Showing posts sorted by relevance for query animals.. Sort by date Show all posts
Showing posts sorted by relevance for query animals.. Sort by date Show all posts

Tuesday, September 1, 2015

Canning The Buffalo



This mornings rein leads to the collection at the gathering of a thunder in a night of relaxing.  The trunk of dialing breezed the form of sky to touch not a planet but the type by written.  Shelves of life have gone to in light a knee to stand and to become the asking quest.  Score to a day in part as the sidewalk review is a place to smile the pleasure of seeing life.  As I note a meow from Cheshire to the call return from Lobos it is the hello how have you been that strikes a common tune.  What is missed is the sound of another human voice to enjoy the giggle of two cats greeting.

These parts of day state screen to filter to ignoring the avenue of Bottlebrush.  A plant that represents each clover from the burial of humanities bloom to mind.  This globe of hurry harried virtues now the posture to eyes cast down, the opposition stands alone.

Frigid goose feather to rock is a carts harness in the floating ponds of lakes at an oceans release.  Par at stun is not the visual of the shoulder cold, that is a given.  Handwriting cursive in a telling.  Square words with bending nerves make arms calendar to the send and than subjects the caption.  This would than be, in theory, the catch.

Fishing on the docks of old skates, the Newspaper dropped by the bowery jist, or that head line that now doubles explanation for blanks.  Coral is a harbor or a state to serve as the hidden beneath the predators wrist.  With careful shed the tool of energy survives with a shore that is growing a store.  The sunken ships, the sunk in treasure found, and the enjoyment of the sparkling water as the sun filters through to shine upon the gold in mass displays on the tons of rock and sand roses in the mist.

Separate the fish from the scales and the dry cord is arid wrought, a ply wood.  The glue in the press of media on radio fisheries a stale ball, show talk of straight to whatever the barn is providing as what is thought to be of crust.  Bean Factories on the earl of grind, Tea Tins filled with leaves.


Science & Environment ~ BBC News


Viewpoint: Uncomfortable realities of big game hunting


Lion
Image captionFor those who are so inclined, it is possible to legally hunt virtually any African animal

Trophy hunting has been the subject of much media attention amid the backdrop of declining populations of big game animals in Africa. But is a blanket ban really the answer?
At the end of June 2015, a Zimbabwe lion known as Cecil was wounded by a crossbow bolt shot by American dentist Walter Palmer.
Sometime later Cecil was shot and finally killed.
The media attention that followed made it clear that many people were unaware of the realities of modern-day African hunting.
In fact, if you have enough money and are so inclined, you can legally hunt pretty much any African animal, including lion, leopard, elephant, buffalo and hippo.
You'll need the right permits and it's subject to quotas and regulations but if you do it by the book, then it's perfectly legal. And once you've killed it you can export the "trophy" home.

'Moral objection'

Following Cecil's death, many have called for a blanket ban on trophy hunting. Calls for a ban come from a number of different directions.


For some, there is a moral objection to the killing of animals for pleasure, for others an understandable emotional response to images of hunters posing with their kills or concerns over conservation.
But calls for a blanket ban on trophy hunting fail to take into account the complex relationship between hunting and conservation.
Some trophy kills are hard to justify no matter which side of the fence you sit on. Leopard for example are a CITES (Convention on International Trade in Endangered Species of Wild Fauna and Flora) Appendix I species.

Namibia
Image captionAs the human population in Africa expands, conflict between humans and wildlife increases

Such species are threatened with extinction and the commercial trade in wild-caught specimens is illegal. Despite this, it is still possible to hunt one "on trophy" (subject to quotas) for personal, non -commercial purposes.
Another hunting practice that has come under the spotlight is "canned hunting" of lions. There is considerable confusion between, and conflation of, trophy hunting and canned hunting. Canned hunting, where captive bred lions are released into small enclosures to be hunted in a "no kill no fee" arrangement, "hits the bottom of the barrel" according to Will Travers, President of wildlife charity the Born Free Foundation.

