logo
Fiona the Pregnant Sea Reptile's Fossil Hints at the Birth of a New Ocean

Fiona the Pregnant Sea Reptile's Fossil Hints at the Birth of a New Ocean

New York Times2 days ago
About 131 million years ago, a pregnant ichthyosaur — a dolphin-like reptile of the dinosaur era — swam in seas that are now part of southern Chile. And then she died.
An accomplice in the killing: the breakup of the southern supercontinent of Gondwanaland.
South America, once unified with Africa and Antarctica, pulled away, and a new ocean basin called the Roca Verdes opened up.
'One of the hypotheses is that this is actually the opening of the early South Atlantic Ocean,' said Matthew Malkowski, a professor of geological sciences at the University of Texas at Austin.
The geological forces that pulled apart the continents also ruptured the Earth's crust, causing volcanoes and earthquakes, and those earthquakes sometimes set off massive underwater landslides.
One day in the early Cretaceous period, one of those landslides collapsed down a submarine canyon in Roca Verdes, generating turbulent flows of sediment.
'Probably these landslides might have trapped the ichthyosaurs and threw them to the bottom of the canyon and covered them with sediment,' said Judith Pardo-Pérez, an associate professor at the University of Magallanes in Chile.
Want all of The Times? Subscribe.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Comet 3I/ATLAS: A Cosmic Visitor From Beyond Our Stars
Comet 3I/ATLAS: A Cosmic Visitor From Beyond Our Stars

Yahoo

time8 hours ago

  • Yahoo

Comet 3I/ATLAS: A Cosmic Visitor From Beyond Our Stars

NASA scientists have discovered a rare visitor from beyond our solar system, a newly identified interstellar comet named '3I/ATLAS,' currently speeding by on a brief cosmic tour. Comets are typically named after their discoverers – here, the ATLAS survey team. The 'I' stands for 'interstellar,' showing it came from beyond our solar system, and the '3' marks it as only the third type of this comet ever found. The comet, first spotted on July 1 by the NASA-funded ATLAS survey telescope in Chile, is only the third known interstellar object ever observed passing through our neighborhood. It arrived from the direction of the star Sagittarius and is now cruising about 420 million miles away from Earth, the space agency reported earlier this month. Don't worry, NASA says that is more than enough of a safe distance from the Earth's atmosphere. Researchers say 3I/ATLAS poses no threat to our planet, whatsoever, regardless of its proximity and rare flight path. It will remain at least 150 million miles away at all times, comfortably farther than Mars' distance from Earth. The icy comet is scheduled to make its closest approach to the Sun on October 30, when it will pass just inside Mars' orbit. In a remarkable scientific twist, astronomers have since reviewed archives from three other ATLAS telescopes, uncovering images of the comet dating back to June 14. These 'pre-discovery' images and observations are helping NASA and its researchers learn more about the rare comet's trajectory and properties. 3I/ATLAS will stay visible to ground-based telescopes through September before it swings back behind the Sun. It's also expected to 'reappear' in early December, giving astronomers a second chance to observe this cosmic visitor before it drifts back into deep space. Interstellar comets like 3I/ATLAS offer scientists a rare glimpse into materials from other star systems, potentially unlocking clues about how comets form in distant corners of our galaxy. 'This is like our chance to randomly sample what's going on in the rest of the galaxy,' University of Oxford astrophysicist Chris Lintott told NPR. 'I think the idea that we could see bits of other solar systems flying through our own really captivated the attention of a whole lot of people who started trying to work on these things.'

Ivan Navarro Maps The Cosmos And Confronts Power In His Latest Exhibition
Ivan Navarro Maps The Cosmos And Confronts Power In His Latest Exhibition

