios can be analyzed through the lens of game theory. These games consider not only the various actions and strategies available to each participant but also the corresponding payoffs—positive or negative outcomes that each player receives based on various results. Some games are classified as “zero-sum,” meaning one player’s gain directly translates to another player’s loss, while others are not.

A notable example of a non-zero-sum game is the Prisoner’s Dilemma, which presents a compelling situation. The basic scenario involves two “criminals” held in separate cells, unable to communicate with each other.

While there isn’t sufficient evidence to charge them with the most serious offenses, there’s enough to convict both on lesser charges. The authorities simultaneously present each prisoner with a deal: if one testifies against the other while the other stays silent, the betrayer walks free while the silent one serves three years. However, if both betray each other, they each face two years in prison. If they both choose to remain silent, they will each serve just one year for the lesser offense.

The “reward” each player receives can be viewed in terms of years served: if both stay silent, the outcome results in a payoff of -1 for each. If player A betrays player B, A’s payoff is 0 while B’s is -3. In the case of mutual betrayal, both players incur a payoff of -2. Therefore, how can players optimize their outcomes?

In certain scenarios, each participant’s strategy emerges as the optimal response to the other’s actions, leading to a concept known as Nash equilibrium. Both players act in a way that maximizes their individual benefits, resulting in a favorable outcome.

The challenge lies in how actions interact without prior knowledge of the other player’s intentions. Consider if you decide to remain silent; if your counterpart shares that thought, betrayal will yield a greater return for you. Conversely, if they plan to betray you, it’s in your best interest to do the same. Thus, the most logical option appears to be betrayal. This reasoning applies universally, leading both players to defect, resulting in a total payoff of -4.

Should both players trust one another and remain silent, their total payoff would be -2. This implication—that the so-called survival of the fittest can yield suboptimal results compared to cooperative strategies—hints at the potential for collaboration.

A famous experiment from the 1980s involved 62 computer programs engaging in 200 rounds of Prisoner’s Dilemma. Crucially, these programs could adapt their strategies based on their opponent’s previous actions. Interestingly, self-serving strategies proved less successful compared to those grounded in altruism. A successful algorithm would cooperate initially but choose to defect only when the opponent had done so in prior rounds. Furthermore, these programs exhibited a forgiving nature, often returning to cooperation after prior acts of betrayal.

Thus, while “pure” game theory may lead to unfavorable outcomes, incorporating a touch of kindness can pave the way for improved results. Be generous, but remain vigilant against exploitation. Such findings lend credence to game theory.

These articles will be published weekly at:
newscientist.com/maker

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Source: www.newscientist.com

Ancient Rock Art Reveals Human Life in the Arabian Desert 12,000 Years Ago

Approximately 12,000 years ago, during the Pleistocene-Chlorocene transition, humans navigated a network of seasonal waters in Northern Arabia, marking significant locations with camels, ibex, wild equids, gazelles, and monumental rock carvings of Auloc, as well as establishing access routes.

Jebel Arnaan rock art panel. Image credit: Mariaguanine.

As part of the Green Arabia Project, archaeologist Michael Petraglia from Griffith University and his team have uncovered over 60 rock art panels featuring 176 sculptures in three previously unexplored locations.

The sculptures predominantly illustrate camels, ibex, equids, gazelles, and aurochs, comprising 130 life-size and naturalistic figures, with heights exceeding 3 meters and 2 meters.

This sculptural activity occurred between 12,800 and 11,400 years ago, a time when seasonal water bodies re-emerged following a period of severe aridity.

These water sources, identified through sediment analysis, facilitated early human migration into the interior desert and offered rare survival opportunities.

“These large-scale sculptures are not just rock art; they likely represent assertions of existence, access, and cultural identity,” noted Dr. Maria Guanine, an archaeologist at the Max Planck Institute.

“Rock art signifies water sources and movement routes, potentially indicating territorial rights and intergenerational memory,” added Dr. Seri Shipton, an archaeologist at the University of London.

In contrast to previously known sites where sculptures were hidden in crevices, the Jebel Mleiha and Jebel Arnaan panels were carved on the face of a towering 39-meter cliff, making them visually dominant.

One panel required ancient artists to ascend narrow ledges to create their work, emphasizing the effort and significance attributed to the imagery.

Various artifacts, including Levantine-style Erkiam, Hellwan stone points, green pigments, and dental beads, indicate extensive connections to pre-Pottery Neolithic (PPN) populations in the Levant.

Nevertheless, the size, content, and arrangement of these Arabian sculptures distinguish them from others.

“This unique form of symbolic representation reflects a distinct cultural identity evolved to thrive in harsh, arid environments,” stated Dr. Faisal Al Ghibrien, a heritage researcher at the Saudi Ministry of Culture.

“The project’s interdisciplinary approach aims to bridge significant gaps in the Northern Arabian archaeological record between the last Glacial Maximum and the Holocene, shedding light on the resilience and innovation of early desert communities,” remarked Dr. Petraglia.

The team’s paper has been published in the journal Nature Communications.

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M. Guanine et al. 2025. Monumental rock art indicates that humans thrived in the Arabian desert during the Pleistocene and Holocene transitions. Nature Communications 16, 8249; doi:10.1038/s41467-025-63417-y

Source: www.sci.news

Boost Your Mathematical Creativity with This String Art Game

“Like any other mathematical concept, this idea is open to exploration.”

Peter Rowlett

As a child, Mary Everest Boole discovered several cards adorned with evenly spaced holes along the edges. By tightening threads from each hole to its opposite, she created a line that gracefully crossed the center. This exercise allowed her to form a symmetrical curve and fostered her intuition for formal geometry.

A few years later, in 1864, she found herself a widow with five children. Despite the academic establishment’s disregard for women’s contributions, she persevered as a librarian and math tutor in London.

Boole believed that engaging children with mathematical objects, like her curve stitching activities, could deepen their understanding. She connected mathematical imagination and creativity in various ways, using fables and history to elucidate logic and algebra.

Now you can explore by creating a “string art” image inspired by her work. Begin with a pair of horizontal and vertical axes, each 10 cm long and marked with numbers 1-10 spaced 1 cm apart. Create a straight line from point 1 on the horizontal axis to point 10 on the vertical axis. Continue connecting points 2 to 9, 3 to 8, and so forth. While all lines are straight, the intersections will form curves.

You may have used drawing software to control the path’s shape via two endpoints. These represent Bezier curves, crucial in computer-aided design, reminiscent of Boole’s early stitching curves fixed to the axes and their intersection points.

With practice, you should be able to draw lines without numbering them—experiment with different colors as well. She recommended it as a stitching exercise rather than a drawing, which can also be approached using threads. Simply substitute the dots with holes.

Like other mathematical concepts, this idea invites exploration. For instance, alter the axes to meet at varying angles, or examine what occurs when the distances between dots differ, such as 1 cm for one line and 2 cm for another.

Consider drawing a circle or another shape, distributing dots evenly around it, then systematically connecting them. For example, connect all dots in a clockwise fashion for ten dots. You can even recreate the boat-like image shown above (center, right). What else can you create?

For more creative projects, visit newscientist.com/maker

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Source: www.newscientist.com

Transformative Art: Brooklyn Exhibition Challenges and Explores White Domination in AI

At 300 Ashland Place in downtown Brooklyn, The Plaza will feature attendees gathered around a large yellow shipping container adorned with a black triangle. I acknowledge that the Flying Goose Quilt pattern may have functioned as a covert signal for enslaved individuals seeking freedom along the Underground Railroad. This design and the containers create a connection between the historical and contemporary narratives of the African diaspora. Central to an artistic initiative by Brooklyn-based transmedia artist Stephanie Dinkins, a large screen showcases AI-generated imagery reflecting urban diversity.

Commissioned by the New York-based art nonprofit Moartia Art and developed in collaboration with architect Lot-EK and The AI Laboratory, the exhibit titled Otherwise, Who Will Do It? will be open until September 28th. It aims to confront the ideologies of white supremacy by emphasizing the resilience and cultural foundations of the Black community.

In an era where society increasingly relies on AI, Dinkins envisions a future where these models comprehend and reflect the histories, aspirations, and realities of Black and Brown communities, thereby providing a more accurate representation of U.S. demographics. She expresses belief that her initiatives will reshape the AI landscape, challenging the prevailing bias in data that fails to represent the global majority. Currently, Black individuals comprise merely 7.4% of the high-tech workforce. Studies indicate that a lack of diversity in AI can lead to biased outcomes, as seen with predictive policing tools affecting Black communities and tenant screening programs that discriminate against people of color.

“We can develop machines that offer deeper insights into our community. Our representations should not stem from outsiders, which often results in misinterpretation; instead, they should reflect our identities as human beings, not merely as consumers,” Dinkins stated. “I pose the question: ‘Can we establish a system rooted in care and generosity?'”




If we don’t step up, who will? The AI Research Institute is situated in downtown Brooklyn, New York City. Photo: Driely Carter

Inside the AI lab, one image features a young Black girl with an afro, her gaze piercingly directed at the audience, accentuating her artificiality. Surrounding the public art installation are QR codes linked to an app that allows users worldwide to respond to prompts, such as “What privilege do you hold in society?” This interactive element integrates with the container; shortly thereafter, a generated image reflecting the submitted information will appear on the large screen. This image—mainly portraying a person of color—continues until new data is provided, regardless of the submitter’s own identity.


