Researchers recover a ‘lost’ Ancient language spoken 8,000 years ago – @AceHistoryNews

Researchers have posted a fascinating study where you can actually hear how our ancestors spoke 8,000 years ago.

Scientists from the universities of Cambridge and Oxford have managed to reproduce some of the words that originated from a language which disappeared from the face of the Earth thousands of years ago.

The Proto-Indo-European language is believed to have been a mother language that would give birth to hundreds of languages on planet Earth including Roman, Germanic, Baltic, Slavic, and Indo-Iranian. The mother language was spoken sometime from 6000 to 3500 BC by ancient people inhabiting the region of the Caspian Sea, in the territories of what are now Russia, Ukraine, and Kazakhstan.

Since there is no written evidence, researchers have had to work for centuries to rebuild the original mother language that gave rise to a number of different languages.

According to an article posted on the website of the University of Cambridge: “No matter whether you speak English or Urdu, Walloon or Waziri, Portuguese or Persian, the roots of your language are the same. Proto-Indo-European (PIE) is the mother tongue – shared by several hundred contemporary languages, as well as many now extinct, and spoken by people who lived from about 6,000 to 3,500 BC on the steppes to the north of the Caspian Sea.”

So far no one was able to figure out that this language sounded like. However, scientists from the British universities of Oxford and Cambridge have applied a methodology of acoustic-phonetic statistical processing, called ‘statistical forms’ which allowed the to recover LOST sounds of words and how they sounded like 8,000 years ago.

This is how scientists were able to reproduce the origin of some of the words still in use today, as the number ONE in English that comes from the word ‘OINOS’ from the PIE language. They were also able to reconstruct some words used in modern Romance languages tracing back their origin to Latin.

According to writings on the website of the University of Cambridge: The longest path of development simulated so far goes backwards 8,000 years from English one to its PIE ancestor oinos, and likewise for other numerals. They have also ‘gone forwards’ from the PIE penkwe to the modern Greek pente, modern Welsh pimp and modern Englishfive, as well as stimulating change from Modern English to Anglo-Saxon (or vice versa), and from Modern Romance languages back to Latin.

“We’ve explicitly focused on reproducing sound changes and etymologies that the established analyses already suggest, rather than seeking to overturn them,” says Coleman, whose research was funded by the Arts and Humanities Research Council.

Scientists say it is possible to extrapolate the languages into the future, although they note that considerable changes in spoken language will hardly take place over the next couple of centuries.

Interestingly, the statistics of shape are not just being used to show how different languages relate to each – they are also being used to improve the analysis of medical images.

FRANCE: It started on a cave wall some 40,000 years ago with animals that seemed to move with their hindquarters planted, torsos rigid, their front legs stiff and raised ever so off the ground – @AceHistoryNews

#AceHistoryNews – July.24: The Man Who Captured Time

The first humans who put paint on stone drew deer, buffalo, horses. They drew all the beasts man knew, and they painted them running.

It started on a cave wall in France some 40,000 years ago with animals that seemed to move with their hindquarters planted, torsos rigid, their front legs stiff and raised ever so off the ground. These Paleolithic artists were primitive, of course, but for the thousands of years to follow, neither the ancient Greeks, nor Leonardo Da Vinci, nor the Japanese masters, nor the 19th-century French artist Jean-Louis-Ernest Meissonier (regarded for his pictures of horses) could seem to understand how to draw an animal in motion.

Especially horses. Even as humans increasingly spent their lives around horses, the greatest artistic talents of their time drew them running with all four legs splayed, as if mounted to a rocker. Man has always sought to understand the natural world—if for no other reason than to bend it to our will. But an invisible life existed in the motion of the horse, hidden from our eye, and thus from human understanding. Until the 1870s, when the man who founded Stanford University became obsessed with this mystery—so much so that he hired the photographer Eadweard Muybridge.

The galloping horse became Muybridge’s greatest achievement, but it would also become as obscure as his many other accomplishments. As he neared death, it’s said Muybridge panicked over the idea he’d be forgotten. And he almost was. No major museums had staged a retrospective of his work until six years ago at the Corcoran Gallery of Art, when the curator Philip Brookman thought to put one together, partly because no one else had. Last month, the National Gallery of Art (which absorbed the Corcoran in 2014) presented Intersections, which offers another chance to consider Muybridge’s mind and his legacy, and to see the work of another 19th-century pioneer of photography, Alfred Stieglitz.