Poor welfare

Largely based in South Africa, the welfare issues involved in canned hunting, which include severe over-crowding and inadequate access to food and water, have recently been exposed by environmental film maker Ian Michler in his film Blood Lions.
However, as lion conservation expert and author of Lions in the Balance: Man-eaters, Manes and Men with Guns, Professor Craig Packer, says: "These animals are not part of the wild population and so, there's no real immediate impact on conservation… I view canned hunting mostly as an animal welfare issue."
Many sought-after trophy animals, such as kudu and impala, are maintained in large numbers across Southern Africa, especially South Africa, within large, fenced, privately-owned reserves.

Kudu
Image captionMany prized trophy animals such as kudu are maintained in large, fenced reserves

Animal numbers need to be controlled to prevent over-stocking and over-grazing. Surplus animals are harvested for meat but larger males can generate far more revenue if they're taken by a trophy hunter.
The taking of trophy animals in such reserves is of limited conservation concern and the money generated helps to pay for the management that is required to keep reserves in good condition.
In fact, the impact of trophy hunting depends on the species and the region being considered. So the past few decades in South Africa have seen a landscape-level replacement of cattle farming with wildlife farming.
As a consequence: "Southern Africa's seen large scale recoveries of wildlife in the 20th century, built around hunting," says Rosie Cooney, who heads the IUCN Sustainable Use and Livelihoods Specialist Group.
Trophy hunting of many species was, and continues to be, vital in funding this reversal and a blanket ban there is neither needed nor desirable.

It pays, it stays?

This "consumptive utilisation of wildlife" model ("it pays it stays") also works well in some other regions. The Bubye Valley Conservancy in Zimbabwe for example has more than 400 lions and one of the most important populations of rhino still in existence.
The Conservancy is funded entirely by hunting and, according to the reserve manager Blondie Leathem, a ban would be "devastating".
However, trophy hunting is not always beneficial for wildlife. Over-harvesting can clearly have a detrimental effect on numbers.
Also, trophy hunters select large males and this can have more profound effects on the breeding dynamics of animals in that region. These problems are greatest when land is not stably owned and a "tragedy of the commons" (when everyone harvests as much as they can for short-term gain) can result.
It is tempting to suggest that hunting could be replaced by tourism and in some places this is indeed the case. However, as Rosie Cooney points out, tourism is only possible in regions that "are accessible…a few hours generally from a major hub…with good roads".
They also need to be safe, "lacking in dangerous diseases….and politically stable". There needs to be the infrastructure to look after tourists and you need capital to invest in it. Many hunting concessions operate successfully in areas where none of these conditions are in place, at least for now.
The pro-hunting argument is simple. Hunting provides revenue that directly funds conservation. Anti-hunters often claim that this hunting-conservation link doesn't stand up to scrutiny. The problem in deciding whether hunting is beneficial or not is that both sides are right.
How can both sides be right? The answer to that lies in the fact that Africa is not a single entity.
Different countries and even regions within those countries have different histories, geography, politics, governance, infrastructure, economics, population demographics and tribal politics. In some regions hunting is vital for conservation. In such regions "it pays it stays" works and a ban would be detrimental to wildlife.
In other regions, hunting could be replaced or at least supplemented by tourism. In still other regions, and certainly for some species, a ban on hunting could be a sensible move for conservation. A "one size fits all" solution is not what is required.

