Camouflage and Color • Study Guide

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Camouflage and Color • Study Guide This webisode was developed specifically for use in education to help teach curriculum-based ocean concepts. In this webisode, Jonathan explores marine animals’ use of color to survive, including not just camouflage techniques, but aposematic coloration and ways that animals use color to attract a mate or stand out. Objectives Discussion for after watching the program 1. Introduces viewers to various ways color can be used for survival in the marine 1. The frogfish is an ambush predator. What environment. is an ambush predator? What other ways might animals get their prey? 2. Shows examples of the different kinds of animals using camouflage, aposematic 2. Why do you think some animals in the coloration and other forms of color and ocean want to blend in, but others want to camouflage. stand out? 3. What is mimicry? Other than the examples Questions for before watching the given in the film, can you think of other program examples of mimicry? 1. What is camouflage? How is it often used by 4. What are the two main reasons animals use animals? Give some examples of animals camouflage?(Hint: has to do with being a that are camouflaged. predator or prey). 2. What other ways might animals use color to 5. A nudibranch has aposematic camouflage. survive, other than camouflage?(Hint, think What does that mean? of a peacock). 6. Internet research: How does an octopus 3. Can fish have camouflage? What about accomplish changing the color of its skin? sharks? Join Jonathan Bird on his underwater adventures at www.blueworldTV.com!.

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On Visual Art and Camouflage
University of Northern Iowa UNI ScholarWorks Faculty Publications Faculty Work 1978 On Visual Art and Camouflage Roy R. Behrens University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©1978 The MIT Press Follow this and additional works at: https://scholarworks.uni.edu/art_facpub Part of the Art and Design Commons Recommended Citation Behrens, Roy R., "On Visual Art and Camouflage" (1978). Faculty Publications. 7. https://scholarworks.uni.edu/art_facpub/7 This Article is brought to you for free and open access by the Faculty Work at UNI ScholarWorks. It has been accepted for inclusion in Faculty Publications by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. Leonardo. Vol. 11, pp. 203-204. 0024--094X/78/070 I -0203S02.00/0 6 Pergamon Press Ltd. 1978. Printed in Great Britain. ON VISUAL ART AND CAMOUFLAGE Roy R. Behrens* In a number of books on visual fine art and design [ 1, 21, countershading makes a 3-dimensional object seem flat, there is mention of the kinship between camouflage and while normal shading in flat paintings can make a painting, but no one has, to my knowledge, pursued it. I depicted object appear to be 3-dimensional. He also have intermittently researched this relationship for discussed the function of disruptive patterning, in which several years, and my initial observations have recently even the most brilliant colors may contribute to the been published [3]. Now I have been awarded a faculty destruction of an animal’s outline. While Thayer’s research grant from the Graduate School of the description of countershading is still respected, his book is University of Wisconsin-Milwaukee to pursue this considered somewhat fanciful because of exaggerated subject in depth.
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LS28 Camouflage and Mimicry Follow up Student #2
Follow-up Activity: For Students Life Science 28: Camouflage and Mimicry Introduction: In this lesson, camouflage & mimicry were explored as examples of adaptations adopted by animals to increase their chances of survival. What can an animal do to keep from being a predator's dinner? To survive, some animals use camouflage so they can better blend in with their surroundings. Camouflage is a set of colorings or markings on an animal that help it to blend in with its surroundings, or habitat, and prevent it from being recognized as potential prey. Activity: Candy Camouflage In this science activity, you and your friends will become the hungry predators and you'll hunt for different colored candies. But it may not be as easy as it sounds—some of your prey will be camouflaged by their habitats. Are you ready for the challenge? Materials: • Six plastic bags (one bag for M&Ms; 5 bags for Skittles, separated by color) • Plain M&Ms; at least 10 of each color (at least two 1.69-ounce packages may be needed) • Skittles; at least 60 of each color (one 16-oz package) • Metal pie tin or other deep plate • Cups for collecting candies during the hunt; one cup per predator • Timer • Data charts (attached) • 2-4 Volunteer predators to be hungry M&Ms-feasting birds Preparation: 1. Place 10 M&Ms of each color (yellow, blue, green, brown, red, orange) into one plastic bag 2. Place 60 Skittles of each color (orange, green, red, yellow, purple) into separate plastic bags. This means you will have 5 separate bags of Skittles: one bag containing only red, one bag containing only orange, one bag containing green, one bag of purple and one bag of yellow) 3.
