The Song of Sleep

Crane Fly and Ants
Joris Hoefnagel, illuminator (Flemish / Hungarian, 1542 – 1600)
Georg Bocskay, scribe (Hungarian, died 1575)

 


By Jason G Goldman

“Almost all other animals are clearly observed to partake in sleep, whether they are aquatic, aerial, or terrestrial,” wrote Aristotle in his work, On Sleep and Sleeplessness.
In The History of Animals, he wrote: “It would appear that not only do men dream, but horses also, and dogs, and oxen; aye, and sheep, and goats, and all viviparous quadrupeds; and dogs show their dreaming by barking in their sleep.”

Researchers can now humanely peer into the electrical and chemical activities of brain cells in animals while they sleep. In 2007, MIT scientists Kenway Louise and Matthew Wilson recorded the activity of neurons in a part of the rat brain called the hippocampus, a structure known to be involved in the formation and encoding of memories. They first recorded the activity of those brain cells while the rats ran in their mazes.
Then they looked at the activity of the very same neurons while they slept and discovered identical patterns of firing during running and during REM.
In other words, it was as if the rats were running the maze in their minds as they slept. The results were so clear that the researchers could infer the rats’ precise location within their mental dream mazes and map them to actual spots within the actual maze.

University of Chicago biologists Amish Dave and Daniel Margoliash looked into the brains of zebra finches and discovered something similar.
These birds are not born with the melodies of their songs hardwired into the brains; instead, they have to learn to sing their songs. When they’re awake, the neurons in part of the finches’ forebrain called the robutus archistriatalis fire following their singing of particular notes. Researchers can determine which note was sung based on the firing patterns of those neurons. By piecing together the electrical patterns in those neurons over time, Dave and Margoliash can reconstruct the entire song from start to finish.

Later, when the birds were asleep, Dave and Margoliash looked again at the electrical activity in that part of their brains. The firing of those neurons wasn’t entirely random. Instead, the neurons fired in order, as if the bird was audibly singing the song, note for note. It might be said that the zebra finches were practising their songs in their sleep.


http://www.bbc.com/future/story/20140425-what-do-animals-dream-about

 

Ants are good sleep research subjects, as they live underground. Most ants get exposed to sunlight only very irregularly, so a sleeping rythm based on a photo period like ours would not be very useful. Because of their social and subterranean lifestyle, one might expect that sleep periods of ants are more dependent on the tasks at hand than on light/dark periods.

This is indeed what Deby Cassill and collaborators found. Queens of the fire ant (Solenopsis invicta) have an average of 92 sleep periods per day, lasting for about 6 minutes each (for a total of 9.4h of sleep per day). Workers are very different from this, as they had 253 sleep episodes on average per day, each lasting about 1 minute, for a total of 4.8h sleep per day, meaning they sleep more often, but less long. At any time of the day, about 80% of the work force was actually working instead of sleeping, which is an efficient pattern.

REM (Rapid Eye Movement) sleep is the phase where we ‘blink’ our eyes often, and it’s the phase where our dreams are the most vivid; the dreams we actually remember occur during this sleep phase.
Ant queens show a similar behaviour when they’re fast asleep. Instead of their eyes, they twitch their antennae, resulting in so called ‘Rapid Antennal Movement’ (RAM) sleep.

 

Cassill DL, Brown S, Swick D, Yanev G (2009) Polyphasic wake/sleep episodes in the fire ant Solenopsis invicta. Journal of Insect Behaviour 22:313-323
https://antyscience.wordpress.com/2013/09/24/what-do-ants-dream-of/

 

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Tempera Wind

Andrew Newell Wyeth (1917 – 2009)
detail

 

Published in: on July 23, 2017 at 1:24 am  Comments (2)  
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The Colours of The Winds

detail, Joseph Mallord William Turner (1775 – 1851)

 

from the 
SALTAIR NA RANN
attrib. Oengus the Culdee, ninth century

 

King who ordained the eight winds
advancing without uncertainty, full of beauty,
the four prime winds He holds back,
the four fierce under-winds.