Dinkins has programmed the AI-generated art to focus on Black and Brown perspectives. She adjusted various AI models that identify patterns through specific datasets. Collaborating with her team, they sourced images from the renowned Black photographer Roy DeCarava, who documented the lives of Black individuals in Harlem. They also incorporated African American English to shape models recognizing its distinct tonality, resulting in more authentic image generation based on user stories. Additionally, she included images of okra—a staple in dishes of enslaved Africans and their descendants—serving as symbols connecting the past to the present within the portraits.

“We exist within a technological framework that’s altering our reality. If we remain uninformed, we lose the ability to navigate it effectively,” Dinkins remarked. While she empathizes with the public’s urge to protect privacy in the age of AI, she emphasizes the necessity of spaces that clarify that certain information is not intended for exploitation.

Democratizing AI

Dinkins was recognized as one of Time Magazine’s 100 Most Influential People in AI for 2023. With no formal technology education, she identifies as a “tinkerer.” She portrays Bina Rothblatt, the founder of a for-profit initiative focused on extending human life, inspired by a YouTube video featuring Bina48, an AI robot, more than a decade ago.

Her ongoing project Conversations with Bina48 documents video interviews with this robotic entity, starting in 2014. Later, she developed her own AI system intended to serve as a memoir for a Black American family. Through her initiative, It’s Not the Only One, Dinkins created a voice-responsive device that engages with passersby while being trained to converse with Nie and her aunt.

Lewis Tude Sokey, an English professor at Boston University, suggests Dinkins’ work is a crucial step toward democratizing AI by bringing technology to marginalized voices in spaces traditionally devoid of their representation. “There exists a troubling precedent of algorithms producing racist and sexist content. They are often trained on data from the internet, rife with harmful stereotypes,” Tude Sokey, who specializes in technology and race, explained.




If we don’t, who will address these dynamics? The AI Research Institute is situated in downtown Brooklyn, New York City. Photo: Driely Carter

“What Stephanie aims to explore is the possibility of training different algorithms to respond to diverse datasets that liberate content and include socially marginalized perspectives,” Tude Sokey noted.

Dinkins and fellow artists are reshaping the AI narrative, as highlighted by Tude Sokey: “There’s a significant cultural, political, and social realignment occurring within AI.” Dinkins embraces a philosophy she refers to as Afro-Now Rhythm, which she interprets as a proactive approach toward building a more equitable world—a “celebration of the potential to see technology as a force we can harness rather than fear.”

For Beth Coleman, a professor at the University of Toronto specializing in technology and society, it is vital to train AI models using diverse datasets to ensure accurate representations of the world. Dinkins’ work questions which voices are integrated into the technological ecosystems, she emphasized.

“There exists a thriving energy around collaborative efforts to craft a better world together,” Coleman remarked regarding Dinkins’ initiatives. “At this juncture, it feels profoundly revolutionary.”

Source: www.theguardian.com

Death Stranding 2: A Hypnotic Art House Experience with an A-List Cast | Review

wIs the hat on a path to oblivion? This is a question that often crosses my mind while experiencing the second installment of Kojima Hideo’s hypnotic, enigmatic, and patiently paced cargo management simulator series. It’s due, in part, to the lengthy, tranquil treks that transcend the surreal landscape of Mexico and Australia, granting ample time for reflection on that small yet significant detail and to ponder the intricacies of what you just witnessed. Additionally, such questions often illuminate deeper truths.

The ability to engage in prolonged contemplation is a hallmark of the artistry embedded in this game. No one is scribbling notes to uncover Doom. The Middle Ages scrutinizes the cutscenes of Marvel’s counterparts for insights. It’s uncommon for any game to invite this level of examination. However, Death Stranding 2 diverges from convention, excelling in both atmosphere and narrative delivery, while maintaining a tactile storytelling quality that enriches its extensive gameplay system. The tension between these elements renders it compelling. Initially, each aspect demands courage, but over time, you’ll savor both experiences.

For those who missed the inaugural Stranding, yes, this is indeed the sequel in a series that revolves around transporting cargo between waypoints, whether on foot or via vehicles. Like a post-apocalyptic Amazon delivery driver, it provides essentials, technology, and luxurious packages. The first game introduced a mystical shift that allowed the deceased to return as spectral entities known as Beach Things (BTS). When a BT claims a human life, it results in a tragic event termed a “void-out.”

Screenshot from Death Stranding 2: On the Beach

With humanity divided and isolated in subterranean bunkers, the protagonist, Sam Porter Bridges (Norman Reedus), is tasked with connecting the remaining enclaves of American civilization to a global technological network known as the “chiral network,” thereby restoring hope for a brighter future. He accomplishes this by traveling across the continent with Lou, a supernatural infant carried in an artificial womb. At the start of this sequel, he enjoys a secluded existence in Mexico with Lou, who has now grown into a toddler.

And believe me, these are significant cliff notes. Death Stranding 2 opens with an impressive six-minute cutscene aimed at immersing players in the peculiar sci-fi universe and poetic metaphors crafted by the Isle. Unraveling this mystery constitutes half the enjoyment (the other half is cargo shifting), but even if you’re not fully invested in the world, it operates on a dreamlike logic that feels intuitive. It’s uncertain whether this environment resembles something we recognize or if it has always been a blend of Icelandic tundra, snow-capped mountains, and colorful deserts, or perhaps it once resembled the Australian landscapes of Death Stranding 2. The crucial point is that it feels coherent throughout.

While it is contemplative, this is not a game about watching Sam retire for 50 hours and revel in fatherhood. He is inevitably drawn back into action, reconnecting Mexican and Australian populations to the Chiral Network for a venture named Ngubridge, a logistics company backed by an enigmatic benefactor and featuring returning character vulnerabilities (Rare Saidoo). If that sounds rather dull, consider it a quirky scenario with fragile Greta Garbo gloves around her neck!

Elle Fanning in Death Stranding 2. Photo: Sony Interactive Entertainment

A colorful cast surrounds DHV Magellan, a ship featuring more A-listers than the Cannes red carpet, aiding Sam in his missions. Seydoux, George Miller, Guillermo Del Toro, Nicolas Winding Refn, Elle Fanning, and Shioli Kutsuna deliver equally stellar performances alongside veteran voice actor Troy Baker as Chief Villain Higgs. The principal characters function mainly as poetic devices and unique metaphors. Rain (Kutsuna) is an optimistic outcast who summons rain each time he steps outdoors. Tarman (Miller) sacrificed his hand to supernatural tar and now guides the boat through its mysterious waters. Hartman (Darren Jacobs) faces death and rebirth every few minutes. Though they ought to be too peculiar to elicit sympathy, rare moments link their stories with human emotions in a poignant manner. If you don’t feel a lump in your throat watching Rain and Tomorrow (Fanning) sing together, then it’s not only Deadman who’s lost their humanity.

Interestingly, package delivery is showcased at the pinnacle of gameplay standards. It may sound mundane, but the intricate workings of these detailed systems easily draw you in. In the previous installment, combat felt secondary, but this time, missions clash not only with BTS but also other humans, benefitting from a fluid mechanic that fires hand-held bullets and executes neck snaps. You can craft ladders, climbing ropes, and other gear when the risk of attack is heightened. The joy resonates as much in preparation as in action. It feels rewarding to impose order on a chaotic world that might otherwise seem disordered. It’s likely why many of us baked countless loaves of banana bread during the lockdown.

The Isle originally drafted a story for Death Stranding 2 before the Covid-19 crisis but restructured it entirely after enduring lockdown alongside the rest of the world. The effects are evident. We promise to shield you from the profound loneliness embodied in Sam’s role as a porter who traverses desolate landscapes.

Effectively, you can interact with other players, albeit at a distance, sharing equipment, constructing structures, and leaving holographic signs and commendations for others in your game. This feature serves as a satirical commentary on entrapment. Over time, the world becomes cluttered with flickering icons and increasing structures, leading to a constant bombardment of “like” symbols. It feels akin to the attention spans dulled by social media, but it’s likely no coincidence.

The first game presented a surprising advantage. The two sequels do not. Many of the thrilling and tedious elements that defined the first are also present here, yet they have been refined, rendering the gameplay mechanically rich and meaningful. Combat feels more impactful, the world maps exhibit greater craftsmanship, and the missions offer enhanced variety. Tasking them with recreating the same gameplay in an entirely new narrative could feel like a jest, but it presents layers of mechanical depth that are anything but trivial.

Among the many themes Death Stranding 2 seeks to convey, the most prominent is that you are never truly alone. Global calamities, vast technologies, and even the specter of death may abstract the ways we connect, yet they can never fully sever our bonds. Not bad for a game centered on delivering packages.

Death Stranding 2 was released on June 26th and retails for £69.99/US$69.99/A$124.95

Source: www.theguardian.com

Niede Guidon, 92, Archaeologist Renowned for Preserving Prehistoric Rock Art, Passes Away

Nide Guin, a Brazilian archaeologist known for challenging long-held theories about early human life in the Americas, significantly influenced the transformation of the Hard Scrabble region in northeastern Brazil into Serra da Capybara National Park. She passed away on Wednesday at her home near the park in Saint-Rymande Nohto, at the age of 92.

According to park director Marian Rodriguez, the cause of death was a heart attack.

Dr. Guidon gained international recognition for her controversial assertion that humans may have arrived in the Americas over 30,000 years ago. However, there was little dispute about her accomplishments in documenting and preserving ancient rock paintings in Piau’s semi-arid, cactus-laden landscape.

