Soup Cans Research Articles

Evaluating the “Catch‐Can” Test for Measuring Lawn Sprinkler Application Rates1

Abstract: The effectiveness of measuring lawn sprinkler application rates using the catch‐can test was evaluated. A survey of sources recommending the catch‐can test for measuring application rates show that catch‐can test procedures differ in the collector type, collector placement, number of collectors, and test duration. Analyses of catch‐can tests were performed to address these procedural differences, with emphasis on the type and number of collectors required to provide a reasonable level of confidence in test results. The accuracy of the catch‐can test generally improves as the number of randomly placed collectors increases. In order to achieve an accuracy of ±25% for 90 out of 100 catch‐can tests, the number of randomly placed collectors required ranged from 6 to over 50 for hand‐move systems, while for in‐ground systems, the number of randomly placed collectors required ranged from 2 to 8, depending on the pressure and percent overlap of the water distribution pattern. As long as a reasonable number of collectors were used when performing a catch‐can test, no consistent differences were observed in catch‐can test results due to type of collectors when using tuna fish cans, soup cans, or coffee mugs.

Soup Cans and Love Slaves: National Politics and Cultural Authority in the Editing and Authorship of Canadian Pulp Magazines

Soup Cans and Love Slaves: National Politics and Cultural Authority in the Editing and Authorship of Canadian Pulp Magazines

Occupational Embeddedness during a Reaching and Placing Task with Survivors of Cerebral Vascular Accident

This study examined the effects of enhanced occupational embeddedness on the upper extremity movement dynamics in survivors of a cerebral vascular accident (CVA). Seventeen persons who survived a CVA participated in this repeated measures study with two conditions. The occupationally embedded (OE) condition involved three labeled soup cans; the nonoccupationally embedded (NOE) condition involved three nonrepresentational clay masses. The task consisted of moving the objects from a kitchen counter to the cabinet with each limb. Movement dynamics were recorded using an electronic goniometer that was attached to each elbow. Dependent variables were movement time, displacement, movement units, peak velocity, and percentage of movement time at which the peak velocity occurred. It was hypothesized that the OE condition would result in significantly different movement dynamics than the NOE condition. It was also hypothesized that the movement dynamics of the affected limb would be significantly different than those of the unaffected limb. During the OE condition, there were significantly fewer movement units and smaller movement times. No significance was found with displacement, peak velocity, or percentage of movement time to peak velocity. Further, there were no significant differences between the two limbs' movement dynamics. The results of this study support the concept that greater occupational embeddedness can promote enhanced motor performance. Specifically, this study suggests that occupationally embedded occupational forms can enhance performance of movement units and movement time in a reaching and placing task with individuals who survived a stroke. Additionally, OE occupational forms do not appear to influence the affected limb differently than the unaffected limb.

Art at Mayo Clinic

American artist Andy Warhol (1928?-1987), a leading figure in the Pop Art movement of the 1960s, began his career as a commercial illustrator in 1950 in New York. The Pop Art movement was an attempt to return to a more universally accessible form of art after the mid 20th-century dominance of abstract expressionism. The images of Pop Art, taken from television, movie magazines, and all forms of advertising, were, for the most part, presented as 2-dimensional, machine-made, mass-produced pictures that required little intellectual effort to interpret. Warhol's art portrayed aspects of popular culture that influenced contemporary life. He gained fame in 1962, when he exhibited paintings of Campbell's soup cans, Coca-Cola bottles, and Brillo boxes. In 1963, he began mass-producing images of these common objects through photographic silk-screen prints. The silk-screen technique was suited to Warhol because the repeated image was reduced to a dehumanized icon that represented the alleged emptiness of the commercial culture of the United States. Flowers, first exhibited in 1964 at the Galerie Sonnabend in Paris, is typical of his repetitive silk screen creations. Derived from a photograph of 4 poppies, the flowers are reinterpreted in seemingly randomly chosen colors. The Mayo Clinic group of Flowers, 10 prints, each of which is 36 inches square, hangs in the Mayo Building subway.