There are four other under-winds,
as learned authors say,
this should be the number, without any error,
of the winds, twelve winds.

King who fashioned the colours of the winds,
who fixed them in safe courses,
after their manner, in well-ordered disposition,
with the varieties of each manifold hue.

The white, the clear purple,
the blue, the very strong green,
the yellow, the red, sure the knowledge,
in their gentle meetings wrath did not seize them.

The black, the grey, the speckled,
the dark and the deep brown
the dun, darksome hues,
they are not light, easily controlled.

King who ordained them over every void,
the eight wild under-winds ;
who laid down without defect
the bounds of the four prime winds.

From the East, the smiling purple,
from the South, the pure white, wondrous,
from the North, the black blustering moaning wind,
from the West, the babbling dun breeze.

The red, and the yellow along with it,
both white and purple ;
the green, the blue, it is brave,
both dun and the pure white.

The grey, the dark brown, hateful their harshness,
both dun and deep black ;
the dark, the speckled easterly wind
both black and purple.

Rightly ordered their form,
their disposition was ordained ;
with wise adjustments, openly,
according to their position and their fixed places.

The twelve winds,
Easterly and Westerly, Northerly and Southerly,
the King who adjusted them, He holds them back,
He fettered them with seven curbs.

King who bestowed them according to their posts,
around the world with many adjustments,
each two winds of them about a separate curb,
and one curb for the whole of them.

King who arranged them in habitual harmony,
according to their ways, without over-passing their limits ;
at one time, peaceful was the space,
at another time, tempestuous.

 

Translations from Irish Gaelic Poetry into English Prose and Verse 
SELECTED AND EDITED BY ELEANOR HULL, 1912
To Miss Eleanor Knott I am indebted for valuable help in the translation

 

 

[with thanks to  for twitter discussion of wind-color]

Stones of Ochre

Visita Allo Studio, Odoardo Borrani
(1833 – 1905)

 

by Sarah Cascone

Porc-Epic is a cave that, for 4,500 years, was used to produce ochre, a brownish-yellow pigment often used in prehistoric artwork.

The Porc-Epic cave was discovered by Pierre Teilhard de Chardin and Henry de Monfreid in 1929 and is thought to date to about 43,000 to 42,000 years ago, during the Middle Stone Age.
At the site, archaeologists found a stash of 4213 pieces, or nearly 90 pounds, of ochre, the largest such collection ever discovered at a prehistoric site in East Africa.

Ancient visitors to the site processed the iron-rich ochre stones there by flaking and grinding the raw materials “to produce a fine-grained and bright red powder.” The ochre stones can be used to produce powders of varying coarsenesses, in shades of yellow, orange, red, brown, and gray.

Ochre powder could be used medicinally or for other purposes, but this production is “most consistent with symbolic activities, such as body painting, the production of patterns on different media, or for signalling.”A pebble half coated in ochre, for instance, could have been used as a stamp to apply the pigment to soft surfaces. The researchers also compared pieces with long pointy ends to ochre “crayons.”

Apparently the local community relied on Porc-Epic for its ochre needs for millennia, the cave essentially serving as a studio for artists.

 

On May 24, 2017 researchers Daniela Eugenia Rosso of the University of Barcelona and Francesco d’Errico and Alain Queffelec of the University of Bordeaux in France published a paper, “Patterns of change and continuity in ochre use during the late Middle Stone Age of the Horn of Africa: The Porc-Epic Cave record,” in the PLOS ONE journal.
A similar find was discovered in a 100,000-year-old cave in South Africa in 2011.

https://news.artnet.com/art-world/worlds-oldest-art-studio-discovered-ethiopia-979637?utm_content=from_&utm_source=Sailthru&utm_medium=email&utm_campaign=June%202%2C%202017%20artnet%20News%20Daily%20Newsletter%20ALL&utm_term=artnet%20News%20Daily%20Newsletter%20USE

Money On The Sun

Stereoscopic Photograph of Victorian Greenhouse

 

by Heather Rogers, for The New York Times

At the turn of the 20th century, when Thomas Edison–who made possible the near-universal use of electric light and power utilities, sound recording, and motion pictures, all of which established major new industries worldwide–was at the height of his career, the notion that buildings, which now account for more than a third of all energy consumed in the United States, would someday require large amounts of power was only just coming into focus.
Where that power would come from — central generating stations or in-home plants; fossil fuels or renewable resources — was still very much up for debate.

