Showing posts with label elephant blog. Show all posts
Showing posts with label elephant blog. Show all posts

Thursday, 27 September 2012

Elephant No. 361: Rubin's Vase Illusion




I had always imagined that this kind of design would be a fairly easy thing to produce, so I thought I'd try it for today's elephant.

Rubin's Vase—also know as the Rubin Face or Figure-Ground Vase—is a famous image featuring a pair of two-dimensional forms, which can be viewed in two different ways. Developed sometime around 1915 by Danish psychologist Edgar Rubin, a selection of these types of images was later published in his book Synsoplevede Figurer ("Visual Figures"). The most successful of these was the vase, which has since been widely reproduced and imitated.


The original Rubin's vase illusion on the left, with an edited version on the right to
make the border more obvious.
Source: http://en.wikipedia.org/wiki/File:Rubin2.jpg


The idea behind the vase illusion is this: when two shapes share a common border, the border becomes the thing that guides perception of the two shapes. This gives the viewer two possible interpretations of the image, although the brain can maintain only one at a time. This is because the border can only be seen as belonging to the central image or the side images, but not both at the same time.

Our brains instinctively classify what they see by assessing which object surrounds which. If a coin is lying on the ground, for example, you would likely pay more attention to the coin, and less attention to its surroundings. The brain thus naturally normally sees "figure" rather than "ground".

In a Rubin's vase image, however, there is no clear distinction between figure and ground, and both have equal validity. The brain must thus begin shaping what it sees. When the brain tries to see the entire design as a whole, without fully recognizing either image, it gets confused and starts discarding information until a pattern can be seen. In Rubin's day, images such as this were accordingly used as diagnostic tools.



Some people see simple columns in the photograph; others see pairs of
leaning figures.
Source: http://www.moillusions.com/2006/04/people-trapped-inside-wall.html


To produce an effective Rubin's vase picture, the composite images should be flat, with little or no texture. Most modern illusions of this sort involve the traditional vase, with matching faces on either side, although there are more elaborate versions which involve fully painted scenes.

For today's elephant, I thought I'd produce two versions: one with two elephants facing one another, and one with a bunch of interlocking elephant shapes.

I thought it would be easy to produce these, but neither one was particularly simple. The one with two elephants facing one another was nigh on impossible, as you can see from my final paltry attempt.

I tried every angle of elephants, every shape of elephants, and every section of elephants, to try and get something reasonable. Because of the tusks and relatively smooth shape of the trunk, the vase idea didn't work, and even the insertion of an abstract elephant in the negative space between two elephants took some doing.

I eventually got two sketches that I thought would do.





The image with two elephants facing one another was simple to colour in. The one with six stylized elephants required grey in addition to black and white.




I don't love either of these and, having exhausted every design I could think of to arrive at the version with two facing elephants, I don't think I'll be trying this again anytime soon. At least not with elephants.





Elephant Lore of the Day
Elephants like to swim, but tend to grow restless on sea voyages. In 1933, Princess Alice, a circus elephant in Australia, was being transported by steamer, along with a great many other animals. Swaying restlessly on deck, her feet chained, she was clearly bored out of her mind.

Feeling around with her trunk for something to do, Alice discovered an interesting tap. She played with it for a while, until she figured out how to turn it. It happened to be a tap controlling the supply of steam to one of the ship's winches, so when Alice turned it, it released the winch drum. The clatter of the spinning drum brought alarmed deckhands running to the scene.

The tap was quickly turned off, and order was restored. As soon as everyone had gone, however, Alice turned the tap on again. As one report said, "the wicked gleam in her eyes suggested that she was enjoying the commotion." Alice did this so many times that an engineer ultimately spoiled her fun by turning off the supply of steam from below.

Later, this same engineer was dozing in his cabin, when a snake-like object floated through the porthole, hovering near his head. Leaping out of his bunk in shock, he discovered that it was an elephant's trunk.