Last wilderness

In fact, Prof Craig Packer says that across Africa overall "neither trophy hunting nor phototourism is sufficient to cover the costs [of conservation]".
Whilst these activities can and do work in some places, he thinks that "we need to move away from the standard model of wildlife conservation in Africa, which has always been 'wildlife must pay its own way'". Overall, the approach doesn't generate enough money and consequently, "we're seeing dramatic losses of wildlife numbers throughout a lot of Africa."
It is interesting that the killing of a single lion by a wealthy, white, American attracted so much attention.
As Will Travers explains: "I don't think we should fool ourselves that it's all about trophy hunting. Lions are threatened by habitat loss, habitat fragmentation…human activities that disperse and displace lions [and] the loss of prey species."
There are few true wildernesses left, and as the human population in Africa expands, conflict between humans and wildlife gets ever greater. Far more lions are killed by cattle herders defending their livestock and their families than by trophy hunters. Don't forget, in the UK, we long ago killed our apex predators so that we could sleep soundly.
To conserve wildlife we need to find ways to protect animals from people and people from animals. We also need to find ways to ensure animal populations are more valuable alive in the long-term (even if that means sustainable harvesting) than dead in the short-term.
Conservation is an extraordinarily complex problem but it is also one of the most significant problems we now face. The solution will not be found in knee-jerk responses driven by emotion and fuelled by social media.
Prof Adam Hart is professor of science communication at the University of Gloucestershire. He presents Big Game Theory on BBC Radio 4 at 20:00 on Tuesday 1 September.

Friday, April 24, 2015

Vast Replica Recreates Prehistoric Chauvet Cave ~ BBC News


Media captionBBC Newsnight was given rare access to the Chauvet cave and its remarkable art
In the Ardeche gorge in southern France lies one of the most important prehistoric sites ever discovered.
It's locked away behind a thick metal door, hidden halfway up a towering limestone cliff-face.
Few people have ever been allowed inside, but BBC Newsnight has been granted rare access by the French Ministry of Culture and Communication.
We slide through a metal passageway on our backsides, and then tentatively descend a ladder.
It takes a few moments to adjust to the darkness, but our head torches soon reveal that we've entered into a vast cave system of geological beauty.
We weave along the narrow metal walkways; stalactites and stalagmites glimmer in the light, sparkling curtains of calcite hang down from above and the floor is awash with the bones of long-dead animals.

Chauvet cave
The caverns are spectacular, home to stalagmites and stalactites that have formed over thousands of years

Until recently, the last people to set eyes on this place were our Palaeolithic ancestors, before a rock fall cut it off from the outside world.
This exquisitely preserved time-capsule was sealed shut for more than 20,000 years, until it was discovered by three cavers - Eliette Brunel-Deschamps, Christian Hillaire and Jean-Marie Chauvet, after whom it is now named - on the 18th December 1994.
At first they thought they had uncovered a network of spectacular caverns.
But as they ventured deeper inside, they realised this was the discovery of a lifetime - the cave held some of the oldest art ever found.
It's breathtaking when we get our first glimpse of it.
The walls are adorned with hundreds of paintings.
Most of them are animals - woolly rhinos, mammoths, lions and bears intermingle with horses, aurochs and ibex.
Some are isolated images: we wander past a small rhino, a single, lonely creature daubed on the rock. But there are also huge, complex compositions, a menagerie of beasts jostling for space on great swathes of the cavern wall.

Chauvet cave
Some of the compositions are complex scenes showing many different animals
lions
The art provides a snapshot of the beasts that roamed Ice Age Europe 35,000 years ago
Chauvet cave
The artists worked with the contours of the rock to create these images

Painted in charcoal and red ochre, or etched into the limestone, careful shading and skilful technique bring the animals to life, revealing movement and depth.
"They are very sophisticated," says Marie Bardisa, the head curator at the Chauvet Cave - which is also known as the Decorated Cave of Pont d'Arc. She delights in this rare chance to show off the art.
"They used the relief of the rock to give the forms, to give the shadows, to express so many things.
"They saw the animals in the rock," she adds.
"More than 400 animals have been painted here, there are still lots of things to discover."
The paintings are so well preserved, they look as if they were drawn yesterday. But while there has been some debate over their age, the most recent radiocarbon dating suggests this work is more than 35,000 years old.
The rock drawings offer a rare glimpse into the lives of our early human ancestors and the Ice Age world they inhabited.
But few will ever have the chance to see it.
As soon as the cave was discovered, on the advice of scientists, the French authorities closed it off to visitors.
"If the public came into this cave, first of all, we risk contamination," explains Marie Bardisa.
"The temperature can grow very quickly, the balance of the climate would be disturbed so much we could have alteration of the paintings - we don't want to take this risk."

