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Marbled Polecat

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Marbled polecat
Adult marbled polecat (Vormela peregusna) Photographer: Laszlo Szabo-Szeley ?AVESTOURS
Conservation status
Vulnerable(See text)
Scientific classification
Kingdom:
Animalia
Phylum:
Chordata
Class:
Mammalia
Order:
Carnivora
Family:
Mustelidae
Subfamily:
Mustelinae
Genus:
Vormela
Species:
Vormela peregusna
Binomial name
Vormela peregusna(Gdenst?dt, 1770)
The marbled polecat (V. peregusna) is a small mammal belonging to the monotypic genus Vormela within the Mustelinae subfamily. Vormela is from the German word Wmlein, which means "little Worm". The term peregusna comes from pereguznya, which is Ukrainian for polecat. Marbled polecats are generally found in the dryer areas and grasslands of south-eastern Europe to western China. Like other members of Mustelinae, it can emit a strong smelling secretion from anal sacs under the tail when threatened.
Contents
1 Description
2 Distribution
3 Behavior
4 Reproduction
5 Ecology
5.1 Habitat
5.2 Diet
6 Conservation status
7 Remarks
8 References
9 See also
10 External links
//
Description
Ranging in length from 2935 cm (head and body), the marbled polecat has a short muzzle and very large, noticeable ears. Limbs are short and claws are long and strong. While the tail is long, with long hair, overall pelage is short. Black and white marks the face, with a black stripe across the eyes and white markings around the mouth. Dorsally, pelage is yellow and heavily mottled with irregular reddish or brown spots. Tail is dark brown with a yellowish band in the mid-region. The ventral region and limbs are a dark brown. Female mass ranges from 295g up to 600g and males can range from 320g to 715g.
Distribution
The marbled polecat is found from south-east Europe to Russia and China. Range includes Bulgaria, Romania, Asia Minor, Lebanon, Syria, Jordan, Israel,Armenia, Palestine, Iran, Afghanistan, north-western Pakistan, Yugoslavia, Mongolia, China, Kazakhstan and north to the Altai Steppes in Siberia. In 1998 marbled polecat was recorded on the Sinai Peninsula, Egypt.
Behavior
Marbled polecats are most active during the morning and evening. Their eye sight is weak and they rely on a well-developed sense of smell. Vocalization is limited and consists of shrill alarm cries, grunts and a submissive long shriek.
Marbled polecats are solitary and move extensively through their 0.5 to 0.6 km2 home range. They generally only stay in a shelter once. When they encounter each other they are usually aggressive.
When alarmed, marbled polecats raise up on their legs while arching their back and curling their tail over their back with long tail hair erect. They also raise their head, bare their teeth and give shrill, short hisses. If threatened, they can expel a foul-smelling secretion from enlarged anal glands under their tail.
To dig, such as when they are excavating dens, marbled polecats dig out earth with their forelegs while anchoring themselves with their chin and hind legs. They will use their teeth to pull out obstacles such as roots.
Reproduction
Marbled polecats mate during March to early June. Gestation can be long and variable (243days to 327days). Parturition has been observed to occur from late January to mid-March. Delayed implantation allows marbled polecats to time the birth of their cubs for favorable conditions, such as when prey is abundant.
Litter size ranges from 48 cubs. Only females care for the young. Cubs open their eyes at around 3840 days, are weaned at 5054 days and leave their mother (disperse) at 6168 days.
Ecology
Habitat
Marbled polecats are found in open desert, semi-desert, semi-arid rocky areas in upland valleys and low hill ranges, steppe country and arid subtropical scrub forest. They avoid mountainous regions. Marbled polecats have been sighted in cultivated areas such as melon patches and vegetable fields.
Burrows of large ground squirrels or similar rodents such as the great gerbil (Rhombomys opinus) and Libyan jird are used by marbled polecats for resting and breeding. They may also dig their own dens or live in underground irrigation tunnels. In the winter, marbled polecats will line their den with grass.