In 1979, following her claims, the Brazilian government designated the area as a national park, and by 1991, it was recognized as a UNESCO World Heritage Site, largely thanks to her efforts. She also played a crucial role in establishing two nearby museums: the American Museum opened in 1996, and the Natural Museum in 2018. Moreover, she was instrumental in attracting investment to the town, leading to the creation of a new airport and a federal university campus, thereby enhancing public education in the region.

Antoine Lourdes, a French archaeologist who collaborated with Dr. Guidon from 2006 for nearly a decade, remarked in an interview, “The most effective way to safeguard the paintings was to empower people to protect their environment.” He emphasized that many archaeologists are often unaware of the social implications of their work.

Dr. Guidon was particularly adept at training and employing women in regions where domestic violence and gender inequality prevailed. Dr. Guidon’s 2023 biography captures many poignant testimonies from women who achieved financial independence and improved their situations significantly.

In addition to her work in parks and museums, many locals have become guides and custodians. Local products like honey and ceramics are sold across the nation, thanks to an initiative Dr. Guidon launched in the 1990s.

Nide Guidon was born on March 12, 1933, in Hau, a small city in São Paulo. While “Nade” is a common Brazilian name, “Nide” is not. She was named after the River Need, which flows through France and Germany, reflecting her father’s French heritage.

After obtaining a degree in natural history from the University of São Paulo in 1958, Guidon began her career as a teacher in a small Roman Catholic community in Itápolis. However, following her exposure of corruption within the school system in early 1959, she faced backlash from the town’s administrators.

As a single woman who drove cars, publicly taught evolution, and challenged conservative norms, she became a target in the traditional town of Itápolis. Following intense protests, she and two colleagues were forced to flee with police protection.

“All that was missing to complete the medieval scene was a bonfire to burn witches,” she recounted to reporters at that time. A 2024 podcast delves into her life.

Later that year, she secured a position at the Paulista Museum in São Paulo, where her interest in archaeology blossomed, particularly during an exhibition showcasing rock paintings from northeastern Brazil.

However, her initial attempts to see the paintings in 1963 were thwarted by a bridge collapse that blocked access. Following a brief exile in Paris, she was arrested by the military dictatorship that had taken power in Brazil.

While studying archaeology in France, she earned her PhD from the University of Paris in 1975, returning to Brazil frequently for fieldwork. By 1970, Dr. Guidon finally visited the rock paintings in Piau, intrigued by their complexity, and began organizing teams for extensive cataloging of hundreds of archaeological sites.

She settled in San Raimundo Nonato in 1986, where she became known affectionately as “the doctor.”

In the 1990s, excavations near the painting sites uncovered carbon-dated materials suggesting human presence 30,000 years ago — a finding that astonished Dr. Guidon. Yet, other scientists, particularly those adhering to the Clovis model, were highly skeptical, proposing that humans arrived in the Americas much later, around 13,000 years ago.

While the consensus today acknowledges ancient human settlement in North America, Dr. Guidon’s findings continue to spark debate, as questions linger regarding the origins of the materials uncovered near the painted area.

Nevertheless, her work has drawn attention, funding, and resources to Piau, with even some of her academic critics recognizing her contributions.

Andre Strauss, an archaeologist at the University of São Paulo, expressed his doubts about some of Dr. Guidon’s findings but acknowledged her charisma. He likened her to Churchill, noting her ability to engage people dramatically. Despite the scholarly debates, she never abandoned the vibrant life she carved out in Paris.

On the morning of June 5th, she was laid to rest in the garden of her home in San Raimundo Nonato.

Source: www.nytimes.com

Clever Cockatoos Master the Art of Using Public Drinking Fountains

https://www.youtube.com/watch?v=6tt-ylnz34s

In Sydney, Australia, Okkatoo has mastered the use of public water fountains by turning the handle, a feat not easy for birds. It appears they are imitating one another’s actions.

The Occato, or Kakatua Gallerita, engages in an intellectual competition, as some individuals have figured out how to open waste bins in eastern Sydney. In response, humans devise ways to keep these bins locked while continuing to find methods to open them.

Following reports of similar occurrences with Okkatoos using drinking fountains in western Sydney, Lucy Aplin from the Australian National University and her team temporarily marked 24 Occatos, accounting for a fifth of the local population. They documented the interactions at various drinking fountains, known as Bubblers in Australia.

Okkatoo using Sydney drinking fountain

Klump et al. 2025

During a 44-day observation, Cockatoos made 525 attempts to use a particularly popular fountain. Out of these, 105 attempts were made by 17 of the 24 marked birds. This indicates that about 70% of the more than 100 local birds attempted to use the fountain, according to researchers.

In their natural habitats, these birds typically drink from ponds or water stored in tree hollows near their roosts. However, Aplin notes they seem to prefer using the fountains instead, especially in the morning and evening, which are their regular drinking times before resting.

Researchers even observed more than 10 birds waiting for their turn at one bubbler, but the more dominant birds would often jump the queue.

Despite only 41% of the observed attempts being successful, the act of drinking from the fountain is certainly not a trivial task for these birds, according to Aplin.

“Birds must navigate their bodies through complicated movements,” she explains. “They often place one foot on the drinking fountain’s base and twist the handle with the other foot while leaning in to leverage their weight.”

She suspects that once an individual learns the technique, others follow suit by mimicking the actions.

“This serves as a clear example of culture—newly socially transmitted behaviors—which might surprise those who view culture as solely a human trait,” says Christina Zdenek from the University of Queensland, Australia. “Their innovative abilities in accessing new food and water sources are remarkable across the Tree of Life.”

Why are the Okkatoos doing this? Aplin posits that the water may taste superior to muddy pond water, or perhaps the bubbler offers a safer alternative from predators. It could also be a trend fueled by their thirst for innovation.

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Source: www.newscientist.com

Critics of Musk Use Sledgehammer to Demolish Tesla in London Art Installation

Elon Musk’s critics expressed their frustration with Tesla executives and billionaires by wearing protective helmets and wielding sledgehammers.

The Public Art Project was organized by a Social Media Campaign Group. An anonymous donor provided the 2014 Tesla model “to spark a conversation about wealth inequality,” according to a group spokesperson.

Participants gathered at Hades Studios in South London on Thursday to take turns smashing the car with sledgehammers and baseball bats. The destroyed electric vehicle, priced around £14,000, will be auctioned in the coming weeks, with all proceeds going to Food Bank charities.

“We are giving Londoners the chance to speak out against far-right ideology and billionaires and voice their concerns about the current state of the world,” the group stated. “The therapy is expensive, but this is free.”


32-year-old writer Talia Dennisenko, draped in the Ukrainian flag, joined Britney Spears in smashing the car’s hood and shared her sentiments about the situation. “My family is Ukrainian and Elon Musk’s intentions towards us are concerning,” she expressed. “Things feel really bleak at this point. This is a form of therapy.”

“Musk’s actions are veering into unconstitutional territory. I am alarmed by what I am witnessing,” added Alice Rogers, a 24-year-old researcher from Illinois.




A spokesman for the anti-Elon group mentioned that the event allowed people to express their views on the current state of the world. Photo: Henry Nicholls/AFP/Getty Images

There is a widespread animosity towards Elon Musk. He recently drew attention for distributing stickers with the message “Don’t buy a Swastistar.” Musk clarified that the London vs. Musk event should not be replicated outside the organized setting.

“This is a private event involving a used Tesla headed for the Scrapyard. It is a controlled, supervised art piece with proper safety measures in place,” the spokesperson emphasized. “We implore individuals not to damage other Teslas or vehicles.”

The scrap car’s battery was safely removed and recycled.

“I am appalled by the current state of affairs in America,” expressed 45-year-old university lecturer Lee Woods, who traveled from Hampshire for the event. “I believe Musk leverages his immense wealth to push far-right ideologies.”




Protests calling for a boycott of Tesla have been taking place on both sides of the Atlantic Ocean. Photo: Henry Nicholls/AFP/Getty Images

Tesla’s stocks dropped by 13% in the first quarter of 2025, indicating a backlash from buyers due to Musk’s political leanings. Protests advocating for a boycott of electric car manufacturers have been ongoing on both sides of the Atlantic in recent months, including global actions targeting numerous Tesla outlets by US Tesla Takedown protesters.

“My view on Musk,” shared 32-year-old Giles Pearson, who participated in the event, “I don’t usually do this, but I have always wanted to smash a car.”

Tesla was approached for a comment.

Source: www.theguardian.com

Exploring the Unusual Legacy of Xbox Kinect: Ghost Hunting, Porn, and Interactive Art | Games

rBundle in 2010 with ELESHEST and XBOX 360, Kinect looked like the future, at least for a moment. Kinect, a camera that detects gestures and can reproduce on-screen in games, allowed players to control video games with their own body. It was a bit of a sense at first, and we were selling 1M units in the first 10 days. It remains The best-selling gaming peripherals ever.

However, the lack of games already dominated by the Nintendo WII, the unreliable performance and the motion control market have brought Kinect enthusiasm for it to cool down quickly. Microsoft released a new version of Kinect on the Xbox One in 2013, but only to become an embarrassing flop. Kinect Line was like that It was suddenly cancelled in 2017. The Guardian reached out to several people involved in the development of the surrounding area. Instead, people who were keen to discuss Microsoft’s Motion Featured Cameras didn’t use it in the game at all.

