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www.lissongallery.com/exhibitions/anish-kapoor-f45a2ea5-2...
For his latest exhibition, Anish Kapoor presents a new series of paintings, an element of his practice that has rarely been seen, exploring the intimate and ritualistic nature of his work. Created over the past year, the show provides a poetic view of the artist's recent preoccupations. While painting has always been an integral part of Kapoor’s practice, this radical new body of work is both spiritual and ecstatic, showing Kapoor working in more vivid and urgent form than ever. Alongside this exhibition, a solo show dedicated to Kapoor's paintings will run at Modern Art Oxford from 2 October 2021 - 13 February 2022, and both shows precede Kapoor’s major retrospective at Gallerie dell'Accademia di Venezia, opening April 2022 to coincide with the Venice Biennale.
Through painting, Kapoor delves into the deep inner world of our mind and body, from the physical exploration of the flesh and blood, to investigating psychological concepts as primal and nameless as origin and obliteration. Since the 1980s, Kapoor has been celebrated largely as a sculptor, yet painting, and its rawest composition, colour and form, have been a fundamental element of his practice-. The presentation will feature a selection of new and recent paintings, created between 2019 and 2021, the majority in the artist’s London-based studio during the pandemic. Like the artist’s wider oeuvre, these paintings are rooted in a drive to grasp the unknown, to awaken consciousness and experiment with the phenomenology of space.
Kapoor’s work has been characterized by an intense encounter with colour and matter – manifest either through refined, reflective surfaces such as metal or mirrors, or through the tactile, sensual quality of the blankets of impasto. The magnetism of the colour red is evident in these new paintings, manifesting the elemental force that flows through us all, yet now accompanied by a new palette of telluric greys and yellows, as if witnessing a surge from the depths of the earth. Some works appear volcanic, with an intense, fiery energy, while others are more primitive and abstract, with layers of dense pigment and resin forming a sculpted solidity. Many of the paintings have a visceral outpouring where a canvas within a canvas rotates and evolves in space, seeming to defy gravity, with brushstrokes cascading over the edges like a waterfall. In others we see distorted, polymorphic figures emerging from a deep, radiant void, with a ghostly aura.
Kapoor achieves a coherence of mind and body, of interior and exterior in two of the series of works, illustrating a mythic landscape with a turbulent, ominous atmosphere that differentiates land from sky, body from space. These whirling landscapes evoke the extraordinary, eerie Romanticism of JMW Turner, a worship of nature marked through an expressive, dramatic scene. Similar in disposition are two works where we imagine the moon rising over the peak – a symbolic narrative of a new cycle, of origins and menstruation.
The wall-based paintings recall some of Kapoor’s most ambitious, distinguished works, including Svayambhu (2007), My Red Homeland (2003) and Symphony for a Beloved Sun (2013). In these floor-based works we see a more ritualistic, visceral language, where Kapoor unashamedly delves into depicting the very blood and flesh from which we are all born. Artists from Leonardo di Vinci to Francis Bacon have been fascinated with the innards of the body, be it our anatomy or the surrealist beauty in violence. The work also stands in a powerful tradition of artists exploring the human body’s expression of divine matters, yet through the unique vision of Kapoor’s Eastern and Western influences, and ---– considering the year in which they were created --– taking on new meaning highlighting the fragility of the body and self.
Cladonia phyllophora Hoffm., syn.: Cladonia alcicornis var. phyllophora (Hoffm.) Malbr., Cladonia cervicornis f. phyllophora (Hoffm.) Dalla Torre & Sarnth., Cladonia degenerans (Flörke) Spreng
Family: Cladoniaceae
EN: Felt cladonia, DE: Beblätterte Becherflechte
Slo.: no name found
Dat.: Sept. 18. 2008
Lat.: 46.32403 Long.: 13.58408
Code: Bot_0297/2008_DSC3510
Habitat: Steep mountain slope, northwest aspect; among large boulders of a recent, large sock slide; in half shade; on sandy, calcareous ground; moderately humid place; protected from direct rain by overhanging rock; average precipitations ~ 3.000 mm/year, average temperature 7-9 deg C, elevations 750 m (2.450 feet), alpine phytogeographical region.
Substratum: sandy soil/raw hummus, among large calcareous boulders.
Place: Bovec basin, Northwest slopes of Mt. Javoršček, 1557 m; toward the end of a dirt forest road, East Julian Alps, Posočje, Slovenia EC.
Comment (relates to Flickr album Cladonia phyllophora): Browsing literature to determine the name of this find I've found only one or two candidates with podetia, which sometimes proliferate in more than two stores from cup margins. Cladonia rappii as well as Cladonia cervikornis/verticilata look similarly from far, but proliferate strictly from the center of the cups. Cladonia ramulosa may look similar too, but rarely (if at all) proliferates in more than two stores and is usually fertile with numerous conspicuous brown apothecia. None of several specimens found in this observation had podetia with apothecia.
