bushhick

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[MagellanQuest 🇪🇺/acc @MagellanQuest]

Trains in Western Europe on a typical week day

[wombot 👀 @_colourmeamused]

super important wilbur update he is getting ready for world wombat day

(from reneehowell18 on instagram)

[Massimo @Rainmaker1973]

Baby Angora goats are among the fluffiest young farm animals in the world.

Known for the luxurious mohair they will grow as adults, these playful kids begin life with soft, curly coats and boundless curiosity.

[ArchaeoHistories @histories_arch]

64,000 years ago in what is now Spain’s La Pasiega Cave ... Neanderthal drew this image. 🇪🇸

In La Pasiega Cave in northern Spain, researchers discovered red ochre markings that were dated to around 64,000 years ago, long before modern humans reached Europe. That means the artist was almost certainly a Neanderthal.

The ladder-like symbol with additional markings was created using mineral pigments blown or painted onto the cave wall. In 2018, uranium-thorium dating of the calcite crust covering the pigment confirmed the artwork’s immense age, pushing symbolic expression in Europe back tens of thousands of years earlier than previously believed.

For decades, Neanderthals were portrayed as lacking creativity or symbolic thought. Discoveries like La Pasiega challenge that view, suggesting they were capable of abstract representation and possibly ritual behavior.

This wasn’t random graffiti, it required planning, pigment preparation, and intentional placement deep inside a cave.

Other Neanderthal cave art sites in Spain, including Maltravieso and Ardales, also contain similarly dated red pigment markings, strengthening the evidence that symbolic art was not exclusive to Homo sapiens.

#archaeohistories

[Bronx Zoo @BronxZoo]

In this video, Keeper Brian gives a tasty fruit bowl that he prepared to the palm nut vultures. The avocado was their favorite part of the treat! Unlike most vultures that scavenge meat from dead animals, palm nut vultures are mostly vegetarian. (1/2)

[Fake History Hunter @fakehistoryhunt]

We will have to rip out this monstrosity though.

[Fake History Hunter @fakehistoryhunt]

Ooooh... 800 year old house for sale in Sweden... but it's not remote enough for my taste and I want to live somewhere with a better (colder) climate.
But what a gem this is, I hope another history addict gets it:
https://t.co/ebQuaWYK7t

[Jean-Claude Golvin @JCGolvin]

[BEST-OF DE L'ÉTÉ - LES AFFICHES INCONTOURNABLES] ⚒️

La boutique vous propose cette représentation de "Roma (Rome), la procession du Triomphe traversant le Forum Romain (Italie)" par Jean-Claude Golvin.

Pour commander cette affiche, rendez-vous ici 🔗 https://t.co/CjBGL2SYWU

[おめメガぶたちゃん(代理��ヨコ🐥) @butatosumou]

レントゲン板の前には全然立ってないけど、こっちのバージョンもかわいいかわいい😂🤎

[MoundLore @MoundLore]

A lot of Americans still have the old version in their heads: people came through Beringia, Clovis showed up around 13,000 years ago, and then people spread across the continent.

That story doesn’t hold anymore.

At White Sands, New Mexico, human footprints sit in ancient lakebed sediments dated to roughly 21,000–23,000 years ago.

Adults. Teenagers. Kids.

People walking through a wet Ice Age basin while mammoths, giant ground sloths and camels were still out there.

The original dating got challenged, so researchers went back at it with independent evidence, including ancient pollen. The dates held.

Clovis still has its place and Beringia still relevant. What’s gone is the clean little timeline.

People may have moved along the Pacific coast. There may have been more than one migration. And some of the earliest coastal sites may now be underwater, because Ice Age shorelines sat far beyond the ones we know today.

I still think we could be missing entire chapters because the ocean is sitting on them.

But 23,000 years ago at White Sands, somebody stepped into wet mud and kept walking.

[Sir John Soane's Museum 🏛️🖼️ @SoaneMuseum]

Endless portals into Soanean worlds 🌀🌍

Painted by Joseph Michael Gandy around 1824, this watercolour imagines Sir John Soane’s architectural works brought together in one vast gallery.