Theo Watson Co-founder of Design I/O a creative studio specializing in interactive installations – many of them use depth cameras including Kinect. “When Kinect came out, it was really like a dream situation,” he recalls. “There are probably more than 10 installations around the world, and now Kinects tracks people, but Kinect’s use of the game was blip.”

The assistant will show the Xbox 360 game Kinect Adventures during the 2010 media briefing. Photo: Mario Anzuoni / Reuters / Reuters

Watson turns 15 this year and speaks about Kinect with a rare joy. (“I can’t stop talking about depth cameras,” he adds. “That’s my passion.”) As part of a collaborative effort, Watson has contributed to making Microsoft’s gaming cameras open source, based on the work of Hector “Malkan” Martin. It quickly became clear that Kinect didn’t become the future of video games, as Microsoft originally wanted. Instead, it was a game changer in other ways: for artists, robot players, and… ghost hunters.

Kinect works with a structured optical system. In other words, it creates depth data by projecting an infrared dot cloud, reads the transformations of that matrix, and identifies the depth. From this data, its machine learning core was trained to “see” the human body. In games like Kinect Sports, the camera was able to convert the body to a controller. Meanwhile, for those who create interactive artwork, they cut out much of the programming and busy work needed by more basic infrared cameras.

“The best analogy is like going from black and white TV to color,” Watson says. “There was this whole extra world that was open for us.” The powerful depth camera, which was previously present, retailed for around $6,000 (£4,740), but Microsoft condensed it into a robust, lightweight device for $150 (£118).

Robotocists were also grateful that accessible sensors allowed vision and movement to create. “Previously, only plane 2D LIDAR information was available to detect obstacles and map the environment,” he said. Stereo LoveWe plan to release the latest version of our advanced depth detection camera and software soon. 2D LIDAR detects objects by projecting a laser and measuring the time it takes for light to reflect. However, Kinect can create detailed and accurate depth maps that provide more information. what Obstacles are a way to navigate it. “Before sensors like Kinect, Lucetti says, “Grass clusters are not perceived unlike rocks, and they have all the consequences associated with navigation.”

This type of depth camera now drives many autonomous robotics. Perseverance of the 2020s Mars Rover’s Autonav System and Apple’s facial identification technology. (Apple purchased Primesense, the Israeli company behind Kinect’s structured optical system in 2013.)

NASA’s Mars Patience Rover in 2020. Photo: NASA/UPI/REX/SHUTTERSTOCK

Kinect’s technology was quickly digged into by open source sensors and more advanced motion sensing devices that are free to use. However, since Microsoft stopped manufacturing its Kinect line in 2017, the small cameras have enjoyed something vibrant and not vibrant, not completely violated after death. have Looking at South Korea’s unarmed zone And we worked on adjusting the topography and patient. With a CT scanner; It has been revealed that it is being used in a baggage hall at the airport. Newer Liberty International Airport terminal security camera c (United Airlines declined to comment on this), and Gamify Training for the US Military. Attached to drones, rescue robots, easy uses found in porn.

“I don’t know if anyone has a solid vision of what interactive sex Kinect is involved with,” says Kyle Machulis, founder of buttplug.io Another member of the OpenKinect team. The camera is deployed primarily as a complex controller for 3D sex games, and plays “a futuristic marketing role more than anything in actual consumer use,” says Matulis. In that role, it was a success. It attracted a surge in attention from Microsoft to somehow ban porn containing Kinect. It was an interesting experiment, but it turns out that the addition of novelty devices is not a turn-on for many porn users. What’s more, as Matulis says, when the camera malfunctions, “it looks pretty scary.”

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There is less concern for ghost hunters who thrive on the ambiguity of aging technology and rebranded Kinect as a “SLS” (structured light sensor) camera. They unfold a body tracking to find numbers that are invisible to the naked eye. Ghost Hunters are excited by the Kinect’s habit of “seeing” a body that is not actually there, believing that the numbers on these skeletal sticks are unequivocal expressions of spirits.

The paranormal investigator industry doesn’t care much about false positives as long as those false positives are perceived as paranormal. Freelance Science Performance They have a show dedicated to researching ghost hunting technology. “It’s very normal for a ghost hunter to use an infrared camera and torch to photograph himself in the dark. He bathes the scene with an IR light, using sensors that measure a specific pattern of infrared dots,” he says. Given that Kinect is specifically designed to recognize the human body with the data it receives, Kinect becomes a stranger. It didn’t do it Pick up unusual numbers in this context.

Kinect has a living poem among people looking for evidence of life after death. On the right hand, the camera is still strong. Theo Watson points to me Connected Worldan exhibition held in the New York Science Hall of Fame since 2015. Of the many Kinect devices that enhance installation, they had to be replaced within 10 years of opening. One of them was a few weeks ago. Watson began stockpiling devices when Microsoft stopped production.

“Half of the projects on our website do not exist without Kinect,” he says. “If this camera had another decade, it still wouldn’t be running out of anything related to it.”

Source: www.theguardian.com

Jeff Koons explains his decision to reject AI in the art world: “I refuse to take the easy way out”

HJeff Koons, the world’s most expensive artist, has faced criticism in the past for creating his famous balloon dogs and stainless steel rabbits without physically using his own hands. I have drawn a line. Work – I am contemplating using AI to enhance my work.

The art world is currently abuzz with discussions about the possibilities and risks of artificial intelligence. Deep learning models are now capable of replicating styles and generating unique compositions upon request.

Speaking to the Guardian at the launch of Reflections, a joint exhibition featuring his work alongside Pablo Picasso’s at Granada’s Alhambra Palace, Koons welcomed this divine development. His reliance on a team of craftsmen and cutting-edge technology to create his artwork led Collector magazine to question last year, “Is Jeff Koons a true artist?”




A work juxtaposed with Jeff Koons’ Ball of Gazes (David’s intervention with a Sabine woman) in Granada and Picasso’s Helmeted Head.

Koons has embraced technological advancements in his work. A highly mirror-polished stainless steel Rabbit he created five years ago, designed to mimic the look and materials of a balloon through intensive machining, fetched a record $91 million (£72.5 million). His previous bestseller, a 10-foot-tall steel balloon dog, sold for $58 million in 2013. Additionally, in February, 125 of his miniature lunar sculptures were sent to the moon via a SpaceX rocket, becoming the first authorized art pieces on the moon.

His Gazing ball series has been recreated, with a large blue glass bauble added to the shelf and selecting 35 out of 350 balls before finalizing the artwork. Koons is also exploring innovative avenues. He shared, “I have a few projects in mind. We have had insightful discussions with individuals at the forefront of AI development.”

Source: www.theguardian.com

Witness the glow: Liberation from smartphone addiction through art

HDo you often look up at the sky instead of looking down at the black mirror you might be reading this column on? Will you read this page to the end? How many tabs did you have open today? How many of you interact with other humans on the train without looking at your phone? I’m not one to judge. I, like everyone else, am obsessed with the release of dopamine. But these days, as the world becomes increasingly disillusioned and divided, it seems more urgent than ever to look outward rather than inward and pay attention in the ways that are most valuable.

I remembered seeing this floor rot a tapestry by US-based artist Quaysha Wood at Salon 94 in New York. It shows a woman slumped, exhausted, or “rotting in bed,” as if her white eyes were illuminated by the screen. Surrounding her are dozens of tabs with slogans emblematic of the culture of 2024 (like “Summer of the Kid”), but somehow already outdated, lost in the speed of an internet-driven world. It feels like it’s closed. She seems exhausted. I get tired looking at her. And her fatigue is common.

In a new radio series, desire to be distracted Matthew Said explores the state of our attention span. The debate surrounding this issue has been around for thousands of years, with medieval monks furious about the technology of “books,” but it feels especially applicable in our digital age. Research shows that the average amount of time people spend watching something on screen is just 40 seconds or less, an 80% decrease since 2004.

Distraction comes in many forms, but the problem today, Saeed tells us, is uncontrolled exploitation by big tech companies. They use sophisticated algorithms to use more data than ever before and turn our ever-longer scrolls into cash. This promotes addiction and stunts brain growth, especially in children. Slowly, we seem to be losing our positivity, losing our creativity, losing our connection, and losing our humanity.

This is not to say that modern digital technology should be abolished. Great things come from that. It’s global connectivity. Community building, especially in subcultures. to cause movement. A platform to give people a voice and spread joy, beauty, and knowledge. But we need to be aware of the more sinister aspects built into its design to keep us fascinated. Wood’s Tapestry is an unsettling vision of what this world could become, or already is.

It’s worth recognizing that Bed Rot held my attention longer than a typical screen, affirming the power of art to make viewers stop, stare, and think. Just as conversations are more meaningful in person than on a screen, it’s very hard to look away when something physical is right in front of you.

I believe that art can help counteract the negative effects of smartphone scrolling. Now more than ever, we need art that offers a world-changing perspective to make us believe in humanity again. Land artist Nancy Holt’s work, for example, reminds us of the mysteries of the natural world and the atmosphere above.




Leaning and Drained…Bed Rot by Qualeasha Wood. Photo: Courtesy of Artist and Salon 94 © Qualeasha Wood

Lying in Utah’s Great Basin Desert is Holt’s Sun Tunnel. It’s four giant concrete tubes, tall enough to walk on, facing each other in an X-shape. During the day, you can see the vast arid land and sky through the tunnel. If the sky is clear, the light shines mottled through the holes in the pipes placed in the constellations of Capricorn, Columba, Draco, and Perseus, making it seem as if you are walking on the stars. Twice a year, on the summer and winter solstice, the sun aligns perfectly with the tunnel, allowing light to shine through.

