《科學美國人》
· 地球上已知最古老的藝術品之一是一尊猛獁象雕像，由一位石器時代的工匠於大約4萬年前用象牙雕刻而成。這尊雕像發現於現今的德國境內，上面刻有十字和圓點。這些標記的含義一直是個謎——但一項針對這件文物以及在同一地區發現的數百件其他文物的新分析表明，這些標記可能對古代的創作者有著特定的意義。
研究人員分析了在德國洞穴中發現的260件文物上的3000多個標記，其中包括這尊猛獁象雕像。他們發現，這些標記的圖案在統計上與原始楔形文字一樣複雜。原始楔形文字是一種早期文字，發現於公元前3500年左右的古代美索不達米亞泥板上。
這項於週一發表在《美國國家科學院院刊》（PNAS）上的研究成果，或許能揭示古代人類創作藝術的原因及其用途。 http://spklr.io/6042DxGIr
✍：傑基·弗林·摩根森
📸：圖賓根大學/Hildegard Jensen
One of the oldest known pieces of art on the planet is a figurine of a mammoth that was carved in ivory by a Stone Age artisan some 40,000 years ago. Found in what is now Germany, it is marked with crosses and dots. The meaning of these markings is a mystery—but a new analysis of the object and hundreds of others found in the same region reveal that the markings may have meant something specific to their ancient creators.
Researchers analyzed more than 3,000 markings on 260 objects, including the mammoth, that were found in caves in Germany. They determined that the markings’ patterns are as statistically complex as protocuneiform, an early form of writing that was found on tablets from ancient Mesopotamia that were dated to around 3,500 B.C.E.
The findings, which published Monday in PNAS, could shed light on why ancient humans made art and what purpose it served. http://spklr.io/6042DxGIr
: Jackie Flynn Mogensen
: Universität Tübingen/Hildegard Jensen《新科學家》
· 一項對德國出土的雕像和其他文物上神秘符號的研究表明，4萬年前的石器時代人類使用了一種簡單的文字形式，其複雜程度與世界上最早的文字系統——楔形文字的早期階段相當。如果得到證實，這將把原始文字系統的出現時間提前3萬多年。
古代人類長期以來一直在物體上刻畫符號，但大約4.5萬年前抵達歐洲的最早一批智人將這種做法提升到了一個新的高度。他們製作的許多文物，例如吊墜、工具和雕像，都刻有線條、十字和點等圖形符號序列。這些群體還在洞穴牆壁上繪製了與動物圖案並列的符號，而這些符號的含義一直存在爭議。
符號序列的使用尤其引人注目。 「這種反覆出現、非常系統地使用清晰可辨的標記，並將其按順序排列——這完全是另一回事，」德國柏林史前和早期歷史博物館的考古學家伊娃·杜特凱維奇 (Ewa Dutkiewicz) 說。
閱讀更多：https://www.newscientist.com/....../2516606-stone-age....../
圖片：符騰堡州立博物館 / Hendrik Zwietasch，CC BY 4.0
Stone Age people 40,000 years ago used a simple form of writing comparable in complexity to the earliest stages of the world’s first writing system, cuneiform, according to a study of mysterious signs engraved on figurines and other artefacts found in Germany. If confirmed, this pushes back the emergence of a proto-writing system by more than 30,000 years.
Ancient humans have long made deliberate marks on objects, but some of the earliest groups of Homo sapiens to arrive in Europe around 45,000 years ago took this to a new level. Many of the artefacts they made, such as pendants, tools and figurines, were engraved with sequences of graphic symbols such as lines, crosses and dots. These groups also painted symbols on cave walls alongside depictions of animals, and the meaning of these symbols has been contentious.
The use of sequences of symbols is particularly striking. “Having this reoccurring, very systematic use of clearly applied marks distinct from each other, put into sequences – that’s completely something different,” says archaeologist Ewa Dutkiewicz at the Museum of Prehistory and Early History in Berlin, Germany.
Read more here: https://www.newscientist.com/....../2516606-stone-age....../
Image: Landesmuseum Württemberg / Hendrik Zwietasch, CC BY 4.0
《科學美國人》
· 放下你的火柴或打火機，試著生火；你很可能最終會一無所獲。但一項突破性的新證據表明，早在40萬年前，遠古人類可能就已經掌握了生火的技能。這項證據比科學家先前發現的最早的生火證據還要早35萬年。
長期以來，致力於了解我們祖先的研究人員一直對他們掌握的用火技術很感興趣。研究人員認為，隨著古代人類掌握了控制火的能力，他們的身體會發生改變——由於熟食比生食更容易消化，他們的胃容量會縮小，大腦功能會增強——同時，他們的社會結構也會發生變化，人們能夠圍繞火堆建立更複雜的人際關係。 http://spklr.io/6004DImlI
Set aside your matches or lighter and try to start a fire; chances are you’ll be left cold. But as early as 400,000 years ago ancient hominins might have had the skills to conjure flame, according to groundbreaking new evidence of fire making that is 350,000 years older than scientists’ previous earliest example.