The best, although not ideal, fit I've found seems to be Cladonia phyllophora. All sources agree that this taxon is highly polymorphic (google the pictures of it!). The taxon is also very variously interpreted by the authors (Ref. 7.). The description in literature, which seems the closest to this find, is in Brodo, Sharnoff, Sharnoff (2001) (Ref. 2.) mentioning gradually broadening and seemingly soft near the apex podetia having a slightly puffed-up aspect and cup margins richly decorated by small and thick squamules (see Fig. 4.) and brown pycnidia /see Fig.7.). The description in Smith at al (2009) (Ref. 1.) fits reasonably well too, particularly the description of the habit stated as 'often extensive more or less interlocking tiers of proliferating podetia'. However, many sources mention that the surface of the podetia near the base should be areolate with contrasting blackened decorticated and maculated areas (Ref. 1., Ref. 8.) or blackish podetia base (Ref. 7.), which is not the case in this find. Also substratum is usually cited as acid. This find apparently grew on a mixture of sandy soil and raw hummus deposited in gaps among large rock boulders (a few meters across) of a relatively recent large mountain rock slide. It seems possible that it was at least to some extent acid, however, the bedrock and the boulders themselves are no doubt calcareous. I am not sure my determination is correct, but, I am also not aware of a better alternative.
Ref.:
(1) C.W.Smith, et all, The lichens of Great Britain and Ireland,The British Lichen
Society,(2009), p 333.
(2) I.M. Brodo, S.D. Sharnoff, S.Sharnoff, Lichens of North America, Yale Uni. Press (2001), p 265.
(3) V. Wirth, Die Flechten Baden-Württembergs, Teil.1., Ulmer (1995), p 332.
(4) www.researchgate.net/publication/228358096_The_lichen_gen... (accessed May. 31. 2021)
(5) v3.boldsystems.org/index.php/Taxbrowser_Taxonpage?taxid=6... (accessed June 8. 2021)
(6) www.sharnoffphotos.com/lichensB/cladonia_phyllophora.html (accessed June 12. 2021)
(7) www.lichensmaritimes.org/index.php?task=fiche&lichen=... (accessed June 12. 2021)
(8) italic.units.it/index.php?procedure=taxonpage&num=814 (accessed June 14. 2021)
www.lissongallery.com/exhibitions/anish-kapoor-f45a2ea5-2...
For his latest exhibition, Anish Kapoor presents a new series of paintings, an element of his practice that has rarely been seen, exploring the intimate and ritualistic nature of his work. Created over the past year, the show provides a poetic view of the artist's recent preoccupations. While painting has always been an integral part of Kapoor’s practice, this radical new body of work is both spiritual and ecstatic, showing Kapoor working in more vivid and urgent form than ever. Alongside this exhibition, a solo show dedicated to Kapoor's paintings will run at Modern Art Oxford from 2 October 2021 - 13 February 2022, and both shows precede Kapoor’s major retrospective at Gallerie dell'Accademia di Venezia, opening April 2022 to coincide with the Venice Biennale.
Through painting, Kapoor delves into the deep inner world of our mind and body, from the physical exploration of the flesh and blood, to investigating psychological concepts as primal and nameless as origin and obliteration. Since the 1980s, Kapoor has been celebrated largely as a sculptor, yet painting, and its rawest composition, colour and form, have been a fundamental element of his practice-. The presentation will feature a selection of new and recent paintings, created between 2019 and 2021, the majority in the artist’s London-based studio during the pandemic. Like the artist’s wider oeuvre, these paintings are rooted in a drive to grasp the unknown, to awaken consciousness and experiment with the phenomenology of space.
Kapoor’s work has been characterized by an intense encounter with colour and matter – manifest either through refined, reflective surfaces such as metal or mirrors, or through the tactile, sensual quality of the blankets of impasto. The magnetism of the colour red is evident in these new paintings, manifesting the elemental force that flows through us all, yet now accompanied by a new palette of telluric greys and yellows, as if witnessing a surge from the depths of the earth. Some works appear volcanic, with an intense, fiery energy, while others are more primitive and abstract, with layers of dense pigment and resin forming a sculpted solidity. Many of the paintings have a visceral outpouring where a canvas within a canvas rotates and evolves in space, seeming to defy gravity, with brushstrokes cascading over the edges like a waterfall. In others we see distorted, polymorphic figures emerging from a deep, radiant void, with a ghostly aura.
Kapoor achieves a coherence of mind and body, of interior and exterior in two of the series of works, illustrating a mythic landscape with a turbulent, ominous atmosphere that differentiates land from sky, body from space. These whirling landscapes evoke the extraordinary, eerie Romanticism of JMW Turner, a worship of nature marked through an expressive, dramatic scene. Similar in disposition are two works where we imagine the moon rising over the peak – a symbolic narrative of a new cycle, of origins and menstruation.