Alice at an amusement park known as Wonderland City, Sydney, Australia, ca. 1907.
Source: http://circuszooanimals.blogspot.ca/2011/04/princess-alice-
lady-of-wonderland-city.html


To Support Elephant Welfare
Fauna & Flora International



Thursday, 13 September 2012

Elephant No. 347: Jellies




Some of my friends and family view gelatin desserts with fear and loathing, but I kind of like them. I don't really care for things like lime gelatin with shredded cabbage in it, and tomato aspic will never knowingly pass these lips again, but regular fruit flavours—even with fruit in them—are something I don't mind in the least.

Gelatin is made, rather revoltingly, from collagen that is extracted from the bones, connective tissues and intestines of animals. These are boiled down and clarified, and in modern times, the final result is dried and powdered.

Gelatin for desserts was popularized in Georgian and Victorian England, when confectioners produced dazzling jelly desserts, usually in large moulds. At the time, gelatin was sold in sheets and, before it could be used, had to be purified. This time-consuming process meant that gelatin desserts were usually only served in wealthy households.


Victorian jelly mould featuring a lion.
Source: http://www.bidorbuy.co.za/item/34626098/JELLY_MOULD_Depicting_a_
Lion_Victorian_Iron_and_tin_plated_copper.html


In 1845, American industrialist Peter Cooper was granted a patent for gelatin powder. Some forty years later, the formula was sold to Pearle Wait, an American carpenter and cough-syrup manufacturer. Wait and his wife May added lemon, orange, raspberry and strawberry flavourings to the powdered gelatin, and in 1897 gave it the name "Jell-O".

The Waits were unable to successfully market their invention, so in 1897 they sold the business to their neighbour Orator Francis Woodward for $450. Woodward and his Genesee Pure Food Company also struggled in the early years to sell the product. In 1902, he decided to take out ads in the Ladies Home Journal magazine, claiming that Jell-O was "America's Most Famous Dessert". He was stretching the truth, to say the least, and Jell-O remained a minor success for a few more years.

In 1904, however, the Genesee Pure Food Company sent out a massive salesforce, whose representatives distributed free Jell-O cookbooks. At the time, it was an unusual technique, but it worked. Within ten years, new flavours had been added, and Jell-O had been launched in Canada. The brand also acquired celebrity testimonials and recipes, including one featuring Ethel Barrymore. Some ads were even illustrated by artist Maxfield Parrish.


Jell-O advertisement, illustrated by Maxfield Parrish, 1921.
Source: http://www.bonappetit.com/blogsandforums/blogs/badaily/2012/03/
coke-modifies-caramel-color-to.html


In 1923, the company launched a version with artificial sweetener, known as "D-zerta", and by 1927, the Genesee company had merged with the Postum cereal company and Birdseye frozen foods to form the General Foods Corporation. By the early 1930s, American cuisine had come to embrace the idea of jellied salads, prompting the company to introduce lime Jell-O, which was thought to complement the types of things that were added to aspics and salads. They even introduced savoury flavours such as seasoned tomato, celery and Italian. These have since been discontinued.

In 1934, comedian Jack Benny became the spokesman for Jell-O, and the J-E-L-L-O five-note jingle—still in use today—was created by the advertising agency Young & Rubicam. Over the next several decades, gelatin desserts grew in popularity, largely because they were quick to prepare, and were actually a reasonable source of protein.


Advertisement for Jell-O Freezing Mix, featuring Jack Benny, ca. 1935–1940.
Source: http://metalmisfit.wordpress.com/2010/04/03/jack-benny-for-
jell-o-freezing-mix-ice-cream/


Between the late 1960s and the mid-1980s, sales of gelatin desserts declined. Taking a proactive approach to this downturn, Jell-O's parent company—now Kraft Foods, following another merger—revisited earlier recipes, and came up with new ways to use gelatin dessert mixes, from firm snacks like "Jell-O Jigglers" (which is what I made today), to "sparkling" Jell-O made with carbonated drinks, to elaborate desserts and cakes. Others have added to the repertoire with the alcohol-laced "jello shot".

Today, the Jell-O brand alone sells about 300 million boxes in the United States each year. Many other companies around the world also produce flavoured gelatin, often in exotic flavours. In my own neighbourhood, there are Chinese groceries that sell gelatin powder in mango, lychee, green tea, rose, and hold-your-nose durian.


