Photographs courtesy of the French Ministry of Culture and Communication, Regional Direction for Cultural Affairs, Rhône-Alpes region/Regional Department of Archaeology.
The human urge to create art appears magnificently in the Paleolithic paintings from roughly 30,000 years ago at Chauvet Cave, in southern France. Here, the Panel of the Horses.
On the Origins of the Arts
Author: E.O. Wilson
Source: Harvard Magazine
RICH AND SEEMINGLY BOUNDLESS as the creative arts seem to be, each is filtered through the narrow biological channels of human cognition. Our sensory world, what we can learn unaided about reality external to our bodies, is pitifully small. Our vision is limited to a tiny segment of the electromagnetic spectrum, where wave frequencies in their fullness range from gamma radiation at the upper end, downward to the ultralow frequency used in some specialized forms of communication. We see only a tiny bit in the middle of the whole, which we refer to as the “visual spectrum.” Our optical apparatus divides this accessible piece into the fuzzy divisions we call colors. Just beyond blue in frequency is ultraviolet, which insects can see but we cannot. Of the sound frequencies all around us we hear only a few. Bats orient with the echoes of ultrasound, at a frequency too high for our ears, and elephants communicate with grumbling at frequencies too low.
Tropical mormyrid fishes use electric pulses to orient and communicate in opaque murky water, having evolved to high efficiency a sensory modality entirely lacking in humans. Also, unfelt by us is Earth’s magnetic field, which is used by some kinds of migratory birds for orientation. Nor can we see the polarization of sunlight from patches of the sky that honeybees employ on cloudy days to guide them from their hives to flower beds and back.
Read more at Harvard Magazine