Real Animals That Really Talk: Elephants

By i scribble

Kosik the Talking Elephant

Batyr the Talking Elephant

Parrots, Chimps, and Elephants?

We all know that parrots and certain other birds can learn to talk. And most of us are aware that the Great Apes, i.e., chimpanzees, gorillas and orangutans, can be taught to communicate in American sign language. But have you ever heard of a talking elephant?

I recently discovered an extraordinary story of an Asian elephant called Batyr. Born in 1969, Batyr was a lifelong resident of the Karaganda Zoo in Kazakhstan. According to Wikipedia, Batyr was separated from his mother early on, and was the sole elephant in the Karaganda zoo. He never saw or interacted with other elephants. His only companions were his caretakers at the zoo. Elephants are very social animals, so it is only natural that Batyr identified with and imitated his human associates.

No one set about to teach Batyr to talk. By all acounts, he taught himself. In fact, his unique ability was first discovered by a night watchman at the zoo. The startled man reported he had heard the elephant talking to himself. (the Daily Telegraph Newspaper, April 9,1980) Batyr is said to have had a vocabulary of about 20 words and phrases in the Russian and Kazakh languages. He talked to his attendants or to himself, but his speech was frequently witnessed by amazed zoo visitors. Translated into English, his vocabulary included his name (Batyr), “water,” “good,” “bad,” “go,” “the fool,” “yes,” “give,” “grandma,” and “penis”. Phrases included, “I’m Batyr,” “Good Batyr,” “Bad Batyr,” “Batyr is hungry,” “One, two, three,” and “F*** you”.

Not surprisingly, Batyr’s astounding purported linguistic abilities caught the attention of the scientific community. The Soviet scientist A. N. Pogrebnoj-Aleksandroff studied Batyr and made audiovisual recordings of him speaking. Dr. Pogrebnoj-Aleksandroff described how Batyr produced human speech by pressing the tip of his trunk against the bottom of his jaw (simulating lips) and also using his tongue. Batyr was the subject of various scientific articles and zoological conferences in the 1980’s and ’90’s. These were primarily, if not exclusively, in Russia and former Soviet states.

Sadly, Batyr suffered an untimely death in 1993 when his caretakers gave him an accidental overdose of medication. It seems a shame that Batyr was and is so little known and little appreciated in the United States. I suppose it can be attributed to a combination of language, cultural, and political barriers. There is also much skepticism and ongoing controversy in the scientific community where issues of animal language and animal intelligence are concerned. It is hard to fathom why so many scientists, as well as nonscientists, are threatened by evidence of animal intelligence on a level comparable to a human pre-schooler. Is anyone afraid that pre-schoolers will take over the world?

Batyr was only about 24 years old when he died–a young adult who had so much promise. I can just imagine the delightful fellow frolicking happily in elephant heaven, blowing water out his trunk, and uttering the occasional gleeful “I’m Batyr, good Batyr, one, two, three, f*** you!”

Kosik is Alive and Talking!

Kosik is an Asian elephant at the Everland theme park and zoo in Seoul, South Korea. Like his predecessor, Batyr, he reportedly taught himelf to speak (Korean) by imitating his caretakers. He uses the same trunk-in-mouth method to produce human-like speech. And hIs ability to speak was discovered in the same way. Zoo workers outside his enclosure heard him talking to himself, initially thinking a person was in the enclosure.  (See Science Magazine, 6 Oct. 2006 at sciencemag.org, and Wikipedia article, “Kosik”.)

Kosik’s vocabulary is said to include about eight words and phrases. Among these are “Yes,” “No,” “foot,” “good,” “Sit,”and “Lie down”. At the time of the videotaped newscast (Youtube video above) in 2006, a zoo spokesperson indicated plans were in the works for scientists to study Kosik’s vocalizations to determine if he understood the word meanings or was simply mimicking. Is this not a ridiculous issue? It is obvious he is repeating verbal commands used by his keepers. Dogs understand the same commands. They demonstrate their understanding by obeying the commands, as do elephants. It would be far more interesting and useful to have a speech and language therapist work with Kosik to see how much his vocabulary and expressive speech could be expanded through training. For that matter, why not experiment with training other elephants, both Asian and African, to speak?