Movement dynamics and occupational embeddedness in a grasping and placing task

AbstractThe investigators examined the movement dynamics of 39 female participants aged 22–52 years during a grasping and placing task with objects having varying levels of occupational embeddedness. The occupationally embedded (OE) condition involved labelled soup cans, the limited occupationally embedded (LOE) condition used unlabelled soup cans, and the non‐occupationally embedded (NOE) condition used modelling clay having the same mass and relative size as the cans. The task involved grasping and placing the objects from a designated countertop location to a designated location on a cupboard shelf, with each condition involving three trials. It was hypothesized that the OE condition would yield the most efficient movement compared with the LOE condition, followed by the NOE condition. Data were collected using an electric goniometer placed on the participant's right elbow. Significance was found between the LOE and NOE conditions with angular displacement (p<0.05) and in the OE and NOE conditions with movement units (p<0.05). A limitation of the study was that there was little time between trials. This may have influenced participant performance on subsequent trials. In addition, the investigators were not blind to the hypotheses and could have inadvertently influenced the participant during data collection. Clinical implications include the importance of structuring the occupational forms to be as relevant to the occupation as possible. Future research is needed to examine the influence of contextual relevancy on occupational performance. Additionally, this line of research needs to be extended to special populations. Copyright © 1999 Whurr Publishers Ltd.

The Wonders of America: Reinventing Jewish Culture, 1880-1950 (review)

164 SHOFAR Winter 1997 Vol. 15, No.2 The,Wonders ofAmerica: Reinventing]ewish Culture, 1880-1950, by Jenna WeissmanJoselit. New York: Hill and Wang, 1994. 349 pp. $23.00. While cultural studies have for some time now been the vanguard of scholarship in other fields of history, such new and creative explorations of the Jewish past are just emerging in modern Jewish historiography. Jenna Weissman Joselit, who previously reclaimed from the American Jewish past its criminals, Orthodox, camps, and homes-the latter two in landmark museum exhibits-has now written a major book about the shaping of American Jewish bourgeois culture. Reading not only the customary texts of historians-memoirs, sermons, the Anglo-Jewish and Yiddish presses-she has also pored over games, dolls, and toys; clothes, furniture, and kiddush cups; soup cans and soap labels-to produce an innovative construction of the encounter between Judaism and America in the years 1880-1950. In seven tightly organized chapters, she moves from the kissing business of courtship and marriage to the joys of parenting (largely mothering), to b'nai mitzvah and confirmations, the red-letter Jewish days in the lives of these families. Along the way she stops to ponder what made their homes, their stomachs, and their celebrations Jewish, before concluding with how this emerging bourgeoisie bade farewell to those departing this world for the next. The book's strengths lie in its richly nuanced portrait of American Jewish domestic culture, the author's graceful prose, and the evocative photographs and advertisements illustrating her discourse. Surely, this work should resonate among a much broader audience than the academic world if for nothing more than its tracing the cliche of the overbearing Jewish mother to social science literature. Moreover, observers of today's American Jewish life are sure to be struck, as I was, by contemporary counterpoints. In the era Joselit explores, the construction of a sukkah "clashed head-on with the realities of modern life" (p. 243). But readers ofcurrentAmericanJews with their sukkah-building kits and rabbis' railing against children "sukkah-hopping" for candy will appreciate the fluidity of this culture-in-the-making. This same fluidity, however, also makes for the book's flaw, insufficient attention to the chronological shifts in this evolving culture. Joselit's theme and time period are broad. Thus, while we do learn that only after World War I did gift-giving become a major part of Chanukah celebrations, we are also told that a generation ,after the 1920s "vinually all" Jews attending a Sabbath service "were women" (p. 253). Yet the evidence supporting this, a turn-of-the-century report from National Council of Jewish Women President Hannah Solomon, as well as the author's own Book'Reviews 165 work on interwar New York Onhodox Jews, suggests the need for qualification. Future historians can and will surely refine these chronological contours of the parameters of American Jewish culture. Despite this, what remains the wonder of !be Wonders ofAmerica is its path-breaking vision and sweep. Joselit's understanding of American Jews and the panicular expressions of their culture is keen. She observes them buying bar mitzvah suits as well as prayer shawls, making pilgrimages to Jewish museums, and crafting a "new geography of kashruth" (p. 174) that made Chinese restaurants a mainstay of the Jewish diet. And she perceives the dissonance between that which the elite custodians of communal culture, the rabbis, want and what the folk do. In ignoring sermons to come to the synagogue on the Sabbath while buying electric menorahs and pastrami,Jews, awash in the freedom ofAmerica, eloquently proclaimed their cultural priorities. An imaginative and gifted historian, Joselit fathomed this. The result lies here in her eloquent and imaginative ponrait of the invention-although she calls it a reinvention-ofAmerican Jewish culture. Pamela S. Nadell American University A Diving Rock on the Hudson, by Henry Roth. New York: St. Manin's Press, 1995. 416.pp. $23.95. Many readers ofnovels have thought ofwriting them; some have tried. A few have tried for years. But very few have tried for 60 years, and none after having written a great first novel, except Henry Roth, who died in October of last year...

