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Abstract and Figures
Each new academic year is unique, but this one is unique in an exceptional way. The 2021/2022 academic year is the tenth year of the ’graphic design’ project at SWPS university. We are celebrating a fantastic milestone for which we have worked and are still working in a collaborative partnership of students, faculty, staff and our friends, who cannot all be listed by name here and to whom we dedicate this publication. We are equally grateful to all of them for contributing to this extraordinary educational and scientific experiment. […] We thank everyone (without exception) for everything as we present to you the first (and certainly not the last) volume of dyferencje, which will allow you to get to know us better and, more importantly, decide whether our ideas are in any way close to your heart. We commend it (and ourselves) to your attention!
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Humans seem to have an adaptive predisposition for inventing, telling and consuming stories¹. Prehistoric cave art provides the most direct insight that we have into the earliest storytelling2–5, in the form of narrative compositions or ‘scenes’2,5 that feature clear figurative depictions of sets of figures in spatial proximity to each other, and from which one can infer actions taking place among the figures⁵. The Upper Palaeolithic cave art of Europe hosts the oldest previously known images of humans and animals interacting in recognizable scenes2,5, and of therianthropes6,7—abstract beings that combine qualities of both people and animals, and which arguably communicated narrative fiction of some kind (folklore, religious myths, spiritual beliefs and so on). In this record of creative expression (spanning from about 40 thousand years ago (ka) until the beginning of the Holocene epoch at around 10 ka), scenes in cave art are generally rare and chronologically late (dating to about 21–14 ka)⁷, and clear representations of therianthropes are uncommon⁶—the oldest such image is a carved figurine from Germany of a human with a feline head (dated to about 40–39 ka)⁸. Here we describe an elaborate rock art panel from the limestone cave of Leang Bulu’ Sipong 4 (Sulawesi, Indonesia) that portrays several figures that appear to represent therianthropes hunting wild pigs and dwarf bovids; this painting has been dated to at least 43.9 ka on the basis of uranium-series analysis of overlying speleothems. This hunting scene is—to our knowledge—currently the oldest pictorial record of storytelling and the earliest figurative artwork in the world.
Two fossilized human crania (Apidima 1 and Apidima 2) from Apidima Cave, southern Greece, were discovered in the late 1970s but have remained enigmatic owing to their incomplete nature, taphonomic distortion and lack of archaeological context and chronology. Here we virtually reconstruct both crania, provide detailed comparative descriptions and analyses, and date them using U-series radiometric methods. Apidima 2 dates to more than 170 thousand years ago and has a Neanderthal-like morphological pattern. By contrast, Apidima 1 dates to more than 210 thousand years ago and presents a mixture of modern human and primitive features. These results suggest that two late Middle Pleistocene human groups were present at this site—an early Homo sapiens population, followed by a Neanderthal population. Our findings support multiple dispersals of early modern humans out of Africa, and highlight the complex demographic processes that characterized Pleistocene human evolution and modern human presence in southeast Europe.
With reference to the assumptions of the sociological theory of communication of social systems, its understanding of society and its media, the article deals with the issue of how the change of social communication dictated by the digitalization of media changes society. Society accepts the presence of digitization but looks for fields to criticize the non-reflective development of its routine. An example is the movie The Matrix, to which the analysis relates. The examples show what the technology of technical communication and self-learning (artificial intelligence) is already able to do today. The article summar-izes that the introduction of media 4.0 to communication — with their example of invisible machines — is consent to their “participation” (in an automated but effective form) in the creation of society. This influences the autopoietic notion of society developed by systems theory.
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