Investigators looking to understand our ancestors have long been interested in the technology they possessed surrounding fire. Researchers have argued that as ancient hominins developed the ability to control fire, they would have changed physically—developing a smaller stomach and a more powerful brain thanks to cooked food, which is easier to metabolize than raw—as well as socially, with individuals being able to build more complex relationships around a hearth. http://spklr.io/6004DImlI
: Meghan Bartels: Lijuan Guo Photography/Getty Images人工智慧概述
普羅米修斯，這位違抗宙斯、將火種賜給人類的泰坦神，是西方文學中的重要人物，象徵知識、反抗和藝術創作。他像徵著「孤膽天才」或雄心勃勃的創造者，瑪麗雪萊的《科學怪人；或，現代普羅米修斯》（1818）是對這一形象的著名詮釋。其他重要的文學作品包括埃斯庫羅斯的《被縛的普羅米修斯》、珀西·比希·雪萊的《解放了的普羅米修斯》以及拜倫勳爵的《普羅米修斯》。
文學中的關鍵詮釋：
古典時期：埃斯庫羅斯的《被縛的普羅米修斯》將他描繪成一位悲劇性的、反抗的英雄，因熱愛人類而遭受苦難。
浪漫主義時期：珀西·比希·雪萊和拜倫勳爵等詩人將他重新塑造為反抗暴政的象徵和創造精神的化身。
現代普羅米修斯：瑪麗雪萊的《科學怪人》借用這一形象探討了科學傲慢的危險後果。維克多·弗蘭肯斯坦竊取了生命的“火種”，最終卻被他創造的生物所毀滅。
現代與當代：普羅米修斯常出現在探討科技、科學或政治過度擴張的脈絡中，例如傳記《美國普羅米修斯：J·羅伯特·奧本海默的勝利與悲劇》。
普羅米修斯體現了人類進步與悲劇性毀滅之間的張力，他從一個神話中的騙子轉變為科學和藝術抱負的象徵。
Prometheus, the Titan who defied Zeus to gift fire to humanity, is
a seminal figure in Western literature representing knowledge, rebellion, and artistic creation. He symbolizes the "lone genius" or the overreaching creator, famously adapted in Mary Shelley’s Frankenstein; or, The Modern Prometheus (1818). Other major literary interpretations include Aeschylus's Prometheus Bound, Percy Bysshe Shelley's Prometheus Unbound, and Lord Byron’s Prometheus.Key Interpretations in Literature:
- Classical Antiquity: Aeschylus's Prometheus Bound portrays him as a tragic, defiant hero suffering for his love of humanity.
- Romanticism: Poets like Percy Bysshe Shelley and Lord Byron reimagined him as a symbol of rebellion against tyranny and an icon of the creative spirit.
- The Modern Prometheus: Mary Shelley’s Frankenstein uses this figure to explore the dangerous consequences of scientific hubris, where Victor Frankenstein steals the "fire" of life but is destroyed by his creation.
- Modern & Contemporary: Often referenced in contexts of technological, scientific, or political overreach, such as in the biography American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer.
Prometheus embodies the tension between human progress and the potential for tragic downfall, shifting from a mythological trickster to a metaphor for scientific and artistic ambition.
人工智慧概覽
普羅米修斯的神話：普羅米修斯盜火的故事
在希臘神話中，普羅米修斯從宙斯和奧林匹斯諸神那裡盜取了火種，將其藏在茴香莖中，帶給人類。這一舉動使人類得以發展科技、文明和農業，也因此激怒了宙斯，宙斯將普羅米修斯鎖在山上，每天讓一隻鷹啄食他的肝臟。
利物浦國家博物館
神話的關鍵細節
盜火：普羅米修斯是泰坦神，也是「先見之明」的先知。宙斯因害怕人類的力量而拒絕將火種賜給人類，於是他闖入奧林匹斯山，盜取了一小撮神聖的火種。
火種的禮物：火種帶來了溫暖，使烹飪成為可能，並催生了工具、冶金術和藝術的創造。
懲罰：宙斯下令將普羅米修斯鎖在懸崖上，他的肝臟每晚都會再生，再次被鷹啄食。
象徵意義：普羅米修斯象徵知識、進步和文明的傳播者，同時也像徵著挑戰權威的風險。
利物浦國家博物館
利物浦國家博物館
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其他與「普羅米修斯之火」相關的參考資料
加斯東‧巴什拉：在《火的精神分析》一書中，巴什拉探討了「普羅米修斯情結」與人類心理學以及知識禁忌之間的關係。
野火模擬：「普羅米修斯」也是一種用於預測野火蔓延的火災成長模擬模型的名稱。
被動防火：普羅米修斯集團生產工業被動防火系統。
鄉村火災研究
鄉村火災研究
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普羅米修斯通常被認為是一個為了促進人類進步而甘願冒險的騙子形象。
Key Details of the Myth
- The Theft: Prometheus, a Titan and "forethinker," broke into Olympus to steal a spark of divine fire after Zeus denied it to humans, fearing their empowerment.
- The Gift: Fire provided warmth, allowed cooking, and enabled the creation of tools, metallurgy, and arts.
- The Punishment: Zeus commanded Prometheus to be chained to a cliff, where his liver regenerated nightly to be eaten again.
- Symbolism: Prometheus represents the bringer of knowledge, progress, and civilization, as well as the risks of defying authority.
Other "Prometheus Fire" References
- Gaston Bachelard: In The Psychoanalysis of Fire, Bachelard discusses the "Prometheus complex" in relation to human psychology and the prohibition of knowledge.
- Wildfire Simulation: "Prometheus" is also the name of a fire growth simulation model used to predict wildfire spread.
- Passive Fire Protection: Prometheus Group manufactures industrial passive fire protection systems.
Prometheus is often considered a trickster figure who risked everything to foster human advancement.
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