Warhol Paints History, or Race in America

IT MAY SEEM INAPPROPRIATE, given my title, to start with a photograph that puts us in Paris in 1964, at the Galerie Ileana Sonnabend (fig. 1). Andy Warhol had his first European solo exhibition there, a show he wanted to call Death in America, though it actually opened under a tamer rubric, bearing only the artist's name. I The Sonnabend exhibition was proof that, only two years after his notorious debut as an artist (that show lined up soup can paintings on a shelf, just like soup cans), Warhol had made his name. And he had left his beginnings with Campbell's cans far behind. Even the most glancing description of the paintings shown in Paris-suicides, electric chairs, fatal car crashes, portraits of two women who lost their lives to tainted cans of tuna fish (unlikely saints, they seem literally to fade away, along with the instruments of their martyrdom)explains why such an ambitious and morbid title was the first to come to Warhol's mind. There was only one image where death was not directly pictured, a version of Riot of 1963; yet it took pride of place in the installation. Riot will have the same status in this essay, and even supplies its subtitle: Race in As in Paris, death is not far away. Warhol produced at least thirteen canvases on this subject, though only three on the wall-sized scale of the one shown at Sonnabend; the group's existence is the reason I offer the blunt assertion: Andy Warhol was a history painter. This is not a notion with much currency, past or present; nor have Warhol's Riots been studied before. Yet in this essay I claim that these pictures constitute a special-and specially recalcitrant-category within Warhol's work. Its difference from his other main mode of representation is above all a matter of race. This is my main proposition. Making it stick involves first defining Warhol as a painter in general, the better then to spell out the implications of his foray into the particular genre called history. My argument proceeds from the conviction that our understandings of Warhol's painting and of history painting, and even our grasp on the notion of history, all have something to gain from the result. But above all there is something to be learned about the ways the two key terms work together: about what history painting has been, in the late twentieth century, and how it makes meaning from, or gives meaning to, contemporary events. Some of those meanings, where Warhol was concerned, involve race in America. Like

Nutrition labels in bar graph format deemed most useful for consumer purchase decisions using adaptive conjoint analysis

This study estimated the effects of changing multiple levels and combinations of nutrition information format, load, expression, and order on consumers' perceptions of label usefulness in purchase decisions using adaptive conjoint analysis. A shopping mall intercept survey, which was administered by a marketing research firm, assessed consumer preferences for 12 label alternatives produced on Campbell's soup cans to portray nutrition information realistically; 252 of 258 respondents completed the computer interactive interview. Consumers significantly preferred the bar graph format to the bar graph/nutrient density and traditional label formats. Consumers considered the bar graph/nutrient density format to be as useful as the traditional label format. There was a highly significant difference among the three levels of information load; the most information load was preferred regardless of nutrient importance. Consumers significantly preferred nutrition information stated in absolute numbers and percentages vs in absolute numbers only in traditional, or in percentages only expressions. There was a significant difference between consumer preferences for the two types of information order. The findings indicate that consumers clearly preferred the nutrition label that displayed all nutrient values using a bar graph format, offered the most information load, and expressed nutrient values using both absolute numbers and percentages. Consumers also preferred nutrition information rearranged in an order that grouped nutrients that should be consumed in adequate amounts on the top, calories in the middle, and nutrients that should be consumed in lesser amounts on the bottom of the label.