Typical savoury gelatin salad, staple of many family reunions and social gatherings.
Source: http://www.southernbellesimple.com/2010/03/speak-southern-
and-carry-jell-o-salad.html


Gelatin desserts are very simple to prepare. All you need is boiling water to dissolve the powder, an equal amount of cold water, and a container or mould of some sort. You also need time: it takes about eight hours to set the gelatin in a mould or bowl to reasonable firmness. To keep gelatin firm, it should be kept refrigerated, as heat will generally cause it to "melt".

Gelatin dessert mixes can accommodate a wide range of additives, from cabbage and fruit, to bizarre objects such as staplers and nuts and bolts. It can be layered, moulded, whipped, frozen, carved and cut. There are really only two things to worry about when playing with gelatin. The first is making sure that you don't inadvertently add extra liquid. The second is that, because gelatin is protein-based, you can't add foods containing enzymes that break down protein. These include fresh pineapple, papaya, kiwi and ginger root.

By the way, "Jell-O" is a brand name, although it's also become something of a generic term. Out of respect for trademarks, however, I've used "gelatin dessert" in this blog. Even though I mostly used actual Jell-O for today's blog activity.

For today's elephant, I made an extra-firm version of gelatin dessert, using about one-quarter the water. Although I've never tried this, it supposedly makes the resulting gelatin firm enough to pick up with your hands.

I didn't really use a recipe for this, except to note that you use only one-third to one-quarter of the water the box calls for. You also use only boiling water to dissolve the powder, and no cold water at all.

Because I wanted a rainbow of colours in my final jellies, I bought six "colours" of gelatin powder: red, orange, warm yellow, green, blue and purple.




I boiled some water, and dissolved each powder.





I had decided to make two types of jellies: the kind that are cut from a sheet of gelatin with a cookie cutter, and little moulded animals. For the moulded version, I used the candy moulds I'd used to make elephant chocolates months ago. These also feature Bactrian camels and hippos, so I'd end up with ten moulds of each animal when I was done, since I planned to fill them all.






This used up far less of the gelatin than I thought it would, so I pulled out several cookie sheets. Unfortunately, one four-serving package isn't enough to fill a cookie sheet, so I blended a couple of colours/flavours on some of the sheets.

I then left everything to set for several hours.

When I went to unmould things, it was so chaotic and awful that it ended up being hysterically funny. Some of the powders didn't really jell very well, so they couldn't be cut with a cookie cutter. As for the little bits in the mould, while they looked pretty, they wouldn't come out of the mould intact. In some sources it suggests spraying the mould with cooking spray first, but unmoulding should work just with hot water, so that's what I tried.

For the moulds, I tested the camels first, but I couldn't make them come out intact, no matter what I tried. I put the moulds in hot water for about 15 seconds, which is the recommended time, but that only made them too soft to slide out. I tried chilling them again, thinking that this would make them more solid and easier to peel out. That didn't work either.

Next, I actually put one set of moulds in the freezer for 15 minutes. I didn't want it to form ice crystals, because I've found in the past that freezing breaks down the gelatin. But I thought that, if they were extra cold, they might slide out well when placed briefly in hot water.

I discoverd that freezing, even briefly, turns gelatin desserts into a kind of paste that is even less firm than the refrigerated version. I put them back into the freezer, thinking that I might be able to turn them into ice cubes that I could unmould. The answer is no, I couldn't. I finally gave up on the idea of pretty little moulded jellies.

I turned my attention now to the cookie sheets. I dipped each cookie sheet in warm water, then used a smallish cookie cutter. To lift the individual elephants, I used a cake lifter, which worked fairly well to separate the elephants from the larger mass. They were all, however, a little raggedy at the edges. I don't know if it was the plastic cookie cutter in lieu of metal, or if I needed to do something differently. Oh well.




I honestly had visions of lovely jewel-like jellies from today's activity, but I ended up with a plate of strangely-coloured elephants that were also not as firm as I'd expected and somewhat misshapen from the removal process. And I was deeply disappointed by the little moulded ones. I've seen pictures of beautiful little moulded beans and Easter eggs, so I have no idea what went wrong. I can't imagine you would add even less water, as the amount of water I used barely dissolved the powder.