A 1901 article about Edison in The Atlanta Constitution described how his unorthodox ideas about batteries could bring wattage to the countryside: “With a windmill coupled to a small electric generator,” a rural inhabitant “could bottle up enough current to give him light at night.”
The earliest wind-powered house was fired up in Cleveland in 1888 by the inventor Charles Brush, but Edison aspired to take the technology to the masses.
He made drawings of a windmill to power a cluster of four to six homes, and in 1911 he pitched manufacturers on building a prototype.

Edison’s batteries also fueled some cars and trucks, and he joined forces with Henry Ford to develop an electric automobile that would be as affordable and practical as the Model T.
The Constitution article discussed plans to let people recharge their batteries at plug-in sites along trolley lines; the batteries could also be refreshed courtesy of the home windmill.

Edison also, like other scientists of his day, was beginning to understand even then that fossil fuels wouldn’t last forever.
In 1913, Scientific American published an issue on energy problems, observing: “The question of the possible exhaustion of the world’s oil supply deserves the gravest consideration. There is every indication that we are face to face with this possibility.”
Articles delved into technologies to capture the power of the sun, the wind, the tide and even the earth’s rotation.
Inventors like Edison were modernizers who couldn’t bear the inefficiency of letting an abundant energy source like wind go untapped.

In 1912 Edison unveiled an energy-self-sufficient home in West Orange, N.J.
Billed as an experimental “Twentieth Century Suburban Residence” and designed to showcase his batteries, it bulged with luxuries like air heating and cooling units, a clothes-washing machine, an electric cooking range and, of course, plenty of light bulbs.
Completely off the grid, the house received its juice from a generator that charged a bank of 27 cells in the basement. For this first attempt, Edison used a gas-run motor, but evidence suggests that he hoped to hook up to a wind turbine.
The system would allow the prospective homeowner to be, according to The New York Times, “utterly and for all time independent of the nearness or farness of the big electric companies.”

The conglomerates struggling to control the nascent energy sector regarded that as precisely the problem.
For them, a world of independence, in which householders created their own power using renewable resources, was a nightmare.
The companies’ profits depended on electricity from power plants run on cheap fossil fuels.
In the end, Edison’s proudly free-standing Suburban Residence was hooked up to the grid, and neither his in-home wind-generated electricity plant nor his battery-powered vehicles ever reached the mass market.

In 1931, not long before he died, the inventor told his friends Henry Ford and Harvey Firestone: “I’d put my money on the sun and solar energy. What a source of power! I hope we don’t have to wait until oil and coal run out before we tackle that.”

Naturalis Historiae

Václav Hollar (1607 – 1677)
The Battle of White Mountain

 

WE are now about to speak of metals, of actual wealth, the standard of comparative value, objects for which we diligently search, within the earth, in numerous ways.
In one place, for instance, we undermine it for the purpose of obtaining riches, to supply the exigencies of life, searching for either gold or silver, electrum or copper.
In another place, to satisfy the requirements of luxury, our researches extend to gems and pigments, with which to adorn our fingers and the walls of our houses: while in a third place, we gratify our rash propensities by a search for iron, which, amid wars and carnage, is deemed more acceptable even than gold.
We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!
We penetrate into her entrails, and seek for treasures in the abodes even of the Manes, as though each spot we tread upon were not sufficiently bounteous and fertile for us!

