Thursday, January 31, 2013

Study Rebuts Hypothesis That Comet Attacks Ended 9,000-Year-Old Clovis Culture


Arrow head



Rebutting a speculative hypothesis that comet explosions changed Earth's climate sufficiently to end the Clovis culture in North America about 13,000 years ago, Sandia lead author Mark Boslough and researchers from 14 academic institutions assert that other explanations must be found for the apparent disappearance.

"There's no plausible mechanism to get airbursts over an entire continent," said Boslough, a physicist. "For this and other reasons, we conclude that the impact hypothesis is, unfortunately, bogus."

In a December 2012 American Geophysical Union monograph, first available in January, the researchers point out that no appropriately sized impact craters from that time period have been discovered, nor have any unambiguously "shocked" materials been found.

In addition, proposed fragmentation and explosion mechanisms "do not conserve energy or momentum," a basic law of physics that must be satisfied for impact-caused climate change to have validity, the authors write.

Also absent are physics-based models that support the impact hypothesis. Models that do exist, write the authors, contradict the asteroid-impact hypothesizers.

The authors also charge that "several independent researchers have been unable to reproduce reported results" and that samples presented in support of the asteroid impact hypothesis were later discovered by carbon dating to be contaminated with modern material.

The Boslough trail
Boslough has a decades-long history of successfully interpreting the effects of comet and asteroid collisions.
His credibility was on the line on in July 1994 when Eos, the widely read newsletter of the American Geophysical Union, ran a front-page prediction by a Sandia National Laboratories team, led by Boslough, that under certain conditions plumes from the collision of comet Shoemaker-Levy 9 with the planet Jupiter would be visible from Earth.

The Sandia team -- Boslough, Dave Crawford, Allen Robinson and Tim Trucano -- were alone among the world's scientists in offering that possibility.

"It was a gamble and could have been embarrassing if we were wrong," said Boslough. "But I had been watching while Shoemaker-Levy 9 made its way across the heavens and realized it would be close enough to the horizon of Jupiter that the plumes would show." His reasoning was backed by simulations from the world's first massively parallel processing supercomputer, Sandia's Intel Paragon.

On the one hand, it was a chance to check the new Paragon's logic against real events, a shakedown run for the defense-oriented machine. On the other, it was a hold-your-breath prediction, a kind of Babe Ruth moment when the Babe is reputed to have pointed to the spot in the center field bleachers he intended to hit the next ball. No other scientists were willing to point the same way, partly due to previous failures in predicting the behavior of comets Kohoutek and Halley, and partly because most astronomers believed the plumes would be hidden behind Jupiter's bulk.

That the plumes indeed proved visible started Boslough on his own trajectory as a media touchstone for things asteroidal and meteoritic.

It didn't hurt that, when he stands before television cameras to discuss celestial impacts, his earnest manner, expressive gestures and extraterrestrial subject matter make him seem a combination of Carl Sagan and Luke Skywalker, or perhaps Tom Sawyer and Indiana Jones.

Standing in jeans, work shirt and hiking boots for the Discovery Channel at the site in Siberia where a mysterious explosion occurred 105 years ago, or discussing it at Sandia with his supercomputer simulations in bold colors on a big screen behind him, the rangy, 6-foot-3 Sandia researcher vividly and accurately explained why the mysterious explosion at Tunguska that decimated hundreds of square miles of trees and whose ejected debris was seen as far away as London most probably was caused neither by flying saucers drunkenly ramming a hillside (a proposed hypothesis) nor by an asteroid striking the Earth's surface, but rather by the fireball of an asteroid airburst -- an asteroid exploding high above ground, like a nuclear bomb, compressed to implosion as it plunged deeper into Earth's thickening, increasingly resistive atmosphere. The governing physics, he said, was precisely the same as for the airburst on Jupiter.

Among later triumphs, Boslough was the Sandia component of a National Geographic team flown to the Libyan Desert to make sense of strange yellow-green glass worn as jewelry by pharaohs in days past. Boslough's take: It was the result of heat on desert sands from a hypervelocity impact caused by an even bigger asteroid burst.

In the present case
In the Clovis case, Boslough felt that his ideas were taken further than he could accept when other researchers claimed that the purported demise of Clovis civilization in North America was the result of climate change produced by a cluster of comet fragments striking Earth.

In a widely reported press conference announcing the Clovis comet hypothesis in 2007, proponents showed a National Geographic animation based on one of Boslough's simulations as inspiration for their idea.
Indiana Jones-style, Boslough responded. Confronted by apparently hard asteroid evidence, as well as a Nova documentary and an article in the journal Science, all purportedly showing his error in rebutting the comet hypothesis, Boslough ordered carbon dating of the major evidence provided by the opposition: nanodiamond-bearing carbon spherules associated with the shock of an asteroid's impact. The tests found the alleged 13,000-year-old carbon to be of very recent formation.

While this raised red flags to those already critical of the impact hypothesis, "I never said the samples were salted," Boslough said carefully. "I said they were contaminated."

