Wat Kind Of Std Do Pinky Have

All American Man

Gisela Ermel

surprised age Besim Mung a rock image archaeologists

In: Legendary Times, No. 1, Beatenberg 2004



rock paintings were and are interesting and important objects for the Paleo-SETI research - of humanoid figures with ring should, to interpretable astronomical "symbols and motifs. Criticism always had to be plugged on "Looks-like" interpretations. But while Paleo-SETI researchers previously otherwise be proven could, professional archaeologists and Prähistorikforscher fell into such a "Looks-like" trap. This shows the instructive example of one of the most famous North American rock art: the "All American Man".



The rock art "All American Man," Salt Creek, Canyonlands National Park, Utah



The southwest of the USA exhibiting the greatest concentration of rock art of both American continents. Thousands of rock art sites each have dozens of rock walls with hundreds of images. Only a tiny proportion of the "Louvre of the Wild" has been documented countless other rock and wait for screens yet they are discovered or rediscovered.

A distinction between pictographs - with color material applied rock art - petroglyphs and - in the bare rock with no foreign material into carved images. There are also combinations of both types of production.

All of these rock paintings are for us all in all still a mystery. We do not know why they were made, not by whom, and we do not know what they mean. are certain assumptions and interpretation Try a dime a dozen, but they all still remain - and this applies to the interpretation of prehistoric as well as for the präastronautische - speculation.

Great efforts have been made to the North American classified into different styles of rock art. It played a big role and the motives of the attempt, at least roughly the same rock type divided into certain periods of time. Until recently, the dating of rock art was completely unsafe. Guidance gave ruins or archaeological artifacts in the vicinity of painted cliffs or certain motifs such as various hunting weapons. Pictures with javelins were classified in an earlier time than those obtained with a bow and arrow, and images of horses could be classified as from the time after the appearance of the first Europeans, as horses have been introduced only by those in North America.

Only recently was a relatively new technology for age determination are also used by rock art: the radiocarbon test with the Accelerator Mass Spectrometry, a method with which only very little material is needed for a test. This works but only when organic components are included in the mixture of the ink material (such as animal blood, plant extracts, etc.). This age determination in rock imagery was only possible with a new technique in which an oxygen plasma is used to separate organic material from rock art color samples. This unique method scientists had developed a university in Texas.

Dr. Marian Hyman and Dr. Marvin R. Rowe Teaching Analytical Chemistry and devote himself for several years of conservation, a subject area, has set itself the aim of using high tech to solve archaeological problems. When they were the "All American Man" to determine the age selected, they had no idea of what a surprising - and for all Prähistorikforscher almost embarrassing - result should do this.

The "All American Man" is a unique rock art at the top of the Salt Creek Canyon Land National Park in Utah. We see an approximately life-size human figure with a round torso, head, something like "feelers". The rock art is located in a niche of a typical Anasazi cliff dwelling-place. The wall structures, storage tracks, and an artificial floor below the image as well as pottery fragments were of the archaeologists in the so-called late-phase of the Anasazi Pueblo culture dating - a time period, which, as I will show, of exceptional urgency, especially for the Paleo-SETI research.

counts from the motive, the "All American Man" to "strip armored anthropomorphic, also known as shield-bearer motif known which is also known from other rock art panels in Utah, Colorado, Arizona and New Mexico.

One of the typical "shield bearer", Galisteo Basin, New Mexico

But the color combination and shape of the "All American Man" is unusual falls completely out of line. The Image with its blue, red and white colors and the streaks inevitably recalls the American flag. And already, a majority of archaeologists was agreed that this image could only be a modern fake! Man suspected bored cowboys or modern graffiti artists as a producer of the picture. There were even "believers" who claimed that painted the picture or at least embellished, or to have been painted over - a sort of Doug and Dave (crop circle forger) of the Rock Art! No one dared, this image classified as authentic prehistoric.

But then were forwarded samples of the color image at the Accelerator Mass Spectrometry Laboratory, University of Arizona, after Hyman and Rowe had the team ready with their new plasma extraction. There were also thorough investigations of the minerals of the traces of color and the natural surface of the rock wall carried out and all this led to a consistent conclusion: The picture was painted in 1295 on the rocks - and so in time for use in the Anasazi ruins in its immediate nearby. Thus, the authenticity of the rock image was shown to the great surprise of the archaeologists who by their "Looks-like" conjecture had to be led astray.

order has entered the investigation and study of North American rock art in an entirely new stage. Finally comes we continue with the chronological order of this cultural heritage a step further. Meanwhile, another rock images were analyzed for their age. Thus it was possible the so-called Pecos style - characterized by multi-colored, life-size anthropomorphic - an age of about 3000 to 4200 years dated, while samples of a different style - tiny red linear figures - could be dated to an age of 1280 years.

rock art in the Pecos-style

The famous Holy Ghost Group of the famous Great Gallery - an example of the Barrier Canyon style with huge arm and legless anthropomorphic - was an age of 1880 - 1410 BC. dated.