Which Soane buildings can you spot?👀🏛️

[HerodotusWave @HerodotusWave]

Antique Art Nouveau brooches and pendants.

[Science girl @sciencegirl]

Guard bees stopping ants accessing their hive

[𝕐o̴g̴ @Yoda4ever]

Oh, straw is better..🐒😅

[Massimo @Rainmaker1973]

Woman cares for wild albino porcupine suffering from poor vision and lack of camoflauge.

[📹 pricklywhiteporcupines]

[Crémieux @cremieuxrecueil]

This is a super cool website.

You can scroll around and look at any country's population pyramid, fertility rate, and mortality rate by year.

Check this out:

[ArtNouveauDeco @NouveauDeco]

Art Nouveau door from 1905 by architect Alfred Wagon, Paris, France.

[Science girl @sciencegirl]

A multi-level system that stacks cars vertically. Drivers leave their vehicle on a ground platform; motors lift or rotate it into an upper slot. On return, the system brings the car back down automatically.

[Civixplorer @Civixplorer]

Detailed map of the world's smallest country: Vatican City 🇻🇦

[Archaeo - Histories @archeohistories]

The city of Çatalhöyük points to one of man’s most important transformations, from nomad to settled farmer...

Çatalhöyük or Çatal Höyük (pronounced “cha-tal hay OOK”) is not the oldest site of the Neolithic era or the largest, but it is extremely important to the beginning of art. Located near the modern city of Konya in south central Türkiye 🇹🇷, it was inhabited 9000 years ago by up to 8000 people who lived together in a large town. Çatalhöyük, across its history, witnesses the transition from exclusively hunting and gathering subsistence to increasing skill in plant and animal domestication. We might see Çatalhöyük as a site whose history is about one of man’s most important transformations: from nomad to settler. It is also a site at which we see art, both painting and sculpture, appear to play a newly important role in the lives of settled people.

Çatalhöyük had no streets or foot paths; the houses were built right up against each other and the people who lived in them traveled over the town’s rooftops and entered their homes through holes in the roofs, climbing down a ladder. Communal ovens were built above the homes of Çatalhöyük and we can assume group activities were performed in this elevated space as well.

Like at Jericho, the deceased were placed under the floors or platforms in houses and sometimes the skulls were removed and plastered to resemble live faces. The burials at Çatalhöyük show no significant variations, either based on wealth or gender; the only bodies which were treated differently, decorated with beads and covered with ochre, were those of children. The excavator of Çatalhöyük believes that this special concern for youths at the site may be a reflection of the society becoming more sedentary and required larger numbers of children because of increased labor, exchange, and inheritance needs.

Art is everywhere among the remains of Çatalhöyük—geometric designs as well as representations of animals and people. Repeated lozenges and zigzags dance across smooth plaster walls, people are sculpted in clay, pairs of leopards are formed in relief facing one another at the sides of rooms, hunting parties are painted baiting a wild bull. The volume and variety of art at Çatalhöyük is immense and must be understood as a vital, functional part of the everyday lives of its ancient inhabitants.

Many figurines have been found at the site, the most famous of which illustrates a large woman seated on or between two large felines. The figurines, which illustrate both humans and animals, are made from a variety of materials but the largest proportion are quite small and made of barely fired clay. These casual figurines are found most frequently in garbage pits, but also in oven walls, house walls, floors and left in abandoned structures. The figurines often show evidence of having been poked, scratched or broken, and it is generally believed that they functioned as wish tokens or to ward off bad spirits.

Nearly every house excavated at Çatalhöyük was found to contain decorations on its walls and platforms, most often in the main room of the house. Moreover, this work was constantly being renewed; the plaster of the main room of a house seems to have been redone as frequently as every month or season. Both geometric and figural images were popular in two-dimensional wall painting and the excavator of the site believes that geometric wall painting was particularly associated with adjacent buried youths.

🎥© time.vector

© Dr. Senta German

#archaeohistories