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Predation by the Spider Tidarren Sisyphoides (Walckenaer, 1841) on the Ringneck Coffee Snake Ninia Diademata Baird & Girard, 1853 in Veracruz, Mexico
Herpetology Notes, volume 14: 301-302 (2021) (published online on 09 February 2021) Predation by the spider Tidarren sisyphoides (Walckenaer, 1841) on the Ringneck Coffee Snake Ninia diademata Baird & Girard, 1853 in Veracruz, Mexico Angel Ivan Contreras Calvario1, Manuel de Luna2,*, Abigail Mora Reyes1, and Xavier Contreras Calvario3 The Ringneck Coffee Snake Ninia diademata Baird & from the spider’s web, the snake spasmed and appeared Girard, 1853 is a very small, fossorial dipsadid (up to somewhat rigid. It was collected while still alive but 42 cm in total length). It has a solid black dorsum with died overnight. Both snake and spider were deposited a pale dorsal collar in the neck area and 83–106 and 73– in the herpetological and arachnological collections, 98 subcaudal scales in males and females, respectively. respectively, of the Universidad Autónoma de Nuevo These characteristics differentiate it from its only other León (voucher numbers UANL 8449 for the snake and Mexican congener, the Redback Coffee Snake N. sebae FCB-ATHER 144 for the spider). (Duméril et al., 1854), which has a red dorsum with a The spider was later identified as a female Tidarren black collar in the neck area, often possesses incomplete sisyphoides (Walckenaer, 1841) (Araneae: Theridiidae) black bands on its dorsum, and has fewer subcaudal (Fig. 1B, C) using Levi’s (1970) keys. There are various scales (41–71 in males, 37–60 in females; Heimes, 2016). recorded instances where theridiid spiders have taken Ninia diademata occurs in eastern as well as southern vertebrate prey many times larger than themselves, Mexico, excluding the Yucatán Peninsula, as well as the including snakes (Beaman and Tucker, 2014; Davis et Central American countries of Belize, Guatemala, and al., 2017; Rocha et al., 2017; Nyffeler and Vetter, 2018) Honduras.
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Mimicry - Ecology - Oxford Bibliographies 12/13/12 7:29 PM
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Adaptations for Survival: Symbioses, Camouflage & Mimicry
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Adaptations for Survival: Symbioses, Camouflage
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OBITUARIES Sir Edward Poulton, F.R.S
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How Discoveries in Papilio Butterflies Led to a New Species Concept 100
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Mimicry and Camouflage – Wasps to Tree Bark
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The Onset and Ontogeny of an Integrated Antipredator
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Liolaemus Multimaculatus
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Camouflage and Surrealism
Ann Elias Camouflage and Surrealism amouflage in the Twenty-first century is a subject and practice of military science, biological science, culture and society. All are contexts in which concealment and deception—the conceptual underpinnings of Ccamouflage—find physical, visual and psychological expression. Camouflage’s ever-increasing associations today with war, nature, and everyday life are apparent in the global escalation of national military patterns, in intensifying interest in the chemistry and physics of animal behaviours and colours, in expanding cooption of military aesthetics for street fashion, and in the growing popularity of camouflage as a conceptual tool for cultural analysis.1 The word itself gradually spread from French into all languages after the First World War (WWI) when France, the first nation in military history, established a formalsection de camouflage.2 By 1925, ‘camouflage’ was increasingly used to identify animal concealment and deception, science’s terminology having become enmeshed with military lingo. Before the war, however, common biological terms were ‘mimicry’ and ‘concealing coloration’, indeed the very terms and natural phenomena that were brought to military attention by naturalists and scientists, including Abbott H. Thayer, for the development of camouflage in WWI.3 This essay is about intersections of nature, art and war but with an emphasis on how post-war European art was impacted by what Paul Fussell called ‘the new stylish foreign word camouflage’ and also by camouflage aesthetics.4 Roy R. Behrens has written extensively on this subject, but Behrens aside there is surprisingly little investigation of camouflage in relation to the European avantgarde of the 1920s and 1930s.
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