New fossil evidence supports theory that first mass extinction engineered by early animals

New fossil evidence supports theory that first mass extinction engineered by early animals
The disc-like fossils shown here are the preserved remains of holdfast structures used by the Ediacaran species Aspidella that went extinct about a million years after these individuals died and were preserved. Credit: Simon Darroch, Vanderbilt University

Newly discovered fossil evidence from Namibia strengthens the proposition that the world’s first mass extinction was caused by “ecosystem engineers” – newly evolved biological organisms that altered the environment so radically it drove older species to extinction.

The event, known as the end-Ediacaran extinction, took place 540 million years ago. The earliest life on Earth consisted of microbes – various types of single-celled organisms. These held sway for more than 3 billion years, when the first multicellular organisms evolved. The most successful of these were the Ediacarans, which spread around the globe about 600 million years ago. They were a largely immobile form of marine life shaped like discs and tubes, fronds and quilted mattresses.

After 60 million years, evolution gave birth to another major innovation: metazoans, the first animals. Metazoans could move spontaneously and independently at least during some point in their life cycle and sustain themselves by eating other organisms or what other organisms produce. Animals burst onto the scene in a frenzy of diversification that paleontologists have labeled the Cambrian explosion, a 25 million-year period when most of the modern animal families – vertebrates, mollusks, arthropods, annelids, sponges and jellyfish – came into being.

New fossil evidence supports theory that first mass extinction engineered by early animals
Conichnus burrows are trace fossils: the surface bumps represent vertical tubes that were originally occupied by anemone-like animals that may have fed on Ediacaran larvae. Credit: Simon Darrroch, Vanderbilt University

“These new species were ‘ecological engineers’ who changed the environment in ways that made it more and more difficult for the Ediacarans to survive,” said Simon Darroch, assistant professor of earth and environmental sciences at Vanderbilt University, who directed the new study described in the paper titled “A mixed Ediacaran-metazoan assemblage from the Zaris Sub-basin, Namibia,” published in the journal Palaeogeography, Palaeoclimatology, Palaeoecology.

New fossil evidence supports theory that first mass extinction engineered by early animals

Why Is Populism Taking Over the Republican Party? – The Atlantic

[I thought this essay had some pretty great insights into the current moment of populism and what it means, and how it led to Trump. -egg]

 

If your political tendencies disinclined you to favor the U.S. presidential candidacy of Donald Trump, you might be tempted to think that for all its initial implausibility, it’s in retrospect not that tough to explain: Trump’s doubters simply underestimated a contempt for reality and depth of bigotry among Republican Party voters. It’s an inversion of Trump’s apparent view of himself, really: His haters couldn’t comprehend how much true-believing Americans would love him for his authenticity, decisiveness, and straight-shooting demolition of nonsense.

Speaking on Thursday at the Aspen Ideas festival, co-hosted by the Aspen Institute and The Atlantic, however, Arthur C. Brooks of the American Enterprise Institute argued for separating out the broad, complex forces behind the current rise of populism in the U.S. and the narrow, contingent reasons for Trump’s success in picking off the GOP nomination. “There are are a couple of black-swan events that happened here,” Brooks said.

[…]

According to New America’s Anne Marie Slaughter, for all the Trump campaign has used xenophobia and other modes of bigotry to draw out support from radical elements of the Republican base, they are not the real catalysts of populist revolt on the American right today. The real catalysts are a set of deep disruptions in the American economy—a constellation of forces that also accounts for much of the Bernie Sanders phenomenon, as far as it’s gone.

“What we are seeing is anger at a disruption of our economy and, really, our social order—of the magnitude we saw when the agricultural age gave way to the industrial age,” Slaughter says:

When the industrial age completely upended the way people lived and worked, from small cottage-industry, farming villages to going to factories, in another place from your family, to work—which is the same kind of profound upheaval we’re seeing now, we got Marxism. We got Marxism, and then we got World War I, and then we got World War II—that upheaval … was a direct outgrowth of the changes wrought by the industrial revolution.

That is what we are seeing the beginnings of today. The digital revolution … is completely upending how we work, what the sources of value are, how people can support their families, if they can at all, and creates tremendous fear and rage in the sense that you are at the mercy of forces you cannot control.

[…]

If this is the right analytical framework, then, distinguishing between the prominence of anger and the dominance of populism, what’s the right comparative or historical framework for putting the current populist moment in context? There is, after all, a lot of freaking out about the idea of a Hitler in America these days.