That find, along with irregularities reported in the background of one member of the opposing team, was enough for Nova to remove the entire episode from its list of science shows available for streaming, Boslough said.

"Just because a culture changed from Clovis to Folsom spear points didn't mean their civilization collapsed," he said. "They probably just used another technology. It's like saying the phonograph culture collapsed and was replaced by the iPod culture."

One for Instagram?

Alessandra Ambrosio masters the art of taking a self portrait as she enjoys down time from swimwear shoot.

As a member of one of the world's most beautiful cliques she's used to having her picture taken.
And selected to take part in Victoria's Secret latest swimwear campaign Alessandra Ambrosio is currently lapping up the sunshine in St. Barts.
Taking a break from the ongoing shoot, Ambrosio, 31, turned photographer on Wednesday as she attempted to take a few self portraits.
Model turned photographer: Alessandra Ambrosio posed up for a self portrait on Wednesday in St. Barts Model turned photographer: Alessandra Ambrosio posed up for a self portrait on Wednesday in St. Barts Say cheese! Ambrosio beamed she held her mobile phone towards her to take a picture Say cheese! Ambrosio beamed she held her mobile phone towards her to take a picture Getting a shot of her surroundings: The 33-year-old avid Instagram user also captured an image of her picturesque view Getting a shot of her surroundings: The avid Instagram user, 31, captured an image of her picturesque view
Standing shin-deep in the water, Alessandra held her phone up with both hands as she tried to find a perfect angle.
Once in the ideal position, Ambrosio flashed her pearly whites and captured her image.
Done taking selfies, the avid Instagram user then turned the focus of the lens to her picturesque surroundings. Now to upload: Alessandra took a seat on her sun lounger as she played with her phone Now to upload: Alessandra took a seat on her sun lounger as she played with her phone Staying connected: Alessandra made she kept up to date with activity on various social media sites Staying connected: Alessandra made sure she kept up to date with activity on various social media sites
Taking it easy: The mother-of-two is currently in the Caribbean as a part of Victoria's Secrets latest campaign Taking it easy: The mother-of-two is currently in the Caribbean as a part of Victoria's Secrets latest campaign
Absolutely gorgeous: Alessandra showcased her perfectly sun-kissed skin Absolutely gorgeous: Alessandra showcased her perfectly sun-kissed skin Absolutely gorgeous: Alessandra showcased her perfectly sun-kissed skin
Sitting back and relaxing on her day off, the model was seen checking her mobile for updates.
The mother-of-two shielded her eyes from the Caribbean sunshine with a pair of large light grey rimmed sunglasses.
Up to date on the happenings in the world of social media, Alessandra laid back on her lounger as she topped up her tan. Beautiful: Alessandra slipped her svelte frame into a multicoloured striped two-piece Beautiful: Alessandra slipped her svelte frame into a multicoloured striped two-piece Beach babe: The Brazilian beauty accessorised with a pair of grey rimmed shades and several bracelets Beach babe: The Brazilian beauty accessorised with a pair of grey rimmed shades and several bracelets
Stunning: Alessandra allowed her straight brunette hair to fall at her shoulders Stunning: Alessandra allowed her straight brunette hair to fall at her shoulders Stunning: Alessandra allowed her straight brunette hair to fall at her shoulders Stunning: Alessandra allowed her straight brunette hair to fall at her shoulders
Enjoying her day off: Ambrosio features in the new swimwear campaign along with Candice Swanepoel and Gracie Cavalho Day off: Ambrosio features in the new swimwear campaign alongside Candice Swanepoel and Gracie Cavalho
Thoroughly enjoying her time on the island, the brown-eyed beauty has been keeping her Twitter followers up to date with regular posts.
Happy to be back on the volcanic island, which is fully encircled by shallow reefs, she tweeted: 'Uhmmmm back to island life!!! (at Saint Barthelemy)'
And in another message, complete with several hashtags, Alessandra wrote: 'Sunny #stbarts #summertime love this island'.
Life is good: Alessandra has been keeping her Twitter followers up to date with her movements Life is good: Alessandra has been keeping her Twitter followers up to date with her movements
Lapping up the sunshine: From the looks of Ambrosio's Twitter timeline she has not complaints about the weather Loving the sunshine: From the looks of Ambrosio's Twitter timeline she has no complaints about the weather
Cooling off: The 33-year-old splashed some water on her washboard abs Cooling off: The 31-year-old splashed some water on her washboard abs
Still on duty: Depsite being away from the set Alessandra cut a picture perfect figure Still on duty: Depsite being away from the set Alessandra cut a picture perfect figure
Flaunting her svelte frame, Ambrosio sported a multicoloured striped bikini which was made up of a bandeau top and matching briefs.
Allowing her brunette hair to fall at her shoulders, the Brazilian stunner accessorised with various handmade bracelets and a gold necklace.
Taking to the water, Alessandra was joined by an adorable cinnamon fur coloured pooch.
Testing the waters: The beauty has been engaged to businessman Jamie Mazur since 2008 Testing the waters: The beauty has been engaged to businessman Jamie Mazur since 2008
Having the time of her life: The model regularly spends weeks away in hot climates for work Having the time of her life: The model regularly spends weeks away in hot climates for work
Lovely: Ambrosio appeared to be in deep thought as she enjoyed a stroll on the quiet beach Lovely: Ambrosio appeared to be in deep thought as she enjoyed a stroll on the quiet beach
Toned and taut: In 2008, Alessandra made headlines when she returned to the catwalk just three months after giving birth to her first child, Anja Louise Ambrosio Mazur Toned and taut: In 2008, Alessandra made headlines when she returned to the catwalk just three months after giving birth to her first child, Anja Louise Ambrosio Mazur Toned and taut: In 2008, Alessandra made headlines when she returned to the catwalk just three months after giving birth to her first child,  Anja Louise Ambrosio Mazur