IT now remains for us to speak of stones, or, in other words, the leading folly of the day; to say nothing at all of our taste for gems and amber, crystal and murrhine vases.
For everything of which we have previously treated, down to the present Book, may, by some possibility or other, have the appearance of having been created for the sake of man: but as to the mountains, Nature has made those for herself, as a kind of bulwark for keeping together the bowels of the earth; as also for the purpose of curbing the violence of the rivers, of breaking the waves of the sea, and so, by opposing to them the very hardest of her materials, putting a check upon those elements which are never at rest.
And yet we must hew down these mountains, forsooth, and carry them off; and this, for no other reason than to gratify our luxurious inclinations: heights which in former days it was reckoned a miracle even to have crossed!


Gaius Plinius Secundus (AD 23 – August 25, AD 79)

tr. John Bostock, M.D., F.R.S. (baptised 29 June 1773, died 6 August 1846)
Henry Thomas Riley (1816–1878)

 

‘Twas Pterodactyl, Sauropod

twas-gryphonOriginal pencil drawing of the sleeping Gryphon,
John Tenniel (1820 – 1914) 

 

 

Jabberwocky

“Jabberwocky” is a poem of nonsense verse written by Lewis Carroll, and was a part of his novel Through the Looking-Glass, and What Alice Found There (1872). The book tells of Alice’s travels within the back-to-front world through a looking glass.

While talking with the White King and White Queen (chess pieces), she finds a book written in a strange language that she can’t read. Understanding that she is travelling in an inverted world, she sees it is mirror-writing, finds a mirror, and holds it up to a poem on one of the pages, to read out the reflection of “Jabberwocky”. She finds it as puzzling as the odd land she has walked into, which we later discover is a dreamscape.

It is considered to be one of the greatest nonsense poems written in the English language, and became a source of nonsense words and neologisms such as “galumphing”, “chortle”, and “Jabberwocky” itself.

In 1855, when Carroll was 23, he printed the first stanza of the poem in Mischmasch, a periodical that Carroll wrote and illustrated himself for the amusement of his family. It was entitled “Stanza of Anglo-Saxon Poetry” and originally read:
“Twas bryllyg and ye slythy toves, Did gyre and gymble in ye wabe: All mimsy were ye borogoves; And ye mome raths outgrabe. ”
The spelling was altered when it was published as part of the later book.
The first stanza was written in Croft on Tees, close to nearby Darlington, where Carroll lived as a boy. The rest of the poem was written during Lewis Carroll’s stay with relatives at Whitburn, near Sunderland.
The story may have been partly inspired by the local Sunderland area legend of the Lambton Worm.

Roger Lancelyn Green suggests that “Jabberwocky” is a parody of the old German ballad “The Shepherd of the Giant Mountains” in which a shepherd kills a griffin that is attacking his sheep.
The ballad had been translated into English in blank verse by Lewis Carroll’s cousin Menella Bute Smedley in 1846, many years before the appearance of the Alice books.
Historian Sean B. Palmer suggests that Carroll was inspired by a section from Shakespeare’s Hamlet, citing the lines: “The graves stood tenantless, and the sheeted dead/Did squeak and gibber in the Roman streets” from Act I, Scene i.

John Tenniel reluctantly agreed to illustrate the book in 1871, and his illustrations are still the defining images of the poem.
The illustration of the Jabberwock may reflect the contemporary Victorian obsession with natural history and the fast-evolving sciences of palaeontology and geology.
Stephen Prickett notes that in the context of Darwin and Mantell’s publications and vast exhibitions of dinosaurs, such as those at the Crystal Palace from 1845, it is unsurprising that Tenniel gave the Jabberwock “the leathery wings of a pterodactyl and the long scaly neck and tail of a sauropod.”

Many of the words in the poem are playful nonce words of Carroll’s own invention, without intended explicit meaning.
Although the poem contains many nonsensical words, it holds to English syntax, and poetic forms are observed, such as the quatrain verses, the general abab rhyme scheme, and the iambic meter.
The linguist Lucas notes that the term “nonsense poem” is inaccurate. The poem relies on a distortion of sense rather than “non-sense”.