In the end, it didn't really matter. This was a bit like a science experiment for me, and now I know that it's not something I need to try again. And, despite a sticky rainbow-hued kitchen, I still don't hate gelatin dessert. But I don't think I'll make a bowl of the stuff again anytime soon.





 
Elephant Lore of the Day
This rather endearing story comes from southern India and the Arignar Anna Zoological Park. 
Starting in late 2009, the zoo began rescuing orphaned elephant calves from nearby forests. Because orphaned elephants need a great deal of care and affection, mahouts and their children began caring for the elephants around the clock. 

The bond between the children and the orphaned calves has been particularly strong. The elephants shower with the children, play soccer with them, and even take them to school. The youngest elephants will also only go to sleep when the children snuggle up to them and rub their backs.

The day starts with the elephant's morning bath, during which the children scrub down their charges. The elephants actually come to the pool on the dot of 7:00 a.m. for their baths, where they wait for the children. The children generally get a soaking as well, particularly from 14-month-old Urigam, who likes to grab a bucket of water and pour it over his favourite child, Lavindya.
 
Breakfast comes next, with the children helping to feed the orphans a blend of milk, coconut water, and glucose. During the day, the adult mahouts feed the elephants watermelon, bananas and sugarcane as well, to help build up their strength.

There is no schoolbus for these young children, so when it is time to go to school, they hop onto the backs of the elephants. The elephants even carry the children's schoolbags and lunch containers in their trunks. 
 
 
Nandini and Lavindya ride home from school on Sharon, 2010.
Photo: © Barcroft
Source: http://www.dailymail.co.uk/news/article-1271132/Orphaned-
elephant-calves-children.html
 

After school, the elephants play soccer with the children. Sometimes the elephants even run through the village with the children, either chasing them or playing tag.

Zoo staff firmly believe that, without this friendship and love, the orphaned elephants would likely have died soon after their rescue.

Although the zoo is funded by Government of India, the zoo is currently raising funds to build a rehabilitation centre for a growing number of orphaned calves. More and more calves have become separated from their parents in recent years, often due to the killing of their parents by trains, vehicles or poachers. Others simply get lost and divided from the herd. The first of the zoo's orphaned elephants was found simply wandering on her own in the forest, with no adults anywhere in the area.


Nangopal and Lavindya napping with the elephant calf Giri, 2010.
Photo: © Barcroft
Source: http://www.dailymail.co.uk/news/article-1271132/Orphaned-
elephant-calves-children.html


 

Saturday, 8 September 2012

Elephant No. 342: Clothes Pegs




I bought a set of six clothes pegs a few days ago, thinking I might use them for my stacked wooden boxes elephant. Then I realized that I could paint them instead.

Wooden clothes pegs were created by Jérémie Victor Opdebec in the early nineteenth century. His early design had no springs, as a clothespin does. Instead, it featured two wooden prongs that were close enough to grip clothing on a clothesline. In England, the production of clothes pegs later became associated with gypsies, who fashioned them from small lengths of wood such as ash or willow.

By 1853, a new design had emerged. Invented by David Smith of Vermont, U.S.A., these new "clothespins" were formed of two pieces of wood, held together with a spring. By pinching the two ends of wood together, the clothespin could be opened. From that time to this, the designs for both clothes pegs and clothespins have remained virtually unchanged. 

Clothespins have also found their way into spheres well beyond the laundry room. Artist Claes Oldenburg, for one, created a large clothespin sculpture, which is located in Philadelphia across from City Hall. There is also a 1.5-metre (5-foot) clothespin-shaped grave marker in the Middlesex, Vermont cemetery, marking the resting place of David Smith.


Clothes pin by Claes Oldenburg, 1976, located in front of
City Hall, Philadelphia, U.S.A.
Photo: Spike Brennan, 2007
Source: http://en.wikipedia.org/wiki/File:City_hall_and_
clothespin.JPG



Clothespins are also commonly used on film sets. Used to attach gel filters to the "barn doors" of hot lights, clothespins are valued for their inability to conduct heat, making them safe to touch—unlike the lights. Given nicknames such as "C47", "47", "bullet", "ammo" or "peg", they are often carried in rows on crew members' belts, making them look a little like cartridge belts. The wooden pieces are also sometimes removed and reversed, resulting in a "C74".