Diet
Marbled polecats are known to eat ground squirrels, Libyan jirds (Meriones libycus), Armenian hamsters (Cricetulus migratorius), voles, mole rats (Spalax lecocon ehrenbergi), house mice (Mus musculus), and other rodents, small hares, birds, lizards, frogs, insects (e.g. snails, beetles, crickets) as well as fruit and grass. They are also recorded as taking small domestic poultry such as chickens and pigeons as well as stealing smoked meat and cheese....(and so on)

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Audio-Animatronics

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"Animatronic" redirects here. For the album by The Kovenant, see Animatronic (album).
Audio-Animatronics is the registered trademark for a form of robotics created by Walt Disney Imagineering for shows and attractions at Disney theme parks, and subsequently expanded on and used by other companies. The robots move and make noise, generally in speech or song. An Audio-Animatronic is different from android-type robots in that it works off prerecorded moves and sounds, rather than processing external stimuli and responding to them. Animatronics has become a generic name for similar robots created by firms other than Disney.
See also: Disney attractions that have utilized Audio-Animatronics
Contents
1 Creation and early development
2 Inner workings
3 Variations of Audio-Animatronics
4 Other uses of animatronic figures
5 External links
//
Creation and early development
Audio-Animatronics were originally a creation of Walt Disney employee Lee Adams, who worked as an electrician at the Burbank studio and was one of Disney's original Imagineers. One of the first Disney Audio-Animatronic was a toy bird Walt got in South America. It was a simple mechanical bird, and Walt decided to improve the device that moved the bird. The other was a "dancing man", which Walt himself created by hand
The term "Audio-Animatronics" was first used commercially by Disney in 1961, was filed as a trademark in 1964, and was registered in 1967.
Perhaps the most impressive of the early Audio-Animatronics efforts was The Enchanted Tiki Room, which opened in 1963 at Disneyland, where a room full of tropical creatures synchronize eye and facial action with a musical score entirely by electromechanical means. The "cast" of the musical revue used tones recorded on tape which vibrated a metal reed that closed a circuit to trigger a relay which sent a pulse of electricity to a mechanism that causes a pneumatic valve to move a part of the figure's body.
The movements of the attraction's birds, flowers and tiki idols were triggered by sound, hence the audio prefix. Figures' movements had a neutral "natural resting position" that the limb/part would return to when there was no electric pulse. The animation was all on/off moves, such as an open/closed eye or beak. On/off movement was called a digital system.
Other early examples were the Lincoln Exhibit presented at the State of Illinois Pavilion at the 1964 New York World's Fair. Also at the fair were three other pavilions featuring Audio-Animatronics. They were Pepsi/UNICEF's "it's a small world", General Electric's Carousel of Progress, and Ford's Magic Skyway.
Inner workings
Pneumatic muscles were not powerful enough to move larger objects, like an artificial human arm, so hydraulics were used for large figures. On/off movement would cause an arm to be either up over the artificial man's head (on switch), or down (off switch), but no movement in between. To create realistic in-between movement in large figures, an analog system was used. This gave the figure's limbs/parts a full range of in-between motion, rather than only two positions. The digital system was used with small pneumatic moving limbs (eyelids, beaks, fingers), and the analog system was used for large hydraulic human or animal (arms, heads) moving limbs.
To permit a high degree of freedom, the control cylinders resemble typical miniature pneumatic or hydraulic cylinders, but mount the back of the cylinder on a ball joint and threaded rod. This ball joint permits the cylinders to float freely inside the frame, such as when the wrist joint rotates and flexes.
Disney's technology is not infallible however; the oil-filled cylinders do occasionally drip or leak. It is sometimes necessary to do makeup touch-up work, or to strip the clothing off a figure due to leaking fluids inside. The Tiki Room remains a pneumatic theatrical set, primarily due to the leakage concerns Disney does not want hydraulic fluids dripping down onto the audience during a show.