From Matchboxes to Trucks

Amy Garza From Matchboxes to Trucks by Amy Garza Layman and professionals alike have said, "Some people are born to be leaders, some are born to be followers." But I disagree. I believe that an individual is trained for his ultimate position by the experiences of life itself; that is, if he takes advantage of these experiences. Looking back on my life as a girl growing up in a poor mountain home in Tuckasegee , North Carolina, I now realize that there were many unseen signposts along theway. Theymarkedmyjourneytoward the position I hold today in the business world. 27 The oldest of three children in a family where our mother was almost constantly ill, I assumed responsibility early in life. I had to make "grown-up" decisions with a child's mind. For example, when I saw my mother takingmore sleepingpills than she should, I would slip into her room and steal the bottle shekeptunder herpillow and throw it away, pills and all. Later, when she discovered the theft, she punished me severely formy "crime"-and yet, the next time she "overdosed," I would steal the pills again. For years I washed, sewed, cooked, and took care of my brother and sister, David and Doris. Then, at night, I would study my textbooks by the light of the kerosene lamp. Responsibility became the whip under which I worked, and it became a large part of my personality. During these years, I would sometimes sit on the pile of pinewood Daddy had prepared for the cookstove, and dream of the careerImighthave someday. To some, ajob isjust ajob; to others, it means much more. If you have a career in mind, you plan for it, striving for the appropriate training and education. But some careers are simply your destiny. In the mountainside close to our house, Doris, David, and I built a little city. We made buildings from old tomato soup cans; we fashionedhomes from eggshells; we turned fruitjars upside down to represent water towers. We even put up filling stations where straight wooden clothespins servedas gaspumps. Theroadsystem weconstructedwoundall around the bank, up and down, and beneath the overhang of the gravelled road above our house. And since we had no store-bought toy cars, we manufactured our own from matchboxes and small aspirin bottles. I hauled all kinds of loads in my matchbox dump truck-mostly "logs' (broken sticks)-unloading my shipment at my brother's "sawmill" on the other side of the bank. There were times when I would wreck my dump truck, and I can remember even to this day the trauma of having to let it float down the nearby creek. Little did I realize that thirty-five years later, in 1985, 1wouldbe sitting behindthe desk of my own truck-trailer repair shop, making even more traumatic decisions. To hold ajob is in itselfaresponsibilitya responsibility to your employer, but more importantly to yourself. Your success in the position you hold will depend mainly on your attitude and resiliency. A positive outlook and a stick-to-it attitude are absolutely essential. I was quite optimistic when I left home to take advantage of the rumored "freedom " offered by the United States Air Force. As Iflew away fromthe spruce and fir forests of home, in mid-July 1960, bound for San Antonio, Texas, I was frightened, but I was excited, too. The next six long tough years I spent drilling in the hot Texas sun, scrubbing barracks and latrines, pulling KP, starching my skirts until they could stand alone, and making my bed so tight that the training instructor could bounce a silver dollar offthe blanket. But then, at the end ofmy basic training, everything seemed to change for the better. On graduation day, in my dress uniform-back straight, head high-I was one of the many in an awardwinning squadron that marched proudly behindits flag. Deep within meI feltpride thatwould not go away. I had entered-and I had grown. My tour of duty was spent in San Francisco , California. Here Igainedinvaluable experience in accounting and finance. It was here that I also met and married Bob, with whom I have enjoyed twenty-four years of marriage. When our...

Summer, an Elegy

HIS NAME WAS SHELBY after the town where his mother was born, and he was eight years old and all that summer he had to wear a little black sling around the index finger of his right hand. He had to wear the sling because his great-granddaddy had been a famous portrait painter and had paintings hanging in the White House. Shelby was so high-strung his mother was certain he was destined to be an artist like his famous ancestor. So, when he broke his finger and it grew back crooked, of course they took him to a specialist. weren't taking any chances on a deformity standing in his way. All summer long he was supposed to wear the sling to limber up the finger, and in the fall the doctor was going to operate and straighten it. While he waited for his operation Shelby was brought to Bear Garden Plantation to spend the summer with his grandmother and as soon as he got up every morning he rode over to Esperanza to look for Matille. He would come riding up in the yard and tie his saddle pony to the fence and start talking before he even got on the porch. He was a beauti ful boy, five months younger than Matille and a head shorter, and he was the biggest liar she had ever met in her life. Matille was a lonely little girl, the only child in a house full of widows. She was glad of this noisy companion fate had delivered to Issaquena County right in the middle of a World War. Shelby would wait for her while she ate breakfast, helping himself to pinch-cake, or toast, or cold cornbread, or muffins, walking around the kitchen touching everything and talking a mile a minute to anyone who would listen, talking and eating at the same time. My daddy's a personal friend of General MacArthur's, he would be saying. They were buddies at Auburn. General MacArthur wants him to come work in Washington but he can't go because what he does is too important. Shelby was standing in the pantry door making a pyramid out of the Campbell's Soup cans. Every time my daddy talks about going to Washington my momma starts crying her head off and goes to bed with a backache. He topped off the pyramid with a can of tomato paste and returned to the present. I don't know how anyone can sleep this late, he said. I'm the first one up at Bear Garden every single morning.

