Showing posts with label rogue elephants. Show all posts
Showing posts with label rogue elephants. Show all posts

Saturday, 15 September 2012

Elephant No. 349: Wind-Up Robot




I can't take any credit for making an actual wind-up robot from scratch, because that would involve complicated thought, planning, and engineering skills that I don't possess. But I did come across a really cool little kit in a shop that stocks educational toys for children, and thought it would be interesting to try making a robot elephant.

I've been collecting mechanical tin toys since I was very young. In fact my first tin toy was given to me by my father when I was probably two years old: a Japanese toy with a man on a motorcycle, who actually drives around, then gets off and back on the motorcycle before driving off again. But wind-up tin toys are not robots. Today's toy is not a robot, either, but it does play one on TV—or at least in my little video below.

The word "robot" comes from the Czech word robota, meaning "forced labour". It was coined in the 1920 play R.U.R. ("Rossum's Universal Robots") by K. Čapek. Today, a robot is technically considered any mechanical device that can perform tasks automatically. Most robots still require human assistance in the form of remote controls or computer interface, although many recent robots are now able to respond to external stimuli or internal guidance systems.

Although clockwork figures date from at least the twelfth century A.D., the first actual robots—in other words, substitutes for human labour—were not invented until the middle of the twentieth century. For centuries before that, however, people had been playing with hydraulics, clockwork and pneumatics to produce working models that could perform a number of functions, usually for the entertainment and amusement of nobles. Some of the most famous of these are a fire engine and wind organ from the first century A.D., some elaborate automata that were nearly robotic designed by Leonardo da Vinci during the fifteenth century, and the Japanese karakuri of the nineteenth century, which could do things such as serve tea and shoot arrows.


Archer karakuri by Tamaya Shobei IX.
Source: http://www.karakuri.info/zashiki/index.html


As mechanical technologies improved during the Industrial Revolution, people began adapting machinery to perform some of the functions normally undertaken by people, and true robotics were born. The first remote-controlled robot, named Elektro, was exhibited at the World's Fair in 1939, and was produced by scientists at the Westinghouse Corporation.

As electronics evolved during the 1940s, autonomous robots became possible, and in 1948 William Walter of Bristol, England, introduced the world's first electronic robot. By 1954, the world's first digital and programmable robot had been invented in the United States by George Devol. Sold to General Motors in 1961, it was put to work lifting hot metal from die-casting machines in a New Jersey automotive plant.


Elektro at the 1939 World's Fair in New York City.
Photo: Scott Schaut/Mansfield Memorial Museum
Source: http://news.cnet.com/8301-17938_105-57409909-1/
elektro-1939-smoking-robot-saved-from-oblivion/


Because robots lack many of the physical limitations as humans, they can be used in extreme environments such as Space and the ocean floor, and for dangerous tasks such as bomb disposal. There are also robots to perform boring tasks such as vacuuming, mowing the lawn and even washing the floor.

In countries such as Japan, which lack enough workers for tasks such as care of the elderly, lifelike humanoid robots are being developed to take on these functions. So far, these don't appear to be entirely successful. In a video I saw a couple of years ago, a robot designed to help the elderly in and out of bed kept dropping its dummy onto the floor.


RI Man, the helper robot that wasn't always so helpful, 2007.
Source: http://depletedcranium.com/robot-human-society-we-are-so-not-there/


Although many things are called robots, most robots must have most of the following qualities:

• It must be able to interact with physical objects.
• It must be electrical.
• It must be able to do a range of activities, rather than a single motion or task.
• It must be able to process data.
• It must be able to respond to stimuli.

These days, the more a robot seems able to act on its own—although hopefully not to actually think entirely on its own—the more likely it is to be called a robot. Today, roughly half of the world's robots are found in Asia, with 32% located in Europe, 16% in North America, 1% in Australasia, and 1% in Africa. A whopping 30% of all robots are in Japan.