Because each individual cylinder requires its own control/data channel, the original audio-animatronic figures were relatively simple in design to reduce the number of necessary channels. For example, the first human designs (referred to internally by Disney as series A-1) included all four fingers of the hand as one actuator. With modern digital computers and vast data storage, the number of channels is virtually unlimited. The current versions (series A-100) now have individual actuators for each finger, and similar improvements have spread throughout the figures.
Compliance is a new technology that allows faster, more realistic movements without sacrificing control. In the older figures, a fast limb movement would cause the entire figure to shake in a strange way. The Imagineers thus had to program slower movements, sacrificing speed in order to...(and so on)

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posted by yanglulu50 on Jun 18, 2009 9:18 AM | 0 comments
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Crissy Doll



Ideal Crissy Doll with box, circa 1969
The Crissy Doll was created in the Ideal Toy Corporation's prototype department in 1968. This auburn-haired 18inch (460mm) fashion doll was known for the ability to adjust the length of its hair so a child could choose to make the hair short or long. While having stationary foundation or base hair rooted to its head, the Crissy doll also had another adjustable thick strand or lock of hair that emerged from an opening in the top of the doll head.
Contents
1 History and Concept
1.1 Operation
2 Marketing and Production Models
2.1 Development and Innovation
2.2 Friends and Family
3 Clothing and Accessories
4 Further reading
5 External links
//
History and Concept
The creative idea and realization of a doll that rows hair originated not at Ideal, but at the American Character Doll Company. The Ideal Corporation obtained the patents for the basic mechanism when they acquired them from the American Character Doll Company in the 1960s. American Character developed and used the concept as early as 1963 in their "Pre-Teen" Tressy, and later fashion model Tressy and Cricket dolls. The patent for a grow hair mechanism awarded to Ideal in 1971 and attributed to inventors Francis Amici, Robert David, and Richard Levine is scarcely different from the original invention used in the 1963 Tressy doll.
Operation
With the Crissy doll hair fully or partially extended, turning a knob located on the doll back retracts the hair into the torso to be wound on an internal rod or spindle. The design of the knob and the body mold form a one-way ratchet which along with internal spring tension serves to hold the hair locked and stationary. Pushing and holding in a button on the doll's abdomen disengages the locking ratchet to allow the hair to be pulled back out of the Doll's Head. From a child perspective this ability to row hair was the Crissy doll main appeal, as in play, Crissy had the potential to sport various types of hairstyles by adjusting the hair to different lengths and styling the hair appropriately.
Marketing and Production Models
After the New York Toy Fair in 1969, Ideal's "Beautiful Crissy" was released to the buying public. Each production year enjoyed some new variations. Production runs of the Crissy doll early in 1969 had adjustable hair that "grew" down to the doll's feet. Later production Crissy dolls in 1969 had hair extending only to hip length. This became the standard length for the later models produced in the following years. Hair quality of both these early dolls tended to be of a coarser or wooly quality than subsequent models.
Development and Innovation
The 1970 model of the Crissy doll had better hair quality, a new aqua mini-dress and a new box design to depict her clothing. Despite these minor alterations, the 1970 Crissy was basically the same doll. The greatest landmark of 1970 is that Crissy was joined by a companion doll, Crissy's shorter 15inch (380mm) cousin Velvet. With popularity of the doll increasing accompanied by rising sales, beginning in 1971 Ideal took the initiative to modify their ever-growing Crissy line of dolls. Not only were new models added to the expanding family, but by using new designs and mechanical gimmickry the dolls started "doing things."
The 1971 "Movin' Groovin'" model in her orange jersey mini-dress and orange boots had a swivel-jointed waist. This feature enhanced play value by making the doll more agile and lifelike. This issue is often confused with the "Look Around Crissy" model. This version was released in 1972. This doll who came wearing a jewel-toned taffeta floor-length gown was different from previous Crissy models as it employed a mechanical apparatus, set in motion by pulling a pull-string. Once again, Ideal efforts were directed to create a more lifelike doll as "Look Around Crissy" doll head and waist were geared to turn and give the impression of "looking around" when the doll string was pulled.