When Alice has finished reading the poem she gives her impressions:
‘It seems very pretty,’ she said when she had finished it, ‘but it’s rather hard to understand!’ (You see she didn’t like to confess, even to herself, that she couldn’t make it out at all.) ‘Somehow it seems to fill my head with ideas—only I don’t exactly know what they are! However, somebody killed something: that’s clear, at any rate’
This may reflect Carroll’s intention for his readership; the poem is, after all, part of a dream.

In later writings, he discussed some of his own created lexicon, commenting that he didn’t know his source for some of the words; the linguistic ambiguity and uncertainty throughout both the book and the poem may largely be the point.
In Through the Looking-Glass, the character of Humpty Dumpty gives comments on the non-sense words from the first stanza of the poem; however, Carroll’s personal commentary on several of the words differ from Humpty’s.
For example, following the poem, a “rath” is described by Humpty as “a sort of green pig”, whereas Carroll’s notes for the original in Mischmasch suggest a “rath” is “a species of Badger” that “lived chiefly on cheese” and had smooth white hair, long hind legs, and short horns like a stag.
The appendices to certain Looking Glass editions, however, state that the creature is “a species of land turtle” that lived on swallows and oysters.
Later commentators have added their own interpretations of the lexicon, often without reference to Carroll’s own contextual commentary.

In January 1868, Carroll wrote to his publisher Macmillan, asking, “Have you any means, or can you find any, for printing a page or two of the next volume of Alice in reverse?” This may suggest that Carroll was wanting to print the whole poem in mirror writing. Macmillian responded that it would cost a great deal more to do, and this may have dissuaded him

Multiple translations into Latin were made within the first weeks of Carroll’s original publication.

http://www.essaydocs.org/jabberwocky.html


Legend of the Lambton Worm:
https://en.wikipedia.org/wiki/Lambton_Worm

 

A Gossamer World

spider-webAugust Johann Rösel von Rosenhof (1705-1759)
Insecten-Belustigung

Two years ago, a research team led by the University of Oxford revealed that, when plucked like a guitar string, spider silk transmits vibrations across a wide range of frequencies, carrying information about prey, mates and even the structural integrity of a web.
Now, a new collaboration between Oxford and Universidad Carlos III de Madrid has confirmed that spider webs are superbly tuned instruments for vibration transmission.

Web-dwelling spiders have poor vision and rely almost exclusively on web vibrations for their ‘view’ of the world.
The musical patterns coming from their tuned webs provide them with crucial information on the type of prey caught in the web and of predators approaching, as well as the quality of prospective mates.
Spiders carefully engineer their webs out of a range of silks to control web architecture, tension and stiffness, analogous to constructing and tuning a musical instrument.

High-powered lasers were able to experimentally measure the ultra-small vibrations, which allowed the team to generate and test computer models using mathematical finite element analysis.

Professor Fritz Vollrath, Head of the Oxford Silk Group, added: ‘It is down to the interaction of the web materials, a range of bespoke web silks, and the spider with its highly tuned behaviour and armoury of sensors that allows this virtually blind animal to operate in a gossamer world of its own making, without vision and only relying on feeling. Perhaps the web spider can teach us something new about virtual vision.’

 

‘Tuning the instrument: sonic properties in the spider’s web’ is published in Journal of the Royal Society http://www.ox.ac.uk/news/2016-09-07-tuning-instrument-spider-webs-vibration-transmission-structures#

 

A Marmoset Taking Sweets on a Painted Commode

marmoset-teacupLouis Tessier (c.1719 – 1781)

 

“Virtually every ‘uniquely human’ characteristic has turned out not to be so”, Matthew Cobb, The Guardian


by

It used to happen every day at the London Zoo: Out came the dainty table and chairs, the china cups and saucers — ­afternoon tea, set out for the inhabitants of the ape enclosure to throw and smash. It was supposed to be amusing — a ­comic, reckless collision of beasts and high ­culture. But, as Frans de Waal explains in “Are We Smart Enough to Know How Smart Animals Are?”,  apes are actually innovative, agile tool-users.
Not surprisingly — to de Waal, at least — the apes in London quickly mastered the teacups and teapot too. They sat there civilly, having tea.
“When the public tea parties began to threaten the human ego, something had to be done,” de Waal writes. “The apes were retrained to spill the tea, throw food around, drink from the teapot’s spout,” and so on.
The animals had to be taught to be as stupid as we assumed they were. But, of course, the fact that they could be taught to be stupid is only more perverse evidence of their intelligence.