There is something of an East-West divide when it comes to opinions about robots. In many Asian societies, robots are seen as relatively equivalent to humans, able to function as substitute caregivers, teachers, and even pets. The general feeling about robots in the East is that the more robots advance, the better, and the idea of "a robot in every house" is not an unwelcome one.

In the West, however, people are more likely to be against the development of sentient robots, with a vague fear that they could one day replace, or at least overwhelm, humans. This fear is particularly apparent in connection with the capabilities of military robots. As these become more complex, there are concerns regarding the ability of military robots to make autonomous decisions.

Personally, I'm not sure how I feel about robots. Although I don't suffer from "Frankenstein complex"—which is essentially a fear of robots—I don't want one that will vacuum my house, lift me up, or lick my face.

A couple of years ago, a journalist friend did a televised piece on Japanese robots in which he called one of the more humanoid ones, "kind of creepy." It was indeed kind of creepy. In fact, I find even the more cuddly Japanese robots vaguely disturbing. I worked on an exhibition on Japanese innovation last year which featured a life-sized baby seal robot that made cooing noises, batted its eyes and kind of squirmed around. Some people found it adorable. I didn't. And I like baby seals.


Paro, the therapeutic baby seal robot.
Source: http://www.inhabitots.com/paro-therapeutic-baby-seal-robot/


Elephants have also inspired robotics. For more on elephant-related robotics, see my posts on scouring pads and oil pastels.

For today's elephant, I finally splashed out on one of the wind-up robot kits. I had actually looked at these kits a few times over the past couple of months, but I kept thinking that I didn't want an elephant that looked too robotic. Yesterday, however, I had a sudden vision of what my robot elephant might look like, so I bought the kit.




It comes with everything you see here.




Because all the wind-up chassis are blue, I started by painting mine silver with acrylic paint. I know acrylic paint won't last on this surface, but I didn't feel like going to another shop to buy enamel paint.




And, because this is an elephant, and there were no elephant parts in the kit, I cut out two ears, a trunk and some tusks, then painted them with silver and pink to match the silver body that I'd chosen to use.




I looked at the sheets of stickers and other bits in the kit next, and chose a few things to colour with the markers in the kit.

When I was finished, this was everything I had, ready to assemble my little robot elephant.




The photograph below shows what the body looked like when completed. In the end, I decided to leave off the tusks, and I changed the eyes to something smaller. I also decided to attach everything—except the eye stickers and mouth sticker—with the little brads in the kit, to make it look more "mechanical". I had also drawn and coloured both sides of the arms—which had been printed on only one side—so that they'd look nice if I decided to raise the arms in a "raahhr" pose.




And this was the chassis, with double-sided tape squares to attach the body.




Once it was all assembled, I decided to film it in action. It's a cheap wind-up mechanism, so only runs for a few seconds at a time, but the little video below will give you an idea.





It took me longer than I expected to make this, but that was mostly because I made extra elephant pieces, and because I kind of agonized over which stickers and pieces from the kit to use.





Although part of me wishes I hadn't added so much colour to this, it's still kind of fun. Next time I might paint everything silver, including the stickers. But for now, I like this little guy, and will probably add him to my collection of wind-up tin toys.





Elephant Lore of the Day
The Rogue Elephant of Aberdare Forest was an actual African bush elephant that terrorized villages in the Aberdare Mountains of Kenya during the early part of the twentieth century. The elephant was said to be so clever that it never attacked the same village twice.

One night, after the elephant had attacked two men, killing one of them, runners from the village went in search of big-game hunter J.A. Hunter. Although Hunter—a friend of the village chief—was tracking game with two Canadian sportsmen that day, he agreed to hunt down the elephant.

The village chief told Hunter that the elephant had been terrorizing villagers for months. It had destroyed crops, attacked people, and had now killed someone. The latest victim had not only been crushed, but had also had his limbs torn off—although it was unclear whether this was the elephant's doing, or the work of other animals.

The chief advised waiting a day or two before setting off, since the elephant was certain to strike again. And indeed it did, attacking a nearby village that very night and destroying the crops. This gave Hunter a fresh trail, which led into the deepest part of forest. Hunter came upon the elephant feeding on bamboo and too aim with his rifle. The elephant, however, was too quick for Hunter and, catching his scent, quickly took off.