A "C74" on the left and a "C47" on the right. The "C74" is simply a reversed
version of a standard wooden clothespin. The C47 is generally used to attach gel
filters to movie lights, and the C74 is used to remove scrims.
Source: http://freshcoldproduce.tumblr.com/post/22956595875/film-
making-tips-and-tricks-use-the-c47-to-clip


The name "C47" was actually coined in 1984 on a shoot in Ohio. Monte Sanborn and Chuck Dutrow came up with the name to give the client confidence in the professionalism of the production company, since "C47" sounded better than "clothespin". The C was for "Chuck", and 47 was Monte's lucky number.

Because of their shape, one-piece clothes pegs are often used in the production of stringed instruments such as guitars and mandolins, to glue on kerfing.

Clothes pegs are often also painted as a form of folk art or craft. 


Painted clothes pegs with pom-poms by Anjie, 2012.
Source: http://pompomemporium.com/blog


For today's elephant, I had six clothes pegs. I started by painting them all a uniform grey with acrylic paint. It took nearly 90 minutes to paint these, which I thought was a bit much.




At this point, I wasn't quite sure how to proceed. The general shape of a clothes peg doesn't really correspond to an elephant's shape. The peg is long and skinny, with a tiny round top, and no ears.

Eventually, I thought I had a basic design figured out, so I painted black outlines on each of the six pegs, using a thinned grey-black. This also took an inordinate amount of time. I made an executive decision to complete only two of these today.




Next, I painted some pink in the ears, at the tip of the trunk, and on the toenails.




They were now ready to be dressed. I thought they might look interesting with some fancy clothes and a bit of gold, so that's the route I took.






In the end, I was happy with the way these turned out, but painting six of them would have taken me more time than I wanted to spend today. The hardest part was sketching the elephant outlines onto each of the grey clothes pegs. Adding the bits of pink took very little time, and adding clothes took less time than painting the original outlines. It was also more fun.






I'm not sure what purpose these will serve in my household. Maybe I'll use them to clip papers together or something. They are kind of cute in real life, however, and at some point I'll definitely paint clothes on the other four.






Elephant Lore of the Day
Although elephants face significant danger in some parts of Africa, sometimes they luck out. That doesn't mean, however, that they've forgotten.

Lominyek—whose name means "the lucky one" in Kenya's Samburu dialect—came to the David Sheldrick Wildlife Trust in July 1996 with a bullet hole in his leg. The hole had been caused by a ricochet from one of the many bullets that had killed his mother.

Lominyek was a victim of tribal violence in northern Kenya, where the Samburu people are locked in constant combat with Somali bandits. As a result, Lominyek had grown up in an area in which all humans are seen as the enemy.

When he arrived at the shelter, it was discovered that the bullet was still lodged in his leg, so he was sedated and the bullet was removed. As soon as he came around, however, the first thing he wanted to do was kill any human in sight. He launched himself at one of the keepers, who was watching over Lominyek during his recovery. The keeper managed to leap over the partition into an adjoining stable just in time. After several attempts to break down the door, Lominyek eventually calmed down.

The next morning, staff let two younger orphans into Lominyek's stable. They rumbled their greetings, and were eager to show him the ropes. By sunrise the next day, the three were fast friends. When they emerged from the stable and Lominyek found himself once again among humans, however, he trumpeted wildly and charged off into the bush—with his two new friends in tow, and keepers bringing up the rear.

Several hours later, much to Daphne Sheldrick's astonishment, Lominyek reappeared, escorted by the two younger elephants, with keepers following at a distance. Unfortunately, it was also the hour in the day when tourists are allowed into the shelter to watch the orphans' noon mudbath.