I think most people these days have heard of elephants that paint.  It is a wide-spread and well-known phenomenon.  I suppose it is easier to teach an elephant to paint than to talk. But that does not explain the near-silence in the Western media on the subject of talking elephants. Where are the television documentaries and news segments?  If the elephant does not speak our language, does it not count? Asian elephant gets art lesson

The Worlds Most Amazing Beautiful Concert Halls And Accoustics

By Audrey Hunt

Abu Dhabi Performing Arts Centre Source: Courtesy: http://www.e-architect.co.uk

Perfect Acoustics

The dream and the goal of he who builds a concert hall is to design just the right acoustical properites. Acoustics in fact, are something you cannot see or touch. Acoustics are the most important attribute to the instruments during performance. Sydney, Australia Opera House – Dec.2008 Source: DAVID ILIFF. License: CC-BY-SA 3.0

The Concert Hall – A Musical Instrument

The concert hall is actually a musical instrument. This may shock some people. Though it makes no sound of its own, it becomes an extension by reverberating sounds., absorbing frequencies as it does so. Therefore the acoustics of a hall are crucial to conducting sound. Auditorium of Tenerife, Santa Cruz de Tenerife, Spain Source: Poco a poco via CC BY-SA 3.0

The reason for concert halls is all about sound. Sound quickly loses intensity as it fans outward in all directions. By the time an orchestra’s sound travels from stage to front row, its energy spreads to an area of 300 square yards or so, by the back row of a large hall it would stretch to 30,000 square yards if there were no walls to contain the sound. Concert Hall Grand Opulent Russia. Water painting from the 18th century. Source: http://www.interiororiginal.com

A Pioneer Of Acoustics

One of the earliest pioneers in the field of acoustics was Harvard University’s Wallace Sabine. His research and studies of reverberation and attenuation continue to influence acousticians to this day. Usher Hall, Edinburgh, Scotland. Opened on March 16, 1914. A major feature is the organ built in 1913 by Norman & Beard of Norwich. Source: By Ham (Own work) [CC-BY-SA-3.0 (http://creativecommons.org/licenses/by-sa/3.0)%5D, via Wikimedia Commons

The Three Kinds of Sound in a Concert Hall

Acousticians distinguish between three kinds of sound in a concert hall.

  • Direct sound, which comes straight to you from the stage.
  • Early sound, that comes from the first reflections to reach your ear, normally from the celing or side walls.
  • Reverberation, which graduallybuilds and decays as sound waves ricochet off every surface.

The energy in direct sound and early sound together should exceed reverberated sound. The less reverberation a room offers, the more definition it has. However, too much definition produces a dry sound so a balance is sought. The delima for the acoustician is that a room is ideal for one kind of music but can be awful for another.

Kazakhstan Central Concert Hall The building’s shape evokes the dynmism of a flower’s petals as a metaphor for the dynamism of music itself Source: Hanno Bock Creative Commons CC0 1.0 Universal Public Domain Dedication

Interior Shape of An Auditorium Influences Acoustics

Acoustically speaking, the interior shape of an auditorium plays a key role , and designers have experimented with almost everything imaginable, including fan-shaped, reverse fan, shoebox, and circular rooms. Lucerne Concert Hall Source: bing

Sounds leap from a concert hall stand and sigzag around as if in a giant, three-dimensional pinball machine. Shenghai Concert Hall

Complejo Esplanada Concert Hall Source: photobucket

Copenhagen Concert Hall Source: google

Walt Disney Concert Hall Los Angeles Ca. USA Source: bing

Music brings us to ecstacy…

Resources: Music, the Brain and Ectasy – Robert Jourdain

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WHEN MONUMENTS BECOME MYTH ERBOSSYN MELDIBEKOV

From his 2009 “Asian Weapon” series of black-and-white drawings of household items converted into weapons, to his vividly colored ceramic plates depicting camels with hi-tech rocket launchers on their backs, Erbossyn Meldibekov is known for politically loaded works that appropriate simplistic views of Central Asia as a region defined solely by barren landscapes and violent histories. Born in 1964 in southern Kazakhstan, Meldibekov lives and works in Almaty. ArtAsiaPacific talked with him about the fictional nation of Pastan, cannabis and the evolution of Soviet monuments.

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In a performance at the Venice Biennale in 2005, you introduced yourself to tourists as a native of Pastan, and they pretended they knew the country. Why do you think they did this?

I think few people care where Tajikistan or Turkmenistan is. To them, Central Asia might as well be a meteorite that exploded out of Venus.

In your 2005 performance, Pastan on the Street, and your 2004 video Pastan 2, you allow people to verbally and physically abuse you. How does this meekness relate to your views of the political situation in Kazakhstan?  

That period of protest against president Akayev was a time of optimism, and I was attempting to create protest art. But now, instead of violence and obscenity there is only laughter in my work. My rebuttal to the Pastan works is Shu-Chu (2009). Its title comes from the railway station in my hometown, where cannabis grows, and it means “I joke.” This is important, since the main quality of this herb is that it makes you laugh.

Black Square (2005), is a parody of Russian Suprematist painter Kazimir Malevich’s famous Black Square (1915)—yours is a square of live worms. What led you to appropriate this artist’s work? 

