Why are these 32 symbols found in caves all over Europe | Genevieve von Petzinger | TED

7,780,118 views ・ 2015-12-18

TED


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There's something about caves --
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a shadowy opening in a limestone cliff that draws you in.
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As you pass through the portal between light and dark,
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you enter a subterranean world --
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a place of perpetual gloom, of earthy smells, of hushed silence.
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Long ago in Europe,
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ancient people also entered these underground worlds.
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As witness to their passage,
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they left behind mysterious engravings and paintings,
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like this panel of humans, triangles and zigzags from Ojo Guareña in Spain.
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You now walk the same path as these early artists.
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And in this surreal, otherworldly place,
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it's almost possible to imagine
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that you hear the muffled footfall of skin boots on soft earth,
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or that you see the flickering of a torch around the next bend.
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When I'm in a cave,
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I often find myself wondering what drove these people to go so deep
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to brave dangerous and narrow passageways to leave their mark?
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In this video clip,
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that was shot half a kilometer, or about a third of a mile, underground,
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in the cave of Cudon in Spain,
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we found a series of red paintings on a ceiling
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in a previously unexplored section of the cave.
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As we crawled forward, military-style, with the ceiling getting ever lower,
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we finally got to a point where the ceiling was so low
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that my husband and project photographer, Dylan,
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could no longer achieve focus on the ceiling with his DSLR camera.
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So while he filmed me,
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I kept following the trail of red paint with a single light
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and a point-and-shoot camera that we kept for that type of occasion.
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Half a kilometer underground.
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Seriously.
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What was somebody doing down there with a torch or a stone lamp?
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(Laughter)
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I mean -- me, it makes sense, right?
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But you know,
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this is the kind of question that I'm trying to answer with my research.
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I study some of the oldest art in the world.
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It was created by these early artists in Europe,
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between 10,000 and 40,000 years ago.
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And the thing is
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that I'm not just studying it because it's beautiful,
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though some of it certainly is.
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But what I'm interested in is the development of the modern mind,
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of the evolution of creativity, of imagination, of abstract thought,
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about what it means to be human.
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While all species communicate in one way or another,
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only we humans have really taken it to another level.
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Our desire and ability to share and collaborate
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has been a huge part of our success story.
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Our modern world is based on a global network of information exchange
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made possible, in large part, by our ability to communicate --
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in particular, using graphic or written forms of communication.
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The thing is, though,
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that we've been building on the mental achievements
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of those that came before us for so long
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that it's easy to forget that certain abilities haven't already existed.
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It's one of the things I find most fascinating
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about studying our deep history.
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Those people didn't have the shoulders of any giants to stand on.
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They were the original shoulders.
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And while a surprising number of important inventions
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come out of that distant time,
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what I want to talk to you about today is the invention of graphic communication.
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There are three main types of communication,
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spoken, gestural -- so things like sign language --
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and graphic communication.
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Spoken and gestural are by their very nature ephemeral.
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It requires close contact for a message to be sent and received.
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And after the moment of transmission, it's gone forever.
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Graphic communication, on the other hand, decouples that relationship.
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And with its invention, it became possible for the first time
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for a message to be transmitted and preserved
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beyond a single moment in place and time.
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Europe is one of the first places
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that we start to see graphic marks regularly appearing
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in caves, rock shelters and even a few surviving open-air sites.
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But this is not the Europe we know today.
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This was a world dominated by towering ice sheets,
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three to four kilometers high,
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with sweeping grass plains and frozen tundra.
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This was the Ice Age.
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Over the last century,
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more than 350 Ice Age rock art sites have been found across the continent,
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decorated with animals, abstract shapes and even the occasional human
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like these engraved figures from Grotta dell'Addaura in Sicily.
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They provide us with a rare glimpse
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into the creative world and imagination of these early artists.
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Since their discovery,
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it's been the animals that have received the majority of the study
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like this black horse from Cullalvera in Spain,
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or this unusual purple bison from La Pasiega.
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But for me, it was the abstract shapes, what we call geometric signs,
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that drew me to study the art.
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The funny this is that at most sites
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the geometric signs far outnumber the animal and human images.
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But when I started on this back in 2007,
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there wasn't even a definitive list of how many shapes there were,
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nor was there a strong sense
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of whether the same ones appeared across space or time.
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Before I could even get started on my questions,
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my first step was to compile a database
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of all known geometric signs from all of the rock art sites.
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The problem was that while they were well documented at some sites,
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usually the ones with the very nice animals,
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there was also a large number of them where it was very vague --
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there wasn't a lot of description or detail.
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Some of them hadn't been visited in half a century or more.
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These were the ones that I targeted for my field work.
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Over the course of two years,