On this particular day, a large crowd had turned up, and staff were apprehensive. Would Lominyek panic again, and perhaps trample several visitors? It seemed, however, that Lominyek's new elephant companions had managed to let him know that there was nothing to fear from the humans now crowding around him. Taking his cue from the others, Lominyek hesitantly offered visitors the tip of his trunk. He withdrew his trunk as soon as anyone touched it, and his ears went up to signal his anxiety, but he remained calm and well behaved.

When Lominyek was released into Tsavo National Park five months later, he was thrilled to scent other elephants. As soon as he saw one of the older females, however, he ran up to her and began head-butting her in punishment. It is thought that Lominyek may have had a big sister who was similar in size, and that he was expressing his displeasure at the memory of his sister's abandonment when their mother was killed.

Lominyek's story has a happy ending however. Today, at the age of 17, he has become an established member of the wild Tsavo East elephant herd.



Lominyek with Daphne Sheldrick and one of the keepers, July 1996.
Source: http://www.sheldrickwildlifetrust.org/asp/orphan_profile.asp?N=31


To Support Elephant Welfare

Wednesday, 5 September 2012

Elephant No. 339: Stacked Wooden Boxes




I've always been drawn to boxes and other containers, so when I came across an entire display of inexpensive wooden boxes in a discount store, I of course began playing with them to see if I could make an elephant.

Since there's not much—or rather too much—I can say about boxes or wood, I'll just describe today's activity here.

These are the two boxes I bought.




And these are all the other wooden bits I bought to dress up the basic shape and make it look more like an elephant. Although I knew exactly how I was going to attach the two boxes, I didn't really have any idea how I was going to add ears and the like, but I was sure something would come to me, and I wanted to be prepared.




Using a glue gun, I stuck the smaller box on top of the larger one. This formed the head and body.




Bearing in mind that I wanted to be sure that both boxes would be functional, I was careful about how I attached various accents. I started with the ears, using a series of little wooden spoons. I used six on each side, but didn't worry about the sides matching one another precisely.




I added one spoon down the front next, to serve as a trunk.




Because the trunk was so flat, I added a couple more layers. I also added two small pieces for tusks.




I added a similar small piece to the back for a tail.




Finally, I cut four small pieces of dowel into quarters, bundling them together to form legs.




I then glued all four legs to the bottom of the lower box.




To finish up, I added some pieces on top of the head as a sort of headdress. I hadn't really planned to do this originally, but there was an ugly gap in the veneer on top of the box, so I wanted to cover it.




The elephant was now assembled and ready to paint.





I began by painting almost everything with a medium grey.




Next, I painted pink inside the ears and on the toenails.




I shaded some of the grey next, then added black for eyes and at the end of the tail.





To finish the painting, I used bright colours on the headdress, along with some gold for a few accents.




Along the way, I also tested the boxes, to make sure they still opened and closed easily.





I was a little surprised that I ended up liking this. Before it was painted, I thought it was weird and likely to be quite ugly. Once it was painted, however, I thought it was rather fun. It took me about an hour to design and glue everything, and another hour or so to paint it, so it also wasn't a significant investment of time.

It cost me less than three dollars for the two boxes, so the quality isn't great, and I probably should have sanded everything before painting. But I'm very happy with the final result—particularly because I can also stow things inside it.




Elephant Lore of the Day
Elephants sometimes end up trapped in unusual confined spaces, often as the result of some misadventure.

One day in 1884, a troupe of circus elephants was parading up the busy market thoroughfare of Fortess Road in London's Kentish Town. Suddenly, two of them spooked. This, of course, caused the rest to charge off after them, and soon there were four elephants on the loose in London.

Running down Cathcart Hill, they veered off onto Pemberton Gardens—where two of them promptly fell into a basement. Wedged in rather tightly, there was no way the elephants could climb out on their own. This caused quite a sensation, as the sight of elephants in a household cellar isn't something you see every day.

Eventually someone arrived with rope and a winch, and the elephants were pulled free. They quickly rejoined the other elephants, which had already been corralled by their keepers, and the circus parade continued.


Album page featuring an illustrated version about the runaway elephants,
The Graphic, 1884.
Source: http://i.imgur.com/q45Qd.jpg



To Support Elephant Welfare