I had a passionate period of applying my revisions to other artists’ work. I wanted to take the static Malevich and connect it to the earth, like the nomads, who are in constant motion.

Wolf-Ram (2006) is a taxidermied sculpture made from the front half of a wolf and the back half of a ram sewn together in the middle. What are you implying with this piece?  

Kazakh mythology, nomads and animals play a big role in the aesthetics of most of my works. Wolves represent an idealized image of courage, bravery, skill and, most crucially, independence. Meanwhile, the ram, especially its backside, signifies stupidity and thickheadedness. With this work, I wanted to create a sort of hybrid animal because that’s what it felt like after Kazakhstan gained its independence in 1991. Many artists tried to renew these kinds of mythologies and legends, not only here, but in the Ukraine and Russia as well. I, on the other hand, tried to demythologize these themes.

 

What is your religious standpoint, especially in reference to the performance Hypermuslim (2006) in which you circumcise yourself a second time? 

The 16th-century general Mirza Muhammad Haidar Dughlat is one of the original founders of Mongolian-Islamic culture in the Kazakh homeland. I like his thoughts and teachings about Islam. I was born in the religious part of southern Kazakhstan, but I’m an artist and do not consider myself very religious. I was always interested in dead-end questions, such as these little pieces of ourselves, which we cut off, making them useless. It’s very strange.

You have become very popular in the European contemporary art world. What sort of treatment do you receive in your home country?  

In Central Asia, the people in power are allergic to artists like me. It is becoming more and more dangerous to make radical works. I am afraid to make these kinds of works there now. In Uzbekistan, Umida Akhmedova was recently taken to court [for photographs that allegedly “insult and slander the Uzbek people and traditions”], and the Russian dealer Marat Guelman was beaten up in his own gallery in Moscow in 2006 after he showed politically provocative work. Instead of blatant pessimism, now I employ irony and laughter.

All of your work so far has been about Kazakhstan. Do you feel like you will ever run out of subject matter, or is Kazakhstan an endless theme for you?

Perhaps because I was born on the mountainous border between Kazakhstan, Kyrgyzstan and Uzbekistan, I consider myself a Central Asian artist and cannot discern Kazakhstan from its neighbors. I find the political problems in Kyrgyzstan closer to my heart and more interesting than the political intrigue in Kazakhstan.

Your “Family Photo Album” series (2007–09), which you made with your brother, shows family members posing in places they visited decades ago. Here, your medium appears to be time itself.  Many of my new pieces consist of forgotten utopian stories, incidents and even gossip. For instance, there’s a monument in Uzbekistan that was changed 11 times in 90 years. At first, in 1912, it was governor-general Kaufman, but in 1917, the Bolsheviks replaced him with a red flag, calling it “Monument to Revolution.” Then it was Stalin, Karl Marx and Amir Temur. It’s absurd to change a monument every ten years. Another time, we found a picture of our sister standing in front of a monument of Lenin in Kazakhstan, and decided to photograph her there, in the same pose. The strange thing was that the background stood out more than her. Lenin’s figure was replaced by an equestrian statue of the Kazakh hero Baidiber-Batir, but in the end it looks like the Soviet military leader Kotovsky or the Red Army commander Chapaev. It was interesting to see how these Soviet symbols mutated and in some cases disappeared altogether.

BY IRINA MAKAROVA

Art: Erbossyn Meldibekov (Kazakhstan)

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The first UK solo show by Kazakh artist Erbossyn Meldibekov takes its name from the French philosopher Michel Foucault’s seminal 1966 book The Order of Things (Les mots et les choses).

The title is a play on the social, cultural, economic and political upheavals in the post-Soviet landscape of Central Asia and Kazakhstan. The country gained its independence in 1991 after the collapse of the Soviet Union.

And it uses a wide range of mediums, performance, sculpture, photography and drawing, to get its message across.

Meldibekov’s epic installations have gained much acclaim and been exhibited at international biennials, galleries and museums, but this will be his first major UK show.

Central to Meldibekov’s practice is his examination of the political, social and cultural tensions in Central Asia.

He adopts a variety of personalities, ranging from epic Mongol warrior to shaman or political prisoner, in exploring the theme.

The exhibition transforms the gallery into a cabinet of curiosities brimming with re-appropriated symbols of East and West to create objects which are at once familiar and foreign.

For example the series of traditional Iznik-style Turkish plates, the centrepiece picture of which is replaced by clichéd images of barbaric Islamic stereotypes and US army vehicles.

There is a series of drawings of Asian weapons that blur historical war vehicles with futuristic design, and a Persian carpet made entirely from the pigments of metal brushes.

And check out the striking digital photograph My Brother My Enemy (2000), top, with its imagery of brothers facing off with guns in their mouths – a statement on violence within a culture leading to self-destruction.