In its earliest years, photography rode an unsure line between science and art. It transported facts of the world to the public. It offered pretty images. Few people knew what to do with it. But Muybridge and Stieglitz changed that.

Eadweard Muybridge

Stieglitz was an artist, born in Hoboken and trained in Berlin, who proved photos could tell stories and reveal the world as profoundly as paintings. Muybridge’s work, at first, concerned itself with questions of understanding––a mostly scientific pursuit. He was born to an English coal merchant, and at 20 he left for America, where he traveled west in search of success in the new country. In California he opened a bookstore, was absolved of killing a man, then busied himself with photographing the intricacies of women’s ankles crossing creeks, blacksmiths swinging hammers, with chickens fleeing torpedoes.

Muybridge would take his photographic discoveries on tours across America and Europe. During his lifetime he advanced the chemicals that develop film. He quickened camera shutter speed to a fraction of a second. And by aiming dozens of lenses at the same subject, he found ways stop time and stretch time like elastic. After seeing Muybridge’s work in London in 1882, one reporter wrote that “a new world of sights and wonders was indeed opened by photography, which was not less astounding because it was truth itself.”

Muybridge labored all his life to uncover the truth of motion, but by the time he died of cancer in 1904, he saw his work diminished by the lightning pace of innovation. He’d advanced photography to the point where it could capture constant movement, and developed a machine to reanimate this motion. Rightly so, he yearned for the world to remember him as the man who made cinema possible. But when that time came, other men, younger men, would claim his legacy. It’s only recently, thanks in large part to the popularity of the GIF, that people can appreciate the genius of Muybridge’s work.

  • * *

Leland Stanford picked up the hobby of breeding, racing, and training horses after he served as the governor of California in the 1860s, having made millions investing in the Central Pacific Railroad. His 8,000-acre stables south of San Francisco, near Palo Alto, eventually became Stanford University. Here he kept some of the fastest horses in the world. But, as a man who’d bored America’s first train through the Sierra Nevada Mountains, he figured if he could understand how horses ran, he could make them run even faster. In this quest, a question troubled Stanford: He wanted to prove that when a horse galloped, all four of its hooves left the earth, that for a moment it became airborne.

That idea had countered logic, as The New York Times put it, “since the world began.”

Eadweard Muybridge

In 1877, at a track in San Francisco, Muybridge strung a thread across the dirt at horse-chest height. It led to a trigger attached to his camera. Stanford had funded Muybridge’s work for years, and this was their most meaningful trial yet, so when Stanford’s horse trotted down the track at 40 feet per second, Muybridge was ready with his camera.

When Muybridge began his work with Stanford’s horses, photography had barely been around 50 years. The craft was so sensitive that a slight breeze on leaves in a landscape, or the shift of a neck in a portrait, could ruin a picture. A camera’s shutter speed determines how long it’s exposed to light, which means anything moving while it’s open can look blurred. Before Muybridge, photographers exposed light to the film by removing the lens cap with their hands, then jamming it back on. This is why most people in photos at the time look like zombie facsimiles of themselves, stiff with rigor mortis. But in the early 1870s, Muybridge invented mechanical shutters, a system that used a trigger and rubber springs to snap two planks shut in front of the lens at one-thousandth of a second.

The photo Muybridge took was completely disappointing—to Muybridge, at least. Yes, it pictured the horse with all four hooves off the ground, which was by no means a small achievement, because no one else in history had done this. A few newspapers ran the photo. But it was a single image. In order to understand motion, Muybridge needed to separate a movement into its parts, to slice the seconds that make a moment, then splice them back together with his photos. This would take another year.

At this time, Muybridge had spent just a little more than a decade as a serious photographer––he hadn’t even started in the medium until he was in his mid-30s. In 1855 when he first arrived in San Francisco, Muybridge owned a bookstore. On May 15, 1860, Muybridge ran an advertisement saying he’d sold his store and planned to travel for Europe. On his way, his stagecoach crashed in northeast Texas down a mountainside into a tree, smashing the stagecoach to pieces, and hurling Muybridge and seven other passengers into the rocky hillside. One man died. Muybridge hit his head so hard that for a while he lost his senses of taste and smell. He’d later say his first memory was waking up 150 miles away in Arkansas, with a doctor over him who said he’d never fully recover.