Barrier Canyon style: Holy Ghost Group

Great Gallery of the Barrier Canyon style

But this dating by Accelerator Mass Spectrometry is still in its infancy, compared to the thousands upon thousands of hitherto undated rock art in the U.S. alone. This method of age determination can now help with "difficult" rock art, such as an arm-and leg-less anthropomorphic (actually the old Barrier Canyon style) with a bow and arrow (ie, an after 450 AD.-motif) and an animal, such as It does not occur in two styles. This could also show up - which archaeologists have long suspected - that not all the details of an image from the same period date. What do archaeologists, if they have a rocky time image can not fit into the existing styles? They appoint a new style - in the latter case, the Grand Canyon Polychrome style.

rock art in the Grand Canyon Polychrome Style

dating tests on its own speculative interpretations are always risky. In the words as the climatologist Paul A. Alee, a large part of the rock art constitutes stylized rain clouds, painted on cliffs, where to stay preferably, the rain gods, if they are not in the sky romp, and ergo thus originate from all these rock art the same time: the time one of the great drought, that it was only during the heyday several Anasazi.

Other proposals range from interpretation of "family galleries" to "territorial character" and much more.

This new type of rock dating using high-tech can be also for our paleo-SETI research is very important. Traveled the archaeological fieldwork had exhibit a very interesting result: Obviously there seems to be a temporal connection between the collapse of the Anasazi culture with the following mysterious disappearance of these Indians and the "emergence" of a new religion, by the anthropologists called Kachina religion.

The collapse of the Anasazi culture (up to 1300) and the disappearance of an entire tribe is still a mystery. The so-called "Chaco phenomenon - (named after the center of culture, Chaco Canyon in New Mexico) with its fantastic stone Great Houses in the corner region where Utah, Colorado. Arizona and New Mexico, where apparently everything was linked together by astronomical alignment, and where individual Great Houses were again aligned astronomically in and served kivas, towers, including buildings calendar purposes, where miles of straight roads built, sometimes up to four streets parallel run alongside each other and Other "Nothing" and ending unknown purpose - provides yet more and more questions than answers, especially given the sudden collapse of this important cultural and inexplicable disappearance of the Anasazi. Can there be a connection between this collapse and the emergence of the Kachina religion and Kachina motifs in rock art?

Who were the Kachinas? Taking five books on hand to look up, you get at least five different explanations. For the Paleo-SETI research at the most interesting is the statement by the Kachinas as heavenly teachers who once came from the stars to give people something to teach.

Further archaeological research in the ancient Anasazi area, and to reflect possible Age dating of the local rock art could cause this "once" to determine, perhaps in more detail. Kachina are motifs on pottery and wall paintings, it obviously not from the heyday of the Anasazi, but only from the so-mysterious collapse time. Archaeologists have long been discussed and prehistory of the possible causes of this so sudden "big change" in the Anasazi culture.

rock art near an Anasazi ruin in Chaco Canyon

The trigger for this change is still unknown. The declaration, the "Great Drought" (1276-1299) as a reason to pull the Anasazi, bag and baggage, had to more or less drop. New calculations are to rainfall and yield potential of fields have shown that would have produced enough food to stay over there. Second, this was not the first big drought of surviving the Anasazi had. The most important finding is from an archaeological field research, this: Apparently, began the collapse time before the Great Drought. Therefore, more and more archaeologists tend to "new religion" statement.

In this context, it would be a tremendous help to know which rock art from the time of the Chaco collapse are we still could get more detail by the depicted motifs and scenes of a response to all the open questions about this enigmatic people. I need scarcely mention here, I suppose, are just as explosive for the Paleo-SETI research a "new religion" and an example of simultaneous collapse of a flourishing culture like that of the Chaco phenomenon.

here catch the rock art to be interesting for us. One would hope that now many North American rock art of this modern age dating would undergo, and this action may be even more destroyed, as has already happened.