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Holt, who passed away in 2014, uses the earth and space as tools to highlight the vast beauty of the natural world by providing a vessel for viewing it. Her work reaffirms the fact that land, sea, sky, and human connections are all there, competing for our attention, but not for capitalist profit.

Author Iris Murdoch said in an interview: We create a small personal world and remain trapped within it. Great art brings freedom and allows us to take pleasure in seeing things that are not ourselves. ”

Art reminds us to look up from the little world we create on the black mirror in our pockets. It helps us understand our place in the universe and look out into the expanse rather than at ourselves as filtered through technology. It’s time to regain our attention. And to give it to what is worthy and important to us.

Source: www.theguardian.com

The Ethical Dilemma of AI in Art: Controversial or Innovative? Exploring How Artists are Embracing AI in their Work

CBeloved actor, film star, and refugee advocate Atheé Blanchett stands at the podium addressing the European Parliament: “The future is now,” she says authoritatively. So far, so normal, but then you’re asked, “But where are the sex robots?”

The footage is from an actual speech Blanchett gave in 2023, but the rest is fictional.

Her voice was generated by Australian artist Xanthe Dobie using text-to-speech platform PlayHT for Dobie’s 2024 video work, Future Sex/Love Sounds, which imagines a feminist utopia populated by sex robots and voiced by celebrity clones.

Much has been written about the world-changing potential of large-scale language models (LLMs), including Midjourney and Open AI’s GPT-4. These models are trained on massive amounts of data, generating everything from academic papers, fake news, and “revenge porn.” Music, images, software code.

While supporters praise the technology for speeding up scientific research and eliminating routine administrative tasks, it also presents a wide range of workers, from accountants, lawyers, and teachers to graphic designers, actors, writers, and musicians, with an existential crisis.

As the debate rages, artists like Dobie are beginning to use these very tools to explore the possibilities and precarity of technology itself.

“The technology itself is spreading at a faster rate than the law can keep up with, which creates ethical grey areas,” says Dobie, who uses celebrity internet culture to explore questions of technology and power.

“We see replicas of celebrities all the time, but data on us, the little people of the world, is collected at exactly the same rate… It’s not a question of technology capabilities. [that’s bad]That’s how flawed, stupid, evil people choose to use it.”

Choreographer Alisdair McIndoe is another artist working at the intersection of technology and art: His new work, Plagiary, premieres this week at Melbourne’s Now or Never festival before running in a season at the Sydney Opera House, and uses custom algorithms to generate new choreography for dancers to receive for the first time each night.

Although the AI-generated instructions are specific, each dancer is able to interpret them in their own way, making the resulting performance more like a human-machine collaboration.

In Alisdair McIndoe’s Plagiary at Now or Never festival, dancers respond to AI-generated instructions. Photo: Now or never

Not all artists are fans of technology. Nick Cave, January 2023 Posted a scathing review He called the song ChatGPT generated by imitating his work “nonsense” and a “grotesque mockery of humanity.”

“Songs come from suffering,” he says, “which means they’re based on complex, inner human conflicts of creation. And as far as I know, algorithms don’t have emotions.”

Painter Sam Leach doesn’t agree with Cave’s idea that “creative genius” is an exclusively human trait, but he encounters this kind of “total rejection of technology and everything related to it” frequently.

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Fruit Preservation (2023), directed by Sam Leach. Photo: Albert Zimmermann/Sam Leach

He justifies his use of sources by emphasizing that he spends hours “editing” with a paintbrush to refine the software’s suggestions. He also uses an art critic chatbot to question his ideas.

For Leach, the biggest concern about AI isn’t the technology itself or how it’s being used, but who owns it: “There are very few giant companies that own the biggest models and have incredible power.”

One of the most common concerns about AI is copyright. This is an especially complicated issue for people working in the artistic sector, whose intellectual property is being used to train multi-million dollar models, often without their consent or compensation. For example, last year, it was revealed that 18,000 Australian books had been used in the Book3 dataset without permission or compensation. Booker Prize-winning author Richard Flanagan described this as “the biggest act of copyright theft in history.”

And last week, Australian music rights organization APRA AMCOS Presenting the survey results They found that 82% of members are concerned that AI will reduce their ability to make a living from music.

Source: www.theguardian.com

Mastering the Art of Patience: A Game Where Waiting is Key

aPatience may not always be easy to practice, especially during mundane and tedious moments. However, there can still be joy and peace found in the simplicity of everyday life. Optiillusion introduces a tongue-in-cheek patience simulator called While Waiting to capture this unique experience. Producer Dong Zhou explains, “While we’re waiting for things like buses, stuck in traffic, or standing in line, we often seek entertainment. Most people just resort to using their phones, but is that truly engaging? It’s time to turn waiting into a playful experience by turning mundane moments into a fun game where players can find ways to pass the time.”

While waiting. Photo: Optillusion Games

While Playing, players join Adam on his journey through mundane tasks like waiting for a bus, standing in line for a ride, or watching the rain from a window. Zhou states, “Waiting isn’t just a negative experience; it’s a part of life that comes with its own set of expectations and anxieties.” As Adam’s experiences evolve from simple pleasures to deep aspirations, the game becomes a story of personal growth. “In different waiting scenarios, Adam feels a range of emotions like happiness, relief, or sadness. However, he understands that waiting is the only option,” Zhou adds.

Through whimsical depictions of scenarios like elevator lobbies, doctor’s offices, and airport baggage claims, While Waiting presents a series of patience-testing challenges that resonate with common frustrations. While a sense of fatalism looms, the game incorporates profound reflections on life alongside playful anime humor. Zhou hopes players will not only find amusement but also ponder the deeper meanings interwoven within the game.

To ease the restlessness that waiting brings, While Waiting offers various mini-games to help pass the time, such as luggage stacking or filling out paperwork. Zhou explains, “These mini-games can range from arcade games to puzzles or action games, each level offering a unique experience. While players won’t win cash prizes, the games are designed to keep them entertained while waiting for time to pass. Whether you choose to act or not, the game’s theme revolves around the inevitability of waiting.”

Drawing inspiration from classic animated comedies like “Tom and Jerry,” While Waiting incorporates orchestral music that emphasizes the contemplative and whimsical aspects of this patient journey. The brass and string instrumentation offers a musical reprieve from the discomfort of inaction in daily life.

Despite its quirky and light-hearted nature, While Waiting delves into profound themes. As players approach the conclusion, they revisit earlier scenes and contemplate the cyclical nature of life with fresh insights and emotions. Zhou concludes, “Life is a mix of joy and sorrow, and I hope players will appreciate the value of each waiting moment they encounter.”

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While Waiting is set to launch on PC later this year

Source: www.theguardian.com

Design News for July: Casio Celebrates 50 Years, iPod Makes a Comeback, and Repairing is the New Art

BThis month in design news, tinkering and hobby crafts get the respect they deserve. Read our articles to see where these wonderful activities are being treated as art. We also cover the history of Casio watches and the emerging future of the Apple Watch. Sign up for the Design Review newsletter to receive more articles like this on architecture, sustainability, and crafts every month.


Origami created by origami artist Darryl Bedford (London) Photo: Darryl Bedford

Oscar Wilde once said, “If you want to have fun in life, you have to take something seriously.” So he must have been impressed by the diverse works and collections on display in the new Art Angel exhibition, “Come As You Really Are,” which just opened in Croydon, UK. In January, British-Gujarati artist and filmmaker Hetan Patel put out a call for all passionate people — collectors, crafters, weekend painters — to send in photos and stories about their hobbies. From 1,500 responses, Patel has put together a stunning exhibition featuring everything from handmade banjos and origami to Warhammer figurines and My Little Pony collections. The artist is a huge Spider-Man fan, and the exhibition includes his own Spider-Man-inspired works. “Come As You Really Are” is currently on display at Grantsville in Croydon, but will be touring the UK for the next 18 months.

Patel said: “Sharing something so personal carries with it a vulnerability that often comes in private spaces with the responsibilities of everyday life. But there is great power in collective sharing, and that is at the heart of this project. We hope you will join us in celebrating the unstoppable nature of self-expression that hobby can represent.”

For more information on “Come As You Really Are” and tour locations, Art Angel Website


TinyPod models available in various sizes Photo: TinyPod

If the memory of the iPod still brings back nostalgia, the TinyPod might be just what you need. The new gadget is a strap-less Apple Watch in a case with the familiar old iPod click wheel, which you can use as a limited-function smartphone. You can make calls, send texts, and listen to music, but you can’t easily access social media or play videos. The Tinypod’s selling point is that it’s a “phone away from the phone,” and if you want to limit your screen time without reverting to a dumb phone, this could be the middle ground.

Sure, the TinyPod requires you to have an old Apple Watch gathering dust in a drawer, requires you to turn off wrist detection, and doesn’t count steps, but finding new uses for excess tech always seems like a good idea.

For more information, TinyPod website


The statue of British-Indian secret agent Noor Inayat Khan in Bloomsbury is one of the places marked on the new South Asian History London map. Photo: © Joe Underhill 2023

Approximately one in five Londoners is of South Asian descent, and the community has an impact across London’s streets and neighborhoods, and this rich history is celebrated in Blue Crow Media’s latest city guide map.