For centuries, our understanding of animal intelligence has been obscured in just this kind of cloud of false assumptions and human egotism.
De Waal painstakingly untangles the confusion, then walks us through research revealing what a wide range of animal species are actually capable of.
Tool use, cooperation, awareness of individual identity, theory of mind, planning, metacognition and perceptions of time — we now know that all these archetypically human, cognitive feats are performed by some animals as well.
And not just primates: By the middle of ­Chapter 6, we’re reading about cooperation among leopard coral trout.

There are many different forms of intelligence; each should be valuated only relative to its environment. And yet, there’s apparently a long history of scientists ignoring this truth.
They’ve investigated chimpanzees’ ability to recognize faces by testing whether the chimps can recognize human faces, instead of faces of other chimps. (They do the former poorly and the latter quite well.)
They’ve performed the ­famous mirror test — to gauge whether an animal recognizes the figure in a mirror as itself — on elephants using a too-small, human-size mirror.
Such blind spots are, ultimately, a failure of empathy — a failure to imagine the experiment, or the form of intelligence it’s testing for, through the animal’s eyes. De Waal compares it to “throwing both fish and cats into a swimming pool” and seeing who can swim.

We sometimes fall into what de Waal calls “neo-creationist” thinking: We accept evolution but assume “evolution stopped at the human head” — believing our bodies may have evolved from monkeys, but that our brains are their own miraculous and discrete inventions.
But cognition must be understood as an evolutionary product, like any other biological phenomenon; it exists on a spectrum, de Waal argues, with familiar forms shading into absolutely alien-looking ones. He introduces what he calls the rule of “cognitive ripples”:
We tend to notice intelligence in primates because it’s most conspicuous, it looks the most like our intelligence.
“After the apes break down the dam between the humans and the rest of the animal kingdom, the floodgates often open to include species after species.”

 

 

It Could Take a Century to Recover

elephant5Portrait of an Elephant, Indian, c.1620-30

Study finds extremely slow reproduction rate unable to keep pace with deaths

African forest elephants have experienced serious poaching, driving an estimated population decline of 65% between 2002 and 2013.
Their low birth rates mean that it will take forest elephants at least 90 years to recover from these losses, according to researchers from the Wildlife Conservation Society, the Cornell Lab of Ornithology’s Elephant Listening Project, Colorado State University, and Save the Elephants.

These findings are from the first-ever study of forest elephant demography just published in the Journal of Applied Ecology.

“Female forest elephants in the Dzanga population typically breed for the first time after 23 years of age, a markedly late age of maturity relative to other mammals. In contrast, savannah elephants typically begin breeding at age 12.
In addition, breeding female forest elephants only produced a calf once every five to six years, relative to the three to four-year interval found for savannah elephants.”
Andrea Turkalo, a Wildlife Conservation Society scientist, collected the detailed data on the elephants over several decades, in spite of tough logistical challenges and political instability.
“This work provides another critical piece of understanding regarding the dire conservation status of forest elephants.”

George Wittemyer, a professor in Wildlife Conservation at Colorado State University said, “Legislation regarding ivory trade must consider the collateral effects on forest elephants and the difficulties of protecting them. Trade in ivory in one nation can influence the pressures on elephants in other nations.”
And the forest elephant is particularly susceptible to poaching.

Forest elephants also have critical ecological roles in Central African forests, and many tree species rely on the elephants to disperse their seeds.
Those forests are vitally important for absorbing climate change gases.


http://us2.campaign-archive2.com/?u=b35ddb671faf4a16c0ce32406&id=8dfd2ac2f4&e=d327cdd2ca