Lascaux
Fungi and bacteria were introduced to the Lascaux caves after they were opened to the public
Lascaux cave
Some fear the art of the Lascaux caves is damaged beyond repair

Archaeologists know this from bitter experience.
In 1940, the Lascaux cave system was discovered in southwest France.
For more than 20 years, millions of visitors flocked to see its stunning paintings, until visible damage from mould and bacteria forced the cave to be shut down.
Even today, scientists are still struggling to save the paintings, which may have been damaged beyond repair.
With the Chauvet cave, the French authorities have had to find a way to both preserve and promote this precious heritage.
This big problem required a big solution.

Chauvet cave replica
The reconstruction covers 3,500sq m and is housed in a huge concrete-clad building
Chauvet cave replica
It accurately replicates the most important features of the Chauvet cave

A few kilometres away, on a pine covered hill, sits a stadium-sized concrete hanger.
Inside is a recreation of some of the Chauvet cave's most important features, reproduced to scale.
It's cost 55m euros to build, has taken eight years from inception to completion and has involved hundreds of people.
Hi-tech scans, 3D-modelling and digital images of the original cave were used to create the copy.
Layered over a huge metal scaffold, the limestone walls have been reproduced in concrete, the stalagmites and stalactites have been remade in resin.
Even the temperature has been set to match that of the original.

Replica
A metal scaffold provides a framework for the illusion
Chauvet cave
The walls of the replica are made from concrete instead of resin
Chauvet cave replica
Finer geological features have been crafted from resin

If you ignore the hordes of visitors who have come to press day, you do get the sense of being in a real cave.
The paintings, though, are the main attraction.
"The process is very complex. You have to be very respectful to the original," says Gilles Tosello, who spent six months reproducing some of the Chauvet cave's most impressive compositions.
The art was recreated offsite. Digital images of the paintings were projected onto canvasses of fake rock to guide the artists.
"Our raw material is resin, and it is completely different to limestone, mud and clay in the original cave," explains Mr Tosello.
"But that was part of the challenge - we are using illusions to recreate the original compositions."

Chauvet cave replica
Gilles Tosello spent months in his Toulouse studio recreating some of the caves most complex murals
Chauvet cave replica
Scientists say the paintings are faithful to those found in the original cave

He says the process brought him closer to the original artists.
"If you spend hours and days and weeks, and you are trying to translate or imitate the gesture or work of another artist, you become more or less a part of him."
At the replica, Palaeolithic art specialist Jean Clottes stands surveying the work.
He was the first scientist to enter the cave, and has been president of the replica's scientific committee.
"I think the public are going to be very pleased with it because the quality is great and it is scientifically correct," he tells us.

Chauvet cave
More than 400 animals are painted in the original Chauvet cave

He says a replica is the best way to tell the modern masses about our prehistoric ancestors.
"They are not primitive people, they are people like us," he explains.
"Modern humans are 200,000 years old, at least, so 35,000 years ago was not such a long distance away."
He believes the cave was a spiritual place for these hunter gatherers, and the Ice Age animals represented on the rocks had a form of ritual or magic associated with them.
"(These people) had short lives that were quite different from ours, but from their art, we can see they were as intelligent as we are, that they had great artists and they had religion. They were close to us."
It's hoped that the replica will bring these ancient artists closer still, as their testimony to human culture and creativity opens to the crowds.
Or, at least, a copy of that testimony.
With so few people privileged enough to experience the real thing, prehistoric art must reach its audience through modern means.