The publisher has earned a reputation for producing beautiful maps that combine hidden history with outstanding graphics. Previous titles include Brutalist London and Black History London. This latest map was created by urban planner and author Krish Nathaniel and Bushra Mohammed, director of Msoma Architects. It features 50 London locations, including Neasden Abbey, Drummond Street, the Statue of Noor Inayat Khan, and the Koh-i-Noor Diamond.

“In the UK, there’s often a comfortable assumption that our multi-ethnic history started in the 1950s. For South Asians, the story is much longer than many people know. We wanted to make that history visible and visitable,” says Nathaniel. “We want to show the intertwined stories that span every country and faith across the South Asian subcontinent and its diaspora. Anyone from the South Asian community can find themselves in this map, whether they’re 16 or 60.”

The South Asia History London Map is available at: Blue Crow Media and various independent bookstores.

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A refurbished coastal pot by architect and leatherworker Martha Summers. Photo: Martha Summers

If you’re wondering whether to repair or replace your belongings, check out Architecture of Repair on Instagram before your next move. The feed explores the possibilities of repair and showcases the work of the Beyond Repair collective. Everyday objects like IKEA lamps, broken bottles, and moth-eaten rugs are restored to beautiful, usable condition by collective members like Phineas Harper, CEO of education charity Open City, architect Sanjukta Jitendar, and Smith Modak, CEO of the UK Green Building Council.

Some of these incredible pieces are also currently on display at the Rotterdam Architecture Biennale in the Netherlands, so be sure to check them out if you want to take a closer look.

“Around 62% of the 222 million tonnes of waste the UK produces each year comes from construction and building,” Harper said. “The UN estimates that e-waste alone is growing five times faster than recycling rates. The transition to a fair and green economy must be focused on restoring a culture of repair, care, maintenance, and restoration.”

Let’s take another look at the IKEA lamp.

“Beyond Repair” is on display at the Rotterdam Architecture Biennale until October 13th. Instagram: @architectureofrepair


Casio “Illuminator” watch.
Photo: heliography/Stockimo/Alamy

It’s hard to believe Casio watches are still 50 years old, but this year the Japanese electronics manufacturer is celebrating the milestone. Everyone’s favorite brand of affordable keyboards and calculators is showcasing some of their vintage classic watches, with a focus on classics from the 1970s, 1980s, and 1990s.

If you grew up proudly wearing a G-Shock or adored an old-fashioned calculator watch, prepare to feel a tsunami of nostalgia.

Casio’s first digital watch was the Casiotron, introduced in 1974. It was the world’s first watch with an automatic calendar function. When Casio released a limited special edition of this watch earlier this year, it sold out in the UK within five minutes, with more due to be released later this year.

For more information on the Vintage Series, please visit Casio’s Website.

Source: www.theguardian.com

Oldest Evidence of Storytelling in Art Found in 51,200-Year-Old Indonesian Cave Paintings

Archaeologists used a new technique called Laser Ablation U-series (LA-U-series) to re-date some of the oldest cave paintings in the Maros-Pangkep region of South Sulawesi and date stylistically similar motifs at other Maros-Pangkep sites. They found a minimum age of 50,200 years ago (± 2,200 years) for a hunting scene from the Leambur Sipong 4 cave site, first dated to a minimum of 43,900 years ago using a previous approach, meaning it is at least 4,040 years older than previously thought. They also assigned a minimum age of 53,500 years ago (± 2,300 years) to the newly described Leang Karampuang cave painting. Painted at least 51,200 years ago, the narrative work depicts human-like figures interacting with pigs and is now known as the world's oldest surviving example of figurative art and visual storytelling.

A 51,200-year-old mural from Leang Karampuan. Image courtesy of Griffith University.

Prehistoric rock art provides important insights into past human cultures, but is typically difficult to date in an accurate and reliable way.

Over the past few decades, solution-based U-series methods have been used to determine early dates for rock art in several regions, including Western Europe, island Southeast Asia, and Siberia.

In Spain, a handprint stencil was dated to at least 64,800 years ago by solution U-series analysis of the overlying calcite and attributed to Neanderthals.

Until now, the oldest evidence of representational art is a naturalistic painting of a warthog at Reang Tedonggae in Maros-Pangkep, Sulawesi, which was dated to at least 45,500 years ago using the solution U series.

“We have previously used uranium-series methods to date very ancient rock art in two areas of Indonesia, Sulawesi and Borneo, but our new laser ablation U-series (LA-U-series) technique is more accurate,” said Professor Maxim Aubert from Griffith University, lead author of the study.

“This will allow us to date the oldest calcium carbonate layers that formed in the murals and get a more accurate idea of when the murals were created. This will revolutionize the dating of murals.”

“The innovative technique we developed allows us to create a detailed 'map' of the calcium carbonate layers,” added study co-author Professor Renaud-Joannes Boyau from Southern Cross University.

“This feature makes it possible to precisely identify and avoid areas affected by natural diagenesis resulting from complex growth histories.”

“As a result, dating of rock art becomes more certain and reliable.”

The discovery that the Leang Karampuang paintings are at least 51,200 years old has important implications for understanding the origins of early art.

“Our results are very surprising. Apart from some controversial finds in Spain, none of the famous Ice Age rock arts in Europe are this old. This is the first time that Indonesian rock art has been dated to more than 50,000 years,” said the study's lead author Adi Agus Octaviana, a rock art expert at Jakarta's National Research and Innovation Agency and a doctoral student at Griffith University.

The scientists also used the LA-U series technique to re-date calcium carbonate deposits that lie above cave paintings at the Leang Bru Sipon 4 cave site.

The paintings, which consist of narrative “scenes” depicting figures interpreted as therianthropes (half-human, half-animal) hunting warthogs and dwarf buffalo, were estimated by the team to be at least 43,900 years old.

Using new techniques, the authors prove that the artwork dates to a minimum of about 48,000 years ago, making it 4,040 years older than present.

“The cave paintings at Leang Karampuang and Leang Bul Siphon 4 shed new light on a great period and the vital role of storytelling in art history,” said Professor Adam Blum of Griffith University, co-author of the study.

“It is remarkable that the oldest cave paintings found so far in Sulawesi consist of recognizable scenes – pictures of humans interacting with animals – and we can infer that the artists were trying to tell some kind of story.”

“This was a new discovery because the academic consensus on early figurative cave art was that it consisted of panels with single figures, no clearly defined scenes, and that pictorial representations that conveyed a narrative emerged much later in European art.”

This discovery suggests that narrative storytelling has been an important part of human artistic culture in Indonesia from very early times.

“Humans have probably been telling stories for much longer than 51,200 years, but because words don't fossilize we have to rely on indirect evidence like depicted scenes in artwork, and the Sulawesi artworks are the oldest such evidence known to archaeology so far,” Octaviana said.

of Investigation result Published in a journal Nature.

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AA Octaviana and othersl. The story of Indonesian cave paintings from 51,200 years ago. NaturePublished online July 3, 2024; doi: 10.1038/s41586-024-07541-7

Source: www.sci.news

Oldest known narrative art is a pig painting dating back 50,000 years

Traces of cave paintings depicting pigs and human-like figures from Leang Karampuang, Sulawesi, Indonesia

Griffith University

An Indonesian cave painting depicting a pig with a human-like figure dates back at least 51,200 years and is known to be the oldest known example of figurative art in the world.

“I like to define us as a storytelling species, and this is the earliest evidence of that.” Maxime Oberle Griffith University, Gold Coast, Australia.

The pig artwork was discovered on the ceiling of a limestone cave in Leang Karampuang, Sulawesi, in 2017.

In 2019, Obert and his colleagues dated a hunting scene discovered in a nearby cave called Leang Bru Shipon 4 to at least 43,900 years ago.

Now, researchers have used new, more precise techniques to date both works of art, finding that the paintings at Reang Bulu Siphon 4 are actually more than 4,000 years older than previously thought, and the artwork at Reang Karampuan is even older.

According to Obert, the artwork at both sites predates the oldest known rock art in Europe by at least 10,000 years.

Modern people, Homo sapiens“We know they were in the area at that time, because they reached Australia by 60,000 to 65,000 years ago,” Obert said. “We think these art works were done by modern humans.”

The same cave contains depictions of creatures with both human and animal attributes, indicating spiritual beliefs.

“These rock art are not just little symbols,” team members say. Renaud Joanne Boyau “They were actually depicting scenes from the hunt and life, and were already using art to tell stories, inhabit a spirit world and try to make sense of their environment. This tells us a lot about human evolution,” said researchers from Southern Cross University in Lismore, Australia. Homo sapiens.”

Previous methods for dating artworks relied on chemical extraction of samples, which required crushing and destroying large portions of the rock.

The new technique involves taking a 5-millimeter-diameter core from the rock’s crust. A laser is used to remove material from the surface of this core, less than half the thickness of a human hair, which is then examined to measure the isotopic decay of the minerals. Once this is done, the core can be inserted into the rock art, much less disruptive than traditional methods.

Karampuang Hills, Reang Karampuang Cave site

Google Arts & Culture

Joannes Boyau says the new technique could lead to a major revision of the history of rock art around the world.

Kira Westaway Researchers from Macquarie University in Sydney, Australia, say improved dating methods have allowed them to more accurately assess when the Sulawesi art was actually created.

“This is really significant given that the first period was already considered groundbreaking,” she says. “This has huge implications for understanding the capabilities of these early artists who passed through Indonesia and the types of skills and tools they already had when they entered Australia.”