The next day, the elephant was sighted in a village three miles away, tearing down a crop of trees. Following the elephant's trail into the forest yet again, Hunter and his party came across the elephant eating bamboo shoots. Scenting the humans, the elephant immediately wheeled around and charged. Hunter quickly took aim, and fired at the centre of the elephant's skull. The elephant fell to the ground, and was quickly finished off with a shot to the back of the neck.

When the elephant was examined, he was found to be a rather unhealthy specimen, with poorly formed tusks that weighed only a third of what they should. It was also discovered that there was a musket ball lodged in the nerve centre at the base of the elephant's right tusk. Hunter suspected this to be the work of an Arab ivory hunter, and believed that the pain of the bullet was what had caused the elephant to become so dangerous and aggressive.


African bush elephant, Tanzania, 2011.
Photo: Muhammad Mahdi Karim
Source: http://en.wikipedia.org/wiki/File:
African_Bush_Elephant.jpg


Thursday, 26 July 2012

Elephant No. 298: Paper Doll

 


While folding a pile of clothes yesterday, the thought occurred to me that it might be interesting to try making a paper doll. It wasn't something I'd ever done before, but it seemed like it might be relatively simple, and would involve drawing, which is more or less what I felt like doing today.

Paper dolls have actually been around for centuries. The earliest paper dolls were folded origami figures, puppets, and jointed toys like jumping jacks, and it wasn't until the late 1780s that paper dolls with changeable clothes made their debut. These were generally produced in hand-painted sets, and are occasionally seen in museum collections.


Set of hand-painted early Victorian paper dolls.
Source: http://en.wikipedia.org/wiki/File:Paper-doll-3.jpg


The first major American producer of paper dolls was the McLoughlin Brothers company. Founded in the early nineteenth century, McLoughlin Brothers was the largest American game manufacturer for over a century. The company produced sets of paper dolls for many years, until it was absorbed into the Milton Bradley company in 1920. Milton Bradley produced a new range of paper dolls, and over the ensuing decades paper dolls would become highly popular among little girls.


Sheet of paper dolls featuring silent-screen star
Norma Talmadge, from Photoplay magazine, 1919.
Source: http://en.wikipedia.org/wiki/File:Norma-DOLLS.jpg


Commercially produced paper dolls can feature celebrities, children, animals and even inanimate objects. They have been produced in books, boxed sets, newspapers and magazines, and have even been given away as advertising premiums. Although most paper dolls are printed on thin cardstock with clothes made of paper with folding tabs, there are also newer versions made of plastic or even magnetic sheets.

Today, paper dolls are still being produced by companies such as Golden Co. and Whitman, and some artists are creating art versions. There is also a sizeable market for vintage paper dolls. Hand-painted paper dolls are particularly collectible, with mint uncut sets selling for anywhere from 100 to 500 dollars. There is even an international paper doll convention held each year in the United States, attended by hundreds of people.


Frida Kahlo paper doll by Lisa Perrin, 2010.
Source: http://lisaperrin.blogspot.ca/2010/11/frida-kahlo-
paper-doll.html


For today's elephant, I started by sketching out a girl elephant on artist-quality bristol board. It took me a few sketches to get it right, because I needed her legs and arms slightly away from her body to give me room to manoeuvre clothes onto her body. I also added a half-moon shape at the bottom for the base.




When I was reasonably happy with the sketch, I went over it with a pigment liner, then heat-set it with a hairdryer.




I painted her next, using cake watercolours, then cut her out. Because I gave her a trunk that's hanging down, I took a craft knife and cut around the trunk. This would allow it to lie outside any clothes I made.






I also cut out a separate half-moon, and sliced it halfway down from the top. I then sliced the base on the main elephant halfway up from the bottom. The idea is to cut each shape only halfway, from opposite sides, allowing them to interlock and make the elephant stand up.