The 1971-73 "Talky Crissy" introduced an even more lifelike doll as Ideal Crissy entered into the arena of alking dolls that could play back pre-recorded messages or phrases. A child could actuate this doll voice mechanism by pulling a pull-string and be rewarded with the random playback of one pre-recorded phrase. These alky Crissy" dolls were available in two distinct models, a 12-phrase Crissy, and a 6-phrase Crissy and these two dolls did not share the same pre-recordings.
Talky Crissy Pre-recorded messages
12 Phrase Doll
6 Phrase Doll
Hi, I Crissy.
That sounds like fun.
My hair grows.
I don think so.
I like to dress up.
Why not?
Velvet talks too.
Il tell you tomorrow.
I love you.
Il never tell.
Let have a party.
What did you say?
I have a secret.
Make my hair long.
Make my hair short.
Please dry my hair.
Set my hair please.
Brush my hair please.
Production numbers of the 6-phrase Talky Crissy's are known to be lesser than that of the more common 12-phrase dolls, however neither should be considered rare or even difficult to find today. alky Velvet dolls were only produced as 6 phrase dolls. The "Talky Crissy" doll came boxed outfitted in a floor length pink "sateen" robe and matching panties. All of the dolls equipped pull-strings had a plastic molded butterfly tied at the end of the string.
In 1973 Ideal released "Beautiful Crissy with the Swirla-Curler. This doll came packaged with a hair curling attachment designed to be inserted into the head opening. This Crissy model came wearing a one piece dress that was fashioned to look like a white and orange plaid jumper with a red-orange blouse underneath.
The final release of the standard row hair Crissy dolls designed with the aforementioned utton and knob method of adjusting the hair length came in 1974. This was "Beautiful Crissy with Twirly Beads". She came with a wired hair accessory that resembled two strands of pink and white beads, and she wore a floor length gown of pink gingham. All production models of the Crissy and Velvet dolls, except for "Talky Crissy" & "Talky Velvet" also had an African-American version doll. The Crissy doll enjoyed immense popularity for over six years. Remaining stock was sold right up through 1975.
Friends and Family
In 1970 Ideal produced another 18inch (460mm) tall doll, who shared the adjustable hair feature. This doll named "Gorgeous Tressy" was a Sears catalog exclusive. In 1971 "Posin' Tressy" also a Sears catalog exclusive was issued. These Tressy dolls are considered by some collectors as Crissy "family" dolls.
Also in 1971 Ideal released the Crissy "friend" doll, "Kerry" who was marketed as Crissy's friend. Next came "Brandi" (1972-73) also marketed as a friend/companion doll. Additionally, "Crissy's Cousin, Velvet," was recreated yearly in several issues from 1970 through 1974, all of which corresponded with the Crissy issues by year. "Crissy's Cousin", Velvet had two 15inch (130mm) tall friends, "Mia" (1971) and "Dina" (1972-73). Also considered by some collectors as a Crissy "family" doll was "Posin' Cricket" a 1971 Sears catalog exclusive.
Crissy's smallest cousin was elvet's Little Sister (1972) a 12inch (300mm) strawberry blonde child doll. This issue was a Caucasian only doll. In 1973, this doll was released again, but with her own name and new accessories. She was innamon with a Hairdoodler. In 1974, innamon with the New Curly Ribbons was released. The 1973 and 1974 Cinnamon dolls were also created in an African-American version.
One of the other members of the Crissy family of dolls was aby Crissy, a large 24inch (610mm) doll with adjustable length hair controlled by a simple pull-string. "Baby Crissy" was the size of a...(and so on) To get More information , you can visit some products about exhausthoods , , .

posted by yanglulu50 on Jun 11, 2009 10:26 AM | 0 comments
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