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my faithful husband Dylan and I each spent over 300 hours underground,
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hiking, crawling and wriggling around 52 sites
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in France, Spain, Portugal and Sicily.
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And it was totally worth it.
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We found new, undocumented geometric signs at 75 percent of the sites we visited.
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This is the level of accuracy I knew I was going to need
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if I wanted to start answering those larger questions.
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So let's get to those answers.
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Barring a handful of outliers, there are only 32 geometric signs.
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Only 32 signs
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across a 30,000-year time span and the entire continent of Europe.
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That is a very small number.
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Now, if these were random doodles or decorations,
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we would expect to see a lot more variation,
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but instead what we find are the same signs
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repeating across both space and time.
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Some signs start out strong, before losing popularity and vanishing,
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while other signs are later inventions.
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But 65 percent of those signs stayed in use during that entire time period --
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things like lines, rectangles triangles, ovals and circles
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like we see here from the end of the Ice Age,
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at a 10,000-year-old site high in the Pyrenees Mountains.
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And while certain signs span thousands of kilometers,
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other signs had much more restricted distribution patterns,
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with some being limited to a single territory,
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like we see here with these divided rectangles
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that are only found in northern Spain,
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and which some researchers have speculated
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could be some sort of family or clan signs.
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On a side note,
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there is surprising degree of similarity in the earliest rock art
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found all the way from France and Spain to Indonesia and Australia.
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With many of the same signs appearing in such far-flung places,
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especially in that 30,000 to 40,000-year range,
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it's starting to seem increasingly likely
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that this invention actually traces back to a common point of origin in Africa.
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But that I'm afraid, is a subject for a future talk.
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So back to the matter at hand.
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There could be no doubt that these signs were meaningful to their creators,
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like these 25,000-year-old bas-relief sculptures
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from La Roque de Venasque in France.
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We might not know what they meant, but the people of the time certainly did.
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The repetition of the same signs, for so long, and at so many sites
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tells us that the artists were making intentional choices.
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If we're talking about geometric shapes,
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with specific, culturally recognized, agreed-upon meanings,
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than we could very well be looking
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at one of the oldest systems of graphic communication in the world.
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I'm not talking about writing yet.
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There's just not enough characters at this point
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to have represented all of the words in the spoken language,
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something which is a requirement for a full writing system.
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Nor do we see the signs repeating regularly enough
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to suggest that they were some sort of alphabet.
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But what we do have are some intriguing one-offs,
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like this panel from La Pasiega in Spain, known as "The Inscription,"
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with its symmetrical markings on the left,
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possible stylized representations of hands in the middle,
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and what looks a bit like a bracket on the right.
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The oldest systems of graphic communication in the world --
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Sumerian cuneiform, Egyptian hieroglyphs, the earliest Chinese script,
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all emerged between 4,000 and 5,000 years ago,
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with each coming into existence from an earlier protosystem
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made up of counting marks and pictographic representations,
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where the meaning and the image were the same.
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So a picture of a bird would really have represented that animal.
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It's only later that we start to see these pictographs become more stylized,
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until they almost become unrecognizable
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and that we also start to see more symbols being invented
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to represent all those other missing words in language --
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things like pronouns, adverbs, adjectives.
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So knowing all this,
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it seems highly unlikely that the geometric signs from Ice Age Europe
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were truly abstract written characters.
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Instead, what's much more likely
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is that these early artists were also making counting marks,
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maybe like this row of lines from Riparo di Za Minic in Sicily,
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as well as creating stylized representations
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of things from the world around them.
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Could some of the signs be weaponry or housing?
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Or what about celestial objects like star constellations?
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Or maybe even rivers, mountains, trees -- landscape features,
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possibly like this black penniform surrounded by strange bell-shaped signs
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from the site of El Castillo in Spain.
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The term penniform means "feather-shaped" in Latin,
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but could this actually be a depiction of a plant or a tree?
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Some researchers have begun to ask these questions
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about certain signs at specific sites,
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but I believe the time has come to revisit this category as a whole.
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The irony in all of this, of course,
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is that having just carefully classified all of the signs into a single category,
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I have a feeling that my next step will involve breaking it back apart
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as different types of imagery are identified and separated off.
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Now don't get me wrong,
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the later creation of fully developed writing
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was an impressive feat in its own right.
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But it's important to remember
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that those early writing systems didn't come out of a vacuum.
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And that even 5,000 years ago,
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people were already building on something much older,
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with its origins stretching back tens of thousands of years --
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to the geometric signs of Ice Age Europe and far beyond,
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to that point, deep in our collective history,
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when someone first came up with the idea of making a graphic mark,
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and forever changed the nature of how we communicate.
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Thank you.
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(Applause)
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