Muybridge spent about six years recuperating in England, and little is known about his time there. But after his return to the Bay Area in 1866 he quickly became a masterful photographer. He captured Yosemite National Park’s thousand-foot waterfalls and its vast granite mountains––photos that would later inspire Ansel Adams. He shot lighthouses. He photographed himself pretending to be a lumberjack, his legs spread wide as he looks up the trunk of an insurmountable redwood tree.

People obsessed over landscape photos at the time. The images represented the fierceness in American spirit that had settled the frontier, but with the ease of travel brought by train seemed already to have faded. Photographers tried to bring moments of that wildness back to cities as best they could. But while shutter speed could capture stationary lakes and mountains, the passing sky overhead looked like bland white sheets. To make scenes more convincing, photographers sometimes painted or superimposed clouds into their pictures. Muybridge, instead, invented the “sky shade.” This screen shielded the sun’s light enough to capture the landscape, but still rendered the sky’s tones. Now the people in East Coast cities could look into a photo and feel as if they stood in valleys of the Sierra Nevada Mountains, or atop granite peaks. Muybridge signed these photos under the name “Helios,” the Greek personification of the sun.

Eadweard Muybridge

Muybridge looked like a mix of Walt Whitman and Zeus. He was tall and lean, with a long white beard, and bushy brows that shadowed his eyes and made him seem thoughtful and deviant. In six years he’d already gained some fame for his landscape photos, and in 1871, while in his 40s, he married a woman half his age named Flora Shallcross Stone. One year later, Stanford telegraphed Muybridge about an idea he had to photograph his horses, and for three years Muybridge worked on the technology to do exactly that. That work stopped in October 1874, after Muybridge found a letter his wife had written to a drama critic named Major Harry Larkyns.

Muybridge found the letter in his midwife’s home. In it was a photograph of his seven-month old son, upon which his wife had written the boy’s name as “Little Harry,” which led Muybridge to believe his son was not in fact his son.

“He stamped on the floor and exhibited the wildest excitement,” Muybridge’s midwife remembered after he found the letter. “He was haggard and pale and his eyes glassy … he trembled from head to foot and gasped for breath.”

Muybridge caught a train that afternoon north from San Francisco to Vallejo. It was night when he knocked on Larkyns’ door. As Larkyns stepped forward, Muybridge shoved a revolver at him and said, “I have brought a message from my wife, take it.”

Larkyns died from the gunshot. At trial, Muybridge pleaded insanity. Stanford hired a lawyer to defend him, and friends testified that the stagecoach crash had jarred something loose, had transformed a genial bookstore owner into an emotionally unmoored photographer. A friend and fellow photographer, William H. Rulofson, at trial said Muybridge sometimes slipped into bursts of grief or anger, and just as easily into a placid daze, “immovable as stone.” It’s hard to tell whether this personality change was real or a story conjured by a creative lawyer, but one theory about Muybridge’s injury is that it damaged his orbitofrontal cortex. If that is true, along with altering his emotions, it could explain why Muybridge became so possessed with his work.

Injuries to the orbitofrontal cortex are sometimes connected to obsessive-compulsive disorder, and it was through Muybridge’s microscopic fixation on motion that his photos became art. He photographed birds flying, cats leaping, and the American bison galloping at a time when the nation had nearly hunted the animal to extinction. His obsession with all manners of motion drove him to capture women lifting bedsheets, raising cigarettes to their lips, or the quasi-absurd, like in his series Crossing brook on step-stones with fishing-pole and can.

The series consists of 36 pictures taken from three angles, and it follows a woman as she raises her leg, hops onto a stone, then another, then hops off, all the while she holds a fishing pole in one hand and a can in the other, her arms bent like the wings of a bird. Artist have used this work to study motion. Edgar Degas, himself obsessed with the movement of dancers, studied photos like it. As did Marcel Duchamp, particularly in his 1912 painting, Nude Descending a Staircase, No. 2, which became one of the most famous modernist paintings, and looks just like Muybridge’s photo series, Woman Walking Downstairs.