It is unbelievable what this fantastic Rock art - especially in North America! - Has already been done! The integration of many rock art sites in National Parks and National Monuments was both positive and negative for the rock art. These are either but now some professional supervision by park rangers, etc., others already there is now a strong inflow of visitors who do not adhere strictly to all the "site etiquette": See photograph, admire - and nothing else! As will be - touched rock pictures, taken loose small rocks with petroglyphs ado, faded rock art are traced with chalk or paint freshened to spice for photos and more visible - especially in places that do not belong to National Parks to make, as initials, pictures and smart sayings be engraved, painted or affixed by paint spray cans, and this, unfortunately, not only for tourists but also by owners of land or land where there are rock paintings.

rock art in Nine Mile Canyon is a modern inscription

in Nine Mile Canyon as the best rock video wall and the "incomparable Elk-image of our planet" (so JQ Jacobs), with large letters in modern color painted over: " THIS IS PRIVATE PROPERTY - NO Tresspassing "(such as: unauthorized entry of private property prohibited!) - and still not correct, trespassing to write a "S".

Today's laws offer rock art on private property, no protection. This will only be granted for sites with human remains. So on, for example, between South Mountain and the Gila River previously 60 walls with petroglyphs and rock paintings over 200 privately owned known, of which half have already been destroyed and are lost forever.

graffiti on a rock art of the Barrier Canyon style

And this is unfortunately typical of many places. Damage there was and also by scientists and archaeologists. We know cases where prints were made, which decreased the impression material equal to a large part of the image itself with rock from the wall. Well-meaning antiquarian leave chalk marks, traces of rubbing, wetting, tracing and marking of the rock art - not to mention the aforementioned refresh the colors for photo-and video recordings, a bad habit that could be not only private Felsbildbewunderer guilty.

Older graffiti on a rock art panel in 1859, El Morro, New Mexico

Many rock paintings have been further damaged by road construction, new iron tap lines, subways and tunnels, for Quarries, grassland and modern construction projects - all in the name of progress! Many Indians already draw parallels to the destruction or loss of a library. The importance of rock art is that they destroy, not often known. The situation is almost similar to the destruction of Central American manuscripts at the time of the English conquest of Mexico. When it was discovered in the 1880s that the Dresden Codex of the Maya a work of scientific content, with projections to lunar eclipses, etc. - and not a work of pagan devil, as the English missionaries believed at the time of the Conquest still - like many a too late, be clear that irreparable Guess because we were lost.

Meanwhile, there are first attempts at preservation of rock art, which should be very difficult. Rock art can now be protected under glass display cases do not even like pottery shards or Anasazi vessels. You must remain in the wild, in a quasi-outdoor museum unguarded, almost defenseless, where not only wind and weather, because ironischerweie are just the people themselves the greatest threat to rock art.

attempts to conserve Rock Art by spraying a kind of protective layer were discarded. You can not spray on a rock, because rock lives, the rock responds contains water by evaporation escapes. It must, applying a preservative coating be destructive and reach the opposite of what was sought.

Constance Silver, trained in the field of Preservation of Historic Architecture at Columbia University in New York, has been working for years with a Rock Art Conservation Project in Sego Canyon, Utah. You rock retouched images that contain modern graffiti, and "repaired" rock art with deep shot holes filled by artificial rocks in the holes. But even here, one could argue about whether or not these are bullet holes and graffiti already on the history of rock art and should be obtained (think the initials of people from past centuries). When asked, what is the difference between rock art and graffiti, she replied: Rock Art are rock art of native Indians, only x-graffiti vandalism of any modern people - two very different things. (Good thing it the "All American Man" is not wegretouchierte before he was old tested ...)

way: the "All American Man" now has a new name, they call him now, "Early All American Man".

Literature:

Chaffee, SD / M. Hyman / M. Rowe / N. Coullam / A. Schreodt / K. Hogue: Radiocarbon dates the All American Man Pictograph. In: American Antiquity 59 (4), 1994, www.geocities.com/SoHo/Workshops/7724

Hanson, Jeffery R.: Rock Art in the West. In: American Western Magazine 2001. www.readthewest.com

Hyman, M. / M. Rowe: Dating Ancient Rock Art Paintings. www.history-utah.gov/NiNj/dating-paintings.html

Schaafsma, Polly: Kachinas in the Pueblo World. University of New Mexico Press, Albuquerque 1994

www.india.com/~dheyser/aaman.html

www.jqjacobs.net/rock_art