Warhol at Bennington

At Bennington College, I showed slides of Andy Warhol's work, first in a Seminar on Art Criticism to eight girls, and a little later to an Art History class of about fifty girls (one of whom was Suzy Stanton). This meant that about one girl in six in the College had seen the slides, but none of them had seen any original paintings by him. The Campbell's Soup Cans were not the only subjects by Warhol that I showed, but these became the issue in a heated argument that spread, involving an increasing number of students. Soon, girls who had not seen the slides were arguing about the aesthetics of painting soup cans. Clearly Warhol had the power to create art works that did not need to be seen to make at least a part of their effect. They were susceptible to compact verbal handling, without losing their ideological excitement. In this respect, Warhol's paintings acted like hand-done Marcel Duchamp objects. One point of Duchamp's ready-mades (the bicycle wheel, the bottle rack, the urinal) was to show that art ...

Botulism from Canned Tuna Fish

organism. The Wayne ;County (Mich.) Health Department alerted the Detroit District Food and Drug Offic,e, on March 15, to a death believed to be due to botulism and to the hospitalization of a woman with symptoms of botulism. Epidemiologic investigation by two Food and Drug Administration inspectors revealed that on March 14, about 11 a.m., the decea,sed, Mrs. B; her hospitalized neighbor, Mrs. M, who subsequently died; and her mother, Mrs. K, who became ill, had luncheon at Mrs. B's home. The meal consisted of tuna fish salad sandwiches, vegetable soup, and coffee. Mrs. B had eaten a sandwich, soup, and coffee. Mrs. M ha,d only a sandwich and coffee. Mrs. K joined them a little later and ate the small portion of tuna salad that remained, as well as soup and coffee. Mrs. K stated later that the salad contained only two ingredients: canned tuna fish and salad dressing. Allegedly, while preparing the salad, Mrs. B had questioned the odor of the tuna, but Mrs. M was unable to detect an abnormal odor. Both had tasted the tuna and decided that it was all right. While eating dinner at home, about 6 p.m., Mrs. B complained of blurred vision, and she repeatedly took off and put on her eyeglasses. At 7:30 she went to bed complaining of difficulty in breathing and a tightness in her throat, as well as the vision difficulty. The next morning, at 6:30, Mrs. B was suffering convulsive respiration and could speak only in a whisper. She was sent to the hospital in an ambulance, but she was dead on arrival at 7:30 a.m. Mrs. M became ill about 7:30 p.m. following the luncbeon. She complained of dizziness, blurred vision, and difficulty in breathing. Later her movements became somewhat uncoordinated and she vomited frequently during the night. Mrs. M was hospitalized at 8 a.m. and given polyvalent types A and B botulinus antitoxin. Her symptoms continued to progress. On the fourth day after the luncheon she was given type E botulinus antitoxin, but she did not improve. She died at 5 p.m. on March 19. Mrs. K suffered nausea and vomiting about 24 hours after eating the small portion of tuna salad, and she was hospitalized. She complained of a sore throat and she had some vision difficulties. Mrs. K was given 10,000 units of polyvalent types A and B botulinus antitoxin. She made a relatively rapid recovery, and she was released from the hospital 3 days later. The illness of the three women was diagnosed as botulism. They had eaten three items in common: coffee, bread, and tuna fish salad. About 5 percent of the dressing used in the salad was left in the 1-quart jar. Since a relatively small amount of salad dressing is needed for 61/2 ounces of tuna fish, the dressing presumably had been used previously without ill effects. Samples from the garbage can at Mrs. B's home were delivered to the laboratory on March 16. From the case investigation, it was known that the can had been emptied on the morning of the luncheon. The samples consisted of three newspaper-wrapped packages of miscellaneous garbage, two empty soup cans, and a tuna can The authors are bacteriologists with the Food and Drug Administration, Detroit, Mich.