Brooks cites a study out this year in the European Economic Review (“Going to Extremes: Politics After Financial Crises, 1870-2014,” by Manuel Funke, Moritz Schularick, and Christoph Trebesch) that looks at 20 advanced European economies across 154 years and more than 800 elections—and concludes that after a financial crisis (not a regular recession, but a full-blown financial crisis), the mean political impact has been a significant increase in support for right-wing populism: “After a crisis, voters seem to be particularly attracted to the political rhetoric of the extreme right, which often attributes blame to minorities or foreigners,” the authors write. “On average, far-right parties increase their vote share by 30% after a financial crisis.”

But as Brooks points out, populism has a distinctive and long history in America, where it’s “not necessarily just a right-wing phenomenon; it can be a left-wing phenomenon as well.” Following a pair of financial crises in the 1890s, for example (one when the railroads went bust on account of overbuilding and unsound financing, the other after a silver panic), and the deep recessionary effects that accompanied them, William Jennings Bryan became the Democratic Party’s presidential candidate in 1896—thundering, “You shall not crucify mankind upon a cross of gold!”—and for two further cycles. Brooks quotes H.L. Mencken’s obituary of Bryan: “Imagine a gentleman, and you have imagined everything that he was not.”

Why Is Populism Taking Over the Republican Party? – The Atlantic

The “Other Side” Is Not Dumb. — Medium

There’s a fun game I like to play in a group of trusted friends called “Controversial Opinion.” The rules are simple: Don’t talk about what was shared during Controversial Opinion afterward and you aren’t allowed to “argue” — only to ask questions about why that person feels that way. Opinions can range from “I think James Bond movies are overrated” to “I think Donald Trump would make a excellent president.”

Usually, someone responds to an opinion with, “Oh my god! I had no idea you were one of those people!” Which is really another way of saying “I thought you were on my team!”

The “Other Side” Is Not Dumb. — Medium

Illuminated Portraits of Live Portuguese Man o’ War Captured by Aaron Ansarov | Colossal

An ex-military photographer, Aaron Ansarov retired from the Navy in 2007, transforming his skills to create commercial work for magazines and focus on his own practice. Fascinated with marine life since his days growing up in Central Florida, his series “Zooids,” focuses on detailed images of Portuguese Man o’ War. Ansarov photographs the creatures on a homemade light table while alive, then immediately releases them back into the wild where they were found.

Once shot and the Man o’ War are returned, each image receives minimal manipulation, as Ansarov makes only slight adjustments to the photograph’s exposure, contrast, and vibrancy to highlight the vivid details of each venomous siphonophore. The completed works are otherworldly, appearing like alien illustrations rather than portraits, with deep blues, purples, and pinks unfurling in every direction. You can see more of Ansarov’s illuminated images on Facebook and Instagram. (viaFubiz)

Source: Illuminated Portraits of Live Portuguese Man o’ War Captured by Aaron Ansarov | Colossal

The Slippery Slope of Musical Appropriation

Given the misogynistic imagery that saturated “Gangster of Love,” it’s easy to understand why Miller would be uncomfortable when he heard his 1973 recording of “The Joker” (its four-bar slide-guitar solo looped fifty-four times in the mix) providing the rhythm and chorus for such an uncouth song. To listen to “Gangster of Love” for the first time was pretty much inseparable from the shock one felt at its vulgarity, and even the favorable media reviews for The Geto Boys in 1990 took specific exception to the song’s lyrics. (“This track spends a solid five minutes viciously denigrating women,” wrote a Rolling Stone critic. “There’s no excuse — literary, comedic or otherwise — for this kind of malice.”) Furthermore, Miller’s decision to sue the Geto Boys could not be chalked up to some racist loathing for hip-hop, since he hadn’t protested when black rap artists like Too $hort, N.W.A, and the Jungle Brothers had sampled his songs around the same time.

Nevertheless, Miller’s move to disallow the use of his song in “Gangster of Love” did carry racial undertones. When the white, Milwaukee-born rocker croons “call me the gangster of love” on “The Joker,” he is actually echoing a line from his 1968 cover of a different “Gangster of Love” arrangement — a blues tune originally recorded in 1957 by a black, Texas-born musician named Johnny “Guitar” Watson. Under American copyright law, a Houston bluesman like Watson couldn’t prevent Miller from recording a cover of his song, yet Miller was perfectly within his rights to restrict a quartet of Houston gangsta rappers from sampling his lyrical allusion to the Watson original.

Source: The Slippery Slope of Musical Appropriation