Homo sapiens They probably weren’t the only species with complex symbolic practices. Martin Pore “It is highly likely that other hominins had at least some capabilities in this regard, as can be inferred from the highly sophisticated material culture of Neanderthals,” say researchers from the University of Western Australia.

“It will be important to study further archaeological evidence from this region in the future to understand and confirm the social, economic and cultural context of these statues during the Late Pleistocene,” Poa said.

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Source: www.newscientist.com

Ancient snake painting holds record as world’s largest rock art

Animal sculptures carved into rocks along the Orinoco River in South America

Philip Riris et al.

The prehistoric rock carvings of giant snakes along the Orinoco River in South America are some of the largest known rock art in the world, some measuring over 40 metres in length.

The Orinoco is one of the world’s largest rivers, and it flows through Venezuela along the border with Colombia. “There is a fantastic record of rock art along the Orinoco, especially on the Venezuelan side,” he said. Jose Oliver at University College London. “Typically, they are paintings found under rocks.”

He said carvings are common at many open-air sites along the river, but not all of them have been officially recorded.

Oliver and his colleagues have made several visits to the coastal areas on both the Colombian and Venezuelan sides of the river since 2015, trying to get a better picture of the river’s rock carvings.

“It wasn’t hard to find new sites,” a team member said. Philip Lillis Professor at Bournemouth University in the UK. “Every time I turned a corner there was always something new.”

Of the 157 rock art sites the team visited, 13 consisted of carvings over four meters in height. “Anything that size is monumental to us,” Lillis says, “meaning they’re often visible from quite a distance, anywhere from 500 meters to a kilometer away.”

Most of the carvings depict humans, mammals, birds, centipedes, scrolls and geometric shapes, but snakes are one of the largest motifs, the largest measuring 132 feet (42 meters) wide. In indigenous Orinoco mythology, anacondas and boa constrictors are highly revered because they are primordial creator beings, Lillis said.

The prominence of rock art along the river suggests that the ancient carvings may have been territorial markers indicating that a particular group lived there, but not necessarily a warning not to trespass. “The carvings were not exclusionary, but rather may have been an inclusive practice shared between communities,” Lillis says.

Pottery excavated in the area, dated to 2,000 years ago, contains motifs similar to those in the carvings, suggesting that the rock art was created 2,000 years ago as well.

The team hopes to find more of these carvings and glean clues about their origin and purpose — for example, many of them are found close to rock shelters containing burial sites, suggesting a possible connection to ancient funerary practices.

“This is valuable research.” Andres Troncoso “This discovery sheds light on rock art in a little-known part of South America and furthers our knowledge of the region,” said researchers from the University of Chile.

“When Westerners think of rock art, they often think of mammoths, cave lions, and other large mammals that inhabit the Pleistocene cave sites of Western Europe,” he said. Patrick Roberts Commenting on the findings, a researcher from the Max Planck Institute for Geoanthropology in Germany said: “However, the giant snake carving studied in this paper is one of the largest single rock art in the world, and was found in the heart of a lowland tropical environment.”

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Source: www.newscientist.com

Newly Found Ancient Rock Art Ruins Unearthed in Sudan’s Eastern Desert

Archaeologists from Macquarie University and the Polish Academy of Sciences' Institute of Mediterranean and Oriental Cultures have discovered 16 new rock art sites in Sudan's eastern desert, or 'Atobai'. Almost all of his newly discovered 4,000-year-old artwork depicts the presence of cows.

Rock art from the area around Gebel Nahoganet in the eastern desert of Sudan. Image credit: Cooper other., doi: 10.1177/03075133231211.

“Finding a cow carved into a desert rock face was puzzling, as cows require large amounts of water and acres of pasture, and cannot survive in today's arid conditions in the Sahara Desert.” said Macquarie University researcher Dr Julian Cooper.

“The presence of cows in ancient rock art is one of the most important pieces of evidence for a former 'Green Sahara.'”

Rock art found in eastern Sudan also depicts the desert as a grassy savanna filled with ponds, rivers, swamps, and waterholes and home to a variety of African savannah animals, including giraffes and elephants.

The idea of ​​a “Green Sahara'' has been proven through previous archeological and climate fieldwork and research, and experts are calling this the “African Wet Period''. This is a period of increased summer monsoon precipitation that began about 15,000 years ago and ended about 5,000 years ago.

Depictions of humans alongside cows may indicate the act of milking, suggesting that the area was once occupied by cattle pastoralists until the 2nd or 3rd millennium BC.

After this point, reduced rainfall made cattle grazing impossible.

Currently, the region receives very little annual precipitation.

At the end of the “African Wet Period”, around 3000 BC, lakes and rivers began to dry up, dry pastures became covered with sand, and most of humanity left the Sahara Desert to seek refuge near the Nile River.

“The Atbai desert around Wadi Halfa, where new rock art was discovered, was almost completely depopulated. For those who remained, cattle were abandoned for sheep and goats,” the archaeologists said.

“This would have profoundly affected every aspect of human life, from diets and limited milk supplies to the movement patterns of nomadic families and the identity and livelihoods of those who depended on cattle.”

team's paper Published in Egyptian Archeology Journal.

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julian cooper other. 2023. Rock art research in the eastern desert of Sudan: Results of the 2018-2019 Atobai research project. Egyptian Archeology Journal 109 (1-2); doi: 10.1177/03075133231211

Source: www.sci.news

The Challenge: A computer game that encourages you to face your fears | Art and Design

IIt's a quiet morning in a London gallery studio voltaire And Danielle Brathwaite-Shirley invited me to prototype her latest artwork. It's a horror-inspired video game in which players fight to overcome the issues holding them back, from fear of failure to addiction. This is also the centerpiece of her first organized solo exhibition with the theme of change. I worked on the game, but by the fourth round I was still crap. Artificial screams echo around the empty gallery. “That must be super difficult!” laughs Brathwaite-Shirley. “It's all based on what I'm trying to overcome or have overcome. It didn’t take one turn, it took many.”

The Rebirthing Room is Brathwaite-Shirley's latest participatory work. The idea came to me after a conversation with a curator about the usefulness of Art Her Gallery. “We were talking about how we could do more with the space. What could we do with it other than just showcasing work?” she says. “That’s when I thought, “It would be great if you came to the gallery and left a different person.'

The 29-year-old started making interactive art in 2020 after misguided comments from visitors made her question the purpose of her work. At the time, her portfolio consisted of videos and animations documenting her London burlesque scenes and her black transgender peers. The work, rendered in what she describes as her “beautiful retro aesthetic,” created an alternate reality for community members. It is an unconventional archival method to fill in the blind spots in historical records. “Someone said to me, “I really like your work because it allows me to be visual and ignore what you're saying,'' Brathwaite-Shirley recalls. “I thought, “This is the best feedback of my life, because I can't do that anymore!''

Another history…”Thou shalt not accept” in 2023. Photo: Perttu Saksa/Courtesy of the artist and Helsinki Biennale

Since then, she has started incorporating choices made by the audience to advance the work. In 2022 she released her Get Home Safe, an arcade her-style game inspired by her own experiences wandering around Berlin at night. The player is tasked with guiding the protagonist safely through dark streets. Meanwhile, “I Can't Follow You Anymore,” released in browser-based last year, asks audiences to navigate a revolution and decide who will be saved or sacrificed. “In interactive work, you have to make an effort to see something,” she says. “What fascinates me is the choices people make and the feelings they leave behind. I think that's when the real works of art start to emerge.”

Keen to prioritize content over aesthetics, Brathwaite-Shirley's new work takes advantage of the rudimentary pre-rendered graphics of early computer games. It's intentionally lo-fi, built from 2D animation, iPad drawings, and old software, with a VHS-style finish. The forest grass on the screen is made from edited photographs of her hands, and the sounds are an extension of her archival project, developed from recordings of her screaming into her mobile phone. . “I never want to touch this super shiny stuff,” she says. “I like to make people's brains work a little bit more.”

With disorienting sound effects and low lighting, Rebirthing Room is a fully immersive experience. Surrounding the screen and handmade controllers operated by the audience are giant trees covered in cloth and rows of real corn, a reference to the horror movies she grew up watching.

“I don’t need this super shiny thing”…Screenshot of the playback room Photo: Image provided by the artist

“What I love about horror is that it makes you want to experience experiences and emotions that you would never experience in normal life,” she says. “If a movie is really good, there's something about it that sticks around. It's that perfect balance of being really scary, but also interesting enough to keep you watching.”

In addition to being a nifty device to “fool” viewers into their own values ​​and beliefs, Brathwaite-Shirley's digital universe, full of demons, villains, and gore, is well-suited to the current climate. You can feel it when you are there. She says it's important to highlight not only the hostility from her outsider group, but all the “nasty nuances” that exist within her own self. She said: “I feel like we're in a very censored time; [where] Even speaking about views that your particular political group subscribes to feels dangerous because you feel like you have to say it the way they want to hear it. Therefore, for me, presenting a utopia in the environment we are currently in is a huge waste. ”

Challenging audiences is something she would like to see more of in the art world, but she feels it prioritizes too much of a fun, Instagram-friendly experience. Her purpose is not to make her people enjoy her own work. She finds the more visceral and emotional responses more interesting. She told me that when she finishes a show with nothing but praise, she feels like her work is of no use.

She is interested in how viewers will respond to Room of Rebirth. Will they play until they succeed? Or will they just give up like I did? only time will tell. “I’m looking forward to seeing how we can go even further next time,” she says.