Heading indoors, as Alessandra wrapped her day on the beach she clutched onto a copy of E. L. James' Fifty Shades Darker.
Covering up her bikini body, Ambrosio threw a white and neon yellow jersey dress over her two-piece as she returned to her accommodation.
Other models taking part in this year's campaign include Candice Swanepoel and São Paulo beauty Gracie Cavalho.

Who is your friend: As Alessandra sat in the water she was joined by a heavily furred pooch Who is your friend: As Alessandra sat in the water she was joined by a heavily furred pooch
New companion: Alessandra stroked the dog as it came to say hello to her New companion: Alessandra stroked the dog as it came to say hello to her
Home time: Alessandra left the beach with a copy of E. L. James' Fifty Shades Darker Home time: Alessandra left the beach with a copy of E. L. James' Fifty Shades Darker

Art into life

As painter Amrita Sher-Gil steps into her centenary, it’s time to revisit her legacy
Photo: KNMA—‘Picture courtesy: Kiran Nadar Museum of Art, Saket’
Photo: KNMA—‘Picture courtesy: Kiran Nadar Museum of Art, Saket’  

In a remarkable coincidence, Amrita Sher-Gil’s brief life began the year Rabindranath Tagore won the Nobel Prize in Literature, in 1913, and ended the year he died, in 1941. Wedged between these two historic moments—these three decades also saw the flourishing of a high modernist style in what is now known as the Bengal School of Art—Sher-Gil remains one of the most discussed painters in modern India. In her lifetime, she sold next to nothing, but posthumously she became one of the most expensive Indian artists.
Although never quite mentioned in the same breath with the masters of the Bengal School, her work, which drew inspiration from Paul Cézanne and Paul Gauguin among others, had strong resonances with the paintings of the two Tagores, Rabindranath and Abanindranath, the pioneers of the Bengal School. 
Sher-Gil’s brooding portraits of women bear uncanny resemblances to those by Rabindranath, and her exquisite use of the chiaroscuro, together with the boldness with which she appropriated colours, brings to mind the nuanced style of the other Tagore. But her art, now on display in the Capital, has an ever-present quality of “yet-ness” to it, of a world teeming with possibilities which were interrupted before they could mature into something rich and strange. 
 
Her life, on the other hand, in spite of its brevity, had an incredible richness to it. Born to a Punjabi Sikh aristocrat father and Hungarian Jewish opera-singer mother, Sher-Gil was fated to draw attention to her origins. Her exotic beauty, noble lineage, intense relationship with her father and series of affairs became the subject of much gossip, and eventually impossible to separate from her artistic persona. The art of Amrita Sher-Gil is still experienced through this prism of biography and anecdotage, without enough attention being paid to the art-historical milieu that nourished her imagination. Like Frida Kahlo, with whom she is often compared, Sher-Gil perhaps attracts more curiosity because of her troubled life and painful death than as the harbinger of a distinctive approach in painting.
 
It is perhaps more proper to think of Sher-Gil as a phenomenon than a genius. With the characteristic restiveness of the young, she wanted to push the limits of her circumscribed world. Having lived a full and anarchic life in Europe, she took the bold and uncompromising step of moving back to India, arguing long and hard with her reluctant father to support her and her younger sister Indira (mother of artist Vivan Sundaram) in this adventure. “I wish to return primarily in the interest of my artistic development. I now need new sources of inspiration,” she wrote in a letter to her father, insisting that their long stay in Europe had helped her “discover” India. In the same letter, she writes movingly about the effect the art of Ajanta had had on her. These unforgettable cave paintings seeped into her sensibility in a way modern European art never did. But interwoven with her practical reasoning in the letter—she must go to India for the sake of her growth as an artist—is her devil-may-care attitude, roundly dismissive of her father’s apprehension of losing face because of the projected move back to India.
 
Strangely, this fieriness does not come across as a defining character of her art. On the contrary, Sher-Gil’s work is marked by an aura of coolness, even when it most wants to lose itself in “a medley of hot colours”, to use her words. The relationship between her life and art was far more complicated than what a simple biographical reading of her career would allow.
 
The Self in Making: Amrita Sher-Gil is on till 30 November, 10.30am-6.30pm (Mondays closed), at the Kiran Nadar Museum of Art, 145, DLF The South Court mall, Saket.