Eadweard Muybridge

Muybridge’s work at this time mimicked human curiosity. Machines had increasingly become part of life––trains, cars, and the factories of the Industrial Revolution––and soon people began to notice how their bodies resembled those machines. In Muybridge’s photos of the woman crossing the creek you can see her ankles, knees, shoulders, and elbows, rotating along their individual joints, but also in unison as her weight shifts to contract a muscle that pulls on one tendon and relaxes another, a repeating system of pulleys. This interested the University of Philadelphia for the potential insight it offered in the fields of sports, medicine, and physiology. It was there that Muybridge created more than 20,000 photos for his first book, Animal Locomotion. The Corcoran’s curator, Brookman, called the work a “veritable atlas of imagery about movement and time.”

The state charged Muybridge with murder for killing Larkyns. In closing arguments, Muybridge’s lawyer


In 1801, members of the small Baptist church in Danbury, Connecticut, wrote a letter to President Thomas Jefferson (1743-1826) congratulating him on his recent election. At the time, Baptist’s were a minority religion. In New England the Congressional Church was prominent. Jefferson assured them that they had nothing to worry about. Their letter had expressed worries about being in the minority. They were afraid they would lose their rights and be forced to become Congregationalists.

A few months later, the President answered their letter. jefferson said,in effect, that the First Amendment to the Constitution had erected a “wall of separation” between church and state that meant Connecticut could not interfere with the Baptist’s religious freedom.

“Believing with you that religion is a matter with lies solely between Man and his God, that he owes account to none other for his faith or his worship. that the legitimate powers of government reach actions only, and not opinions, I contemplate with sovereign reverence that act of the whole American people which declared that their legislature should ‘ make no law respecting an establishment of religion, or prohibiting the free exercise thereof,’ thus building a wall of separation between Church and State.

Jefferson’s metaphor of the wall between church and state became enormously influential, Although not part of the Constitution, Jefferson’s metaphorical wall has been recognized by the Supreme Court as a guiding concept in the relationship between church and state. It has been cited by many American political and religious leaders.

Jefferson’s letter remains a cornerstone, an influential interpretation of First Amendment cause and a cornerstone of religious liberty in the United States.

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President Thomas Jefferson

President Thomas Jefferson

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Fourth of July holiday special, we begin with the words of Frederick Douglass. Born into slavery around 1818, Douglass became a key leader of the abolitionist movement – @AceHistoryNews

#AceHistoryNews – July.04: “What to the Slave is 4th of July?”: James Earl Jones Reads Frederick Douglass’ Historic Speech

In a Fourth of July holiday special, we begin with the words of Frederick Douglass.

Born into slavery around 1818, Douglass became a key leader of the abolitionist movement.

On July 5, 1852, in Rochester, New York, he gave one of his most famous speeches, “The Meaning of July Fourth for the Negro.” He was addressing the Rochester Ladies Antislavery Society.

This is actor James Earl Jones reading the speech during a performance of historian Howard Zinn’s acclaimed book, “Voices of a People’s History of the United States.” He was introduced by Zinn…..

Editors Notes:

I would remind you that this blog is produced free for the public good and you are welcome to republish or re-use this article or any other material freely anywhere without requesting further permission.

News & Views welcome always published as long as NO bad language or is not related to subject matter.

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Mother Bethel AME Church in Society Hill is abuzz today as the African Methodist Episcopal faith celebrates a major milestone with the unveiling of a statue of its founder – @AceHistoryNews

#AceHistoryNews – July.03: African Methodist Episcopal Church Celebrates 200th Anniversary With Bronze Statue Of Founder

SOCIETY HILL (CBS) — Mother Bethel AME Church in Society Hill is abuzz today as the African Methodist Episcopal faith celebrates a major milestone with the unveiling of a statue of its founder.

The morning began with a celebratory church service at Mother Bethel marking the 200th anniversary of the African Methodist Episcopal Church. The milestone also marked the end of a 70 year journey to memorialize church founder Richard Allen.

The statue is six feet tall and made of bronze. It sits atop a granite pedestal with Allen holding a bible next to an anvil at the corner of 6th and Lombard Streets, the place where it all began.

Thousands of AME Pilgrims from all over the world– like Mable King a fifth Generation AME flocked to Philadelphia for this year’s conference and bicentennial celebration.

It’s a beautiful thing to live to see,” King said.

The unveiling of the Richard Allen Statute is just part of the celebration, which includes the unveiling of a Richard Allen Mural at First District Plaza on Monday.

Editors Notes:

I would remind you that this blog is produced free for the public good and you are welcome to republish or re-use this article or any other material freely anywhere without requesting further permission.

News & Views welcome always published as long as NO bad language or is not related to subject matter.

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