Source: www.theguardian.com

Australia’s ‘Contemporary’ Portrait Award permits art entirely produced by Artificial Intelligence (AI)

A prestigious portrait competition has defended its ability to allow entrants to submit works generated by artificial intelligence, arguing that art should reflect social change rather than being stagnant.

of Brisbane Portrait Award The work, which is worth a top prize of $50,000, is being described as Queensland’s answer to the Archibalds, and selected works will be exhibited at the Brisbane Powerhouse later this year.


This year, the Brisbane Portrait Prize has announced in its entry terms and conditions that as long as the artwork is original and “fully completed and fully owned” by the entrant, it is “completed in whole or in part by generative artificial intelligence.” It states that it will accept submissions that have been submitted. .

A spokesperson for the awards told Guardian Australia that allowing AI submissions acknowledged that the definition of art is not stagnant and is always growing.

“The BPP prides itself on being a contemporary prize, fostering the continued evolution of the art and participating in the conversation around it, while always being interested in what ‘contemporary’ portraiture is.” ” they said.

// Image details

A spokesperson said that in the past, more traditional artists objected to allowing digital and photographic submissions, but it is now generally accepted in the art world.

“As technology continues to adapt and integrate into our society, the use of assistive technology is already paving the way for inclusion for artists with disabilities, and we believe that the use of AI tools and methodologies will continue to grow in this field. “We believe this is the next step,” the spokesperson said.

The previous winner, painter Stephen Tiernan, said: told ABC The creation of AI-generated works still involves an artistic process, and the rule changes ultimately kept the awards modern.

A spokesperson said the contest will determine ownership of works based on the terms of the process used and the AI program behind it. At the time of submission, artists must declare that they have full copyright to their submitted work.

Dr Rita Maturionite, a senior lecturer in law at Macquarie University, said that under Australian copyright law, AIs themselves cannot be authors, but how much of an AI-assisted work of art can humans own in order to claim ownership. He said whether the information would have to be entered remains an open question.

“What is unclear is [is] “How much human contribution is enough for a person to become a writer?” she said. “Is one prompt enough for her, or does she need to create 100 prompts?”

A spokesperson for the Brisbane Portrait Prize said if the artist contributed “sufficient independent intellectual effort” to the creation of the work, it was likely to be protected by copyright.

“An example of someone determining full ownership of content is when an artist uses an AI tool to use elements of some of their own original work, and all original designs belong solely to the artist. This could be the case if we create new artwork,” the spokesperson said.

“We recognize that AI is an evolving field and that our laws often keep pace with technological advances.”

Dr TJ Thomson, Senior Lecturer in RMIT's School of Media and Communication, said: 'Creating an image through a camera and imagining an image through a keyword prompt are completely different experiences that require very different skills. There is,” he said.

// Newsletter details

“If you have some knowledge of photography principles and equipment, you can understand the intent of the photo, but it’s not fair to pit camera-generated images against AI-generated images.”

This is not the first contest to tackle AI entries since the explosion of widely available generative AI applications over the past year.

The National Portrait Gallery’s 2024 National Photographic Portrait Awards allows the use of generative AI tools in the development of submitted photographic works, but does not allow images that are entirely AI-generated.

However, there are strict conditions, such as requiring details of which tools were used and how. If your prompts to AI include someone else’s name, image, work, or creative style, you must obtain their explicit consent.

Thomson said the competition was a messy space with many unanswered questions, but other competitions in the meantime are likely to have similar results.

In November, the World Press Photo Contest announced it would exclude AI-generated entries from its public format after receiving “honest and thoughtful feedback,” and said the ban was “in line with our long-standing values ​​of accuracy and authenticity.” He said that it was something that

German artist Boris Eldagsen said he submitted an AI-generated photo of two women “as cheeky monkeys” to see if there would be a competition for AI images, and he won a prize at Sony last year. He declined the award in the Creative Open category of the World Photography Awards.

“They’re not,” he said last April.

In Sydney last year, a woman claimed to have taken a photo of her son with a mobile phone but lost out in a competition after judges suspected it was generated by AI.

At the NGV Triennial Exhibition to be held in Melbourne this year, Works by Irish artist Kevin Abosch They created “deepfakes of scenes depicting social unrest around the world,” including in Melbourne, and investigated how manipulated information fuels social unrest.

Source: www.theguardian.com

Can Technology-Backed Planners Revive the Lost Art of City-Building in California’s Big Cities?

I
As we were chopping garlic and herbs at Burning Man, we met Gabriel Metcalf, an urban planner hired to design a new city in California with the backing of a tech billionaire.
new york times
The mystery of who was secretly buying up more than 50,000 acres of farmland in Solano County, about 80 miles northeast of San Francisco, has just been uncovered.

The buyers included Silicon Valley investors who were committed to ambitious plans for a new “California Dream” city with walkable neighborhoods, climate-friendly infrastructure, green energy jobs, and affordable housing. It turns out that the list includes celebrities.

Many people are deeply suspicious of tech elites throwing money around thinking they can solve everything. And the way California Forever, an investor-backed company, secretly bought up nearly $1 billion worth of land without the knowledge of local residents or officials, also discouraged people from getting excited about the project. In the months since the project was announced, residents, officials and environmentalists have raised serious questions about the feasibility of turning rural land into a bustling city.

I followed up with Metcalfe to see if what sounded like a bold vision when shared in a pop-up city in the Nevada desert actually makes sense in the real world. . Metcalf, who comes across as more of a pragmatic urban design geek than a Silicon Valley techie, admits he understands where the skeptics are coming from.

“This has never been done before, at least not in this way or on this scale. There's a lot of work to do to get people on board and understand the vision,” he said over coffee in San Francisco's Dogpatch district. he said while drinking. “We're not proposing a utopia. We're just proposing a city. We're not claiming that this will solve all your problems. But this is another tool. I would argue that it can be helpful.”




Farmland in rural Solano County, California. Counties where California Forever wants to build.
Photo: Godofredo A. Vasquez/AP

California faces difficult housing issues that Metcalf, a respected urban planner, believes can only be addressed through bold action.

Metcalf ran Spar, a San Francisco-based urban planning think tank, for a decade and a half, where he advocated for building more cities.
public housingways to address the region's housing crisis include increasing public transportation and increasing the minimum wage.

Source: www.theguardian.com

Ai Weiwei believes that art which can be effortlessly reproduced by AI is lacking in meaning.

Chinese dissident artist Ai Weiwei believes that art that can be easily replicated by artificial intelligence is “meaningless.” He argues that even great artists like Pablo Picasso and Henri Matisse would have had to reconsider their approach if AI had existed in their time.

Ai Weiwei’s views are part of the ongoing debate on the rise of AI, where data from artists’ websites is used to create “original” images in their style by AI.

There have been multiple class-action lawsuits filed in the US by artists whose aesthetics are popular among users of AI, with reports of thousands of images being used without permission.

Ai Weiwei expressed his concern about the focus on creating “realistic” images in art education, which he believes is rendered meaningless by AI’s ability to replicate them in seconds.

When asked whether this also applied to masters with distinct styles such as cubism, Ai Weiwei answered that “If Picasso or Matisse were still alive, they would surely quit their jobs. It would be impossible for them to still think [the same way].” He also discussed his upcoming collaboration with an AI to answer the same list of 81 questions over 81 days, a project referencing the number of days he was incarcerated by the Chinese state in 2011.

The artist also expressed concern about a future where artificial intelligence becomes so powerful that it leads to a society with only one “right” answer to significant questions, likening it to dangerous historical ideologies.

Ai Weiwei, who grew up in a forced labor camp in northwest China and has been an outspoken critic of Chinese authorities, believes in the importance of asking difficult questions as an artist, despite the potential repercussions.

He explained that it is the responsibility of artists to speak out for those without a voice and emphasized the importance of seeking inner truth through their work. Despite the risks, he remains committed to his mission of asking challenging questions and challenging those in power.

Source: www.theguardian.com

The Rise of Inversion Art as the Y Combinator of the Art World

for many startups, qualifying for an accelerator program like Y Combinator or TechStars is like winning the golden ticket to Willy Wonka’s Chocolate Factory. Accelerators offer a wealth of opportunities that can make the difference between a great idea that fails to reach its potential and a great idea that leads to an IPO.

We’re used to seeing accelerators work for companies that disrupt travel, payment processing, and cloud storage, but what if that model could work outside the confines of the VC factory? Artists What if you could use a little investment, a lot of mentoring and hands-on support, a ton of referrals, and a ton of faith to help you in your career?

That’s exactly right inverted art Trying to.

“Y Combinator changed my life,” Inversion Art co-founder Joey Flores told TechCrunch. “I am very grateful for this program and thought it would be great to do something like that for artists.”

Mr. Flores is a Y Combinator alumnus. Music Marketing Platform EarBits It graduated from the program in 2010 and was sold in 2015. Although Flores is not a professional artist, art is a very important part of his life, and a chance comment by a VC in a 2020 conversation set him on the path to finding an artist. It’s his way of supporting artists who have the drive and passion to make art a lifelong career, but need help to achieve it. As part of his research, he connected with co-founder Jonathan Neal and together they seek to change the way artists find success and recognition.

“Artists have always relied on others, such as collectors, museums and galleries, to build their careers and define success,” Neal said. “In our opinion, we are the first organization to actually sit at the same table with artists in all of their negotiations and activities and truly help them define success for themselves.”

Source: techcrunch.com