Forbes

time8 hours ago

  • Forbes

Ivan Navarro Maps The Cosmos And Confronts Power In His Latest Exhibition

Iván Navarro, The Eye, 2025, neon, wood and electrical energy, 48 × 96 × 12 in. Photo Thelma Garcia. Courtesy of the artist and Templon, Paris – Brussels - New York Stepping into Iván Navarro's 'Cyclops' at Templon gallery feels less like visiting an art exhibition and more like crossing a portal into a glowing battlefield where Greek myths collide with contemporary traumas. At once dazzling and disquieting, the solo show by the Brooklyn-based Chilean artist, on view through July 19, 2025, transforms light and myth into sculpture. Known for his hypnotic use of neon, mirrors and repetition, he draws on childhood memories of Chile's star-filled skies and the political trauma of life under dictatorship to craft works that explore power, perception and resistance. In 'Cyclops, he turns his gaze skyward – quite literally – with a gigantic neon figure inspired by ancient mythology, zodiac constellations laser-etched onto a mirror and eye charts referencing recent Chilean protests. The result is an exhibition that seduces with glowing color while interrogating the systems – both celestial and political – that shape how and what we see. He speaks about the influences behind the works in the show. The themes in your exhibition 'Cyclops' at Templon range from celestial phenomena to questions of power. What drew you to the cosmos? My interest in the cosmos started very young. I was always fascinated with telescopes, even just as toys – it all felt very mysterious. My mom used to take us outside at night to look at the stars, and actually, my dad just gave her a telescope for her birthday. She's 70! That's how much we still love looking at the sky. In Chile, especially in the north, where my father is from, the skies are incredibly clear. That region is home to some of the world's most powerful telescopes. I grew up with that sense of vastness and mystery above us. Seeing shooting stars, eclipses, reading constellations – it all leaves an impression. And now, I'm also interested in the idea of light pollution. In cities, you can't really see the stars anymore. But when you go somewhere rural or even to the beach, the sky opens up again. How did that experience translate into your work for this show? There's a piece in the exhibition called 'The Observatory'. It plays with that idea of light, but does the opposite of what you'd expect. It's a light piece enclosed in a tank, so the light doesn't spill out or create any pollution. You can only view it by peering through a peephole – like the kind you use in a door to see who's there. I think that piece might be the beginning of a new series. Sometimes there's one work in a show that sets the path for the next chapter. Iván Navarro, Shell Shock V, 2024, LED, paint, wood, mirror, one-way mirror and electric energy, 25 1/2 × 25 1/2 × 4 in. Photo Thelma Garcia. Courtesy of the artist and Templon, Paris – Brussels - New York When did celestial phenomena start appearing in your work? It's pretty recent. The first pieces were from my last show at Templon in Paris, 'Planetarium'. That was right before COVID. And when COVID hit, I couldn't work with assistants or fabricators – everything was shut down. So I had to go back to making things by hand, working in my studio alone. That isolation pushed me into this more introspective, handmade process with mirrors and painting. It became meditative. When you work like that, you can't delegate. You can't ask an assistant to do something that's meant to be unique. It doesn't work. So I started questioning the way I work – what if I step away from the computer and try to make the same image by hand? What does that change? Your monumental neon sculpture 'The Cyclops' is central to the exhibition. How did you make it? Actually, I made it alone. The sculpture is built from eight panels, so I could work on each one in my studio separately. The only part where I needed help was the installation. It's also the first major neon sculpture I've made that doesn't use mirrors and can be experienced in daylight. Usually, when I work with mirrors, I need a darkened room. But 'The Cyclops' can be shown outdoors, in a bright space or even in an office lobby. It's more flexible. It builds on a series I made before called 'Fortune', where I used fragments of recycled neon to create images of open palms. 'The Cyclops' continues that thread; there's another work in the show called 'The Eye', also made with recycled neon. What does the figure of the cyclops mean to you? The cyclops is a mythological figure that was used to explain natural disasters: lightning, thunder, those kinds of things. People needed to personify those forces. No one's ever seen a cyclops, obviously, but the idea is powerful. Natural disasters are closely tied to electricity and light, which is why I became interested in the cyclops. It's a kind of monster, yes, but it's also a symbol of someone with enormous power who uses it to control or destroy. That reminds me of dictators like Pinochet in Chile. During the dictatorship, blackouts were used to control people. Electricity became a tool of fear, even torture. So for me, the cyclops becomes both a metaphor for that authoritarian force and, at the same time, a figure of vulnerability. That duality is important. Iván Navarro, The Cyclops, 2025, recycled neon light, wood, Formica and electrical energy, 144 x 96 x 10 in. Photo Thelma Garcia. Courtesy of the artist and Templon, Paris – Brussels - New York Can you say more about that duality – how the cyclops might also be a victim? In 2019-2020, during the protests in Chile, police were violently targeting people's eyes. A lot of people lost their vision. It was horrifying – something we hadn't seen since the dictatorship. In the show, I have four 'Eye Chart' pieces. They reference those events, but also the idea of how we see or don't see. When you go to the eye doctor, you cover one eye and then the other. Maybe with one eye, you see one thing, and with the other one, you see another thing – you literally get two perspectives. For me, that connects to the cyclops again. One who sees with one eye, or perhaps loses sight altogether. There's always this tension in the work between the oppressor and the oppressed.

Fiona the Pregnant Sea Reptile's Fossil Hints at the Birth of a New Ocean
Fiona the Pregnant Sea Reptile's Fossil Hints at the Birth of a New Ocean

New York Times

time2 days ago

  • New York Times

Fiona the Pregnant Sea Reptile's Fossil Hints at the Birth of a New Ocean

About 131 million years ago, a pregnant ichthyosaur — a dolphin-like reptile of the dinosaur era — swam in seas that are now part of southern Chile. And then she died. An accomplice in the killing: the breakup of the southern supercontinent of Gondwanaland. South America, once unified with Africa and Antarctica, pulled away, and a new ocean basin called the Roca Verdes opened up. 'One of the hypotheses is that this is actually the opening of the early South Atlantic Ocean,' said Matthew Malkowski, a professor of geological sciences at the University of Texas at Austin. The geological forces that pulled apart the continents also ruptured the Earth's crust, causing volcanoes and earthquakes, and those earthquakes sometimes set off massive underwater landslides. One day in the early Cretaceous period, one of those landslides collapsed down a submarine canyon in Roca Verdes, generating turbulent flows of sediment. 'Probably these landslides might have trapped the ichthyosaurs and threw them to the bottom of the canyon and covered them with sediment,' said Judith Pardo-Pérez, an associate professor at the University of Magallanes in Chile. Want all of The Times? Subscribe.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store