To make her clothes, I placed the finished elephant on top of plain white bond paper, and traced around it. This would give me the basic shape to use in sketching clothes. I drew the clothes over these outlines using a pigment liner, then set the lines with a hairdryer. You can still see my underlying body outlines and clothing sketches underneath.








I painted all the clothes next, using the same cake watercolours. When I was finished painting and they'd had a chance to dry, I made a little template for the tabs, and added tabs wherever I could.




The most important tabs are the ones at the shoulders, but I also added tabs on either side. All of the outfits were made in single pieces, except for the striped shorts and yellow shirt. When I was done, I cut out all the clothes.








Next came the moment of truth. I tried on the overalls with t-shirt first, and actually laughed when it fit perfectly. It struck me as rather silly-looking, but I was quite pleased.




I tried all the other outfits on, one by one.






Two unplanned things I particularly liked were the way the elephant showed through the puffed sleeves on the party dress, and the way a touch of red bathing suit showed when she was wearing the sailor dress.




I took a couple of hours with this whole activity, primarily because I wanted to paint everything nicely. It was very easy, however, and actually kind of fun.

A few tips if you decide to try this:

1. Make sure there is a bit of room between the arms and the body, and between the legs. This will give you room to add tabs to the clothes if needed. Also make sure the shoulders are clear to accommodate tabs. For instance, I I had to adjust my elephant design to keep the ears from touching the shoulders.

2. If you make an elephant, and have the trunk hanging down, you'll need to slice around it to allow the clothes to slip underneath. Don't slice all the way up, however, or you'll cut off the elephant's head.

3. When drawing your clothes, keep the tabs in mind. For example, the shoulders of your clothes should be flat to allow the tabs to fold securely. All of your tabs should also fold relatively tightly to the body, so you may need to adjust things like the widths of sleeves, or width of a dress, and so forth.

I'd never made paper dolls before, so I was very pleased at how well this worked out. I don't think this set would necessarily appeal to a little girl used to commercially printed paper dolls, but it might be a fun thing to create for an adult. There are no limits, after all, on the figure you create—it could be an alien sea monster if you wanted. The only thing you really need to worry about is how you're going to attach the clothes. With a pair of flat shoulders, reasonably flat sides and an interlocking base, however, you can pretty much do as you please.



 


Elephant Lore of the Day
Much is made of attacks by elephants; most of the time, however, elephants would rather flee than fight.

Solitary rogue elephants—and females with calves—are the exceptions to this rule. Male rogue elephants will often make unprovoked attacks on passersby, and will even take up a position next to a road, making it impassable to vehicles.

When an elephant charges, it will curl its trunk tightly and run at its victims. It will then trample its victims either with feet or knees, or pin the victim to the ground with its tusks. During musth, male elephants are particularly dangerous to human beings as well as to other animals, and trained elephants who go rogue are usually chained almost immediately to keep them from harming anyone.

Interestingly, elephants charge without uttering a sound, primarily because their trunks are curled. Apart from an initial shriek and the thundering of their feet, elephants charge in silence—a pretty unnerving experience, I'm thinking.

I particularly like this description of an elephant charge from a Wikipedia page on Asian elephants:
A grander animated object than a wild elephant in full charge can hardly be imagined. The cocked ears and broad forehead present an immense frontage; the head is held high, with the trunk curled between the tusks, to be uncoiled in the moment of attack; the massive fore-legs come down with the force and regularity of ponderous machinery; and the whole figure is rapidly foreshortened, and appears to double in size with each advancing stride. The trunk being curled and unable to emit any sound, the attack is made in silence, after the usual premonitory shriek, which adds to its impressiveness. The usual pictorial representations of the Indian elephant charging with upraised trunk are accordingly quite incorrect.

African elephant about to charge.
Photo: Elephant Country
Source: http://bioweb.uwlax.edu/bio203/s2007/shah_rach/


To Support Elephant Welfare
Elephant sanctuaries (this Wikipedia list allows you to click through to information
on a number of sanctuaries around the world)
Wildlife Trust of India