The wall-based paintings recall some of Kapoor’s most ambitious, distinguished works, including Svayambhu (2007), My Red Homeland (2003) and Symphony for a Beloved Sun (2013). In these floor-based works we see a more ritualistic, visceral language, where Kapoor unashamedly delves into depicting the very blood and flesh from which we are all born. Artists from Leonardo di Vinci to Francis Bacon have been fascinated with the innards of the body, be it our anatomy or the surrealist beauty in violence. The work also stands in a powerful tradition of artists exploring the human body’s expression of divine matters, yet through the unique vision of Kapoor’s Eastern and Western influences, and ---– considering the year in which they were created --– taking on new meaning highlighting the fragility of the body and self.
www.lissongallery.com/exhibitions/anish-kapoor-f45a2ea5-2...
For his latest exhibition, Anish Kapoor presents a new series of paintings, an element of his practice that has rarely been seen, exploring the intimate and ritualistic nature of his work. Created over the past year, the show provides a poetic view of the artist's recent preoccupations. While painting has always been an integral part of Kapoor’s practice, this radical new body of work is both spiritual and ecstatic, showing Kapoor working in more vivid and urgent form than ever. Alongside this exhibition, a solo show dedicated to Kapoor's paintings will run at Modern Art Oxford from 2 October 2021 - 13 February 2022, and both shows precede Kapoor’s major retrospective at Gallerie dell'Accademia di Venezia, opening April 2022 to coincide with the Venice Biennale.
Through painting, Kapoor delves into the deep inner world of our mind and body, from the physical exploration of the flesh and blood, to investigating psychological concepts as primal and nameless as origin and obliteration. Since the 1980s, Kapoor has been celebrated largely as a sculptor, yet painting, and its rawest composition, colour and form, have been a fundamental element of his practice-. The presentation will feature a selection of new and recent paintings, created between 2019 and 2021, the majority in the artist’s London-based studio during the pandemic. Like the artist’s wider oeuvre, these paintings are rooted in a drive to grasp the unknown, to awaken consciousness and experiment with the phenomenology of space.
Kapoor’s work has been characterized by an intense encounter with colour and matter – manifest either through refined, reflective surfaces such as metal or mirrors, or through the tactile, sensual quality of the blankets of impasto. The magnetism of the colour red is evident in these new paintings, manifesting the elemental force that flows through us all, yet now accompanied by a new palette of telluric greys and yellows, as if witnessing a surge from the depths of the earth. Some works appear volcanic, with an intense, fiery energy, while others are more primitive and abstract, with layers of dense pigment and resin forming a sculpted solidity. Many of the paintings have a visceral outpouring where a canvas within a canvas rotates and evolves in space, seeming to defy gravity, with brushstrokes cascading over the edges like a waterfall. In others we see distorted, polymorphic figures emerging from a deep, radiant void, with a ghostly aura.
Kapoor achieves a coherence of mind and body, of interior and exterior in two of the series of works, illustrating a mythic landscape with a turbulent, ominous atmosphere that differentiates land from sky, body from space. These whirling landscapes evoke the extraordinary, eerie Romanticism of JMW Turner, a worship of nature marked through an expressive, dramatic scene. Similar in disposition are two works where we imagine the moon rising over the peak – a symbolic narrative of a new cycle, of origins and menstruation.
The wall-based paintings recall some of Kapoor’s most ambitious, distinguished works, including Svayambhu (2007), My Red Homeland (2003) and Symphony for a Beloved Sun (2013). In these floor-based works we see a more ritualistic, visceral language, where Kapoor unashamedly delves into depicting the very blood and flesh from which we are all born. Artists from Leonardo di Vinci to Francis Bacon have been fascinated with the innards of the body, be it our anatomy or the surrealist beauty in violence. The work also stands in a powerful tradition of artists exploring the human body’s expression of divine matters, yet through the unique vision of Kapoor’s Eastern and Western influences, and ---– considering the year in which they were created --– taking on new meaning highlighting the fragility of the body and self.
www.lissongallery.com/exhibitions/anish-kapoor-f45a2ea5-2...
For his latest exhibition, Anish Kapoor presents a new series of paintings, an element of his practice that has rarely been seen, exploring the intimate and ritualistic nature of his work. Created over the past year, the show provides a poetic view of the artist's recent preoccupations. While painting has always been an integral part of Kapoor’s practice, this radical new body of work is both spiritual and ecstatic, showing Kapoor working in more vivid and urgent form than ever. Alongside this exhibition, a solo show dedicated to Kapoor's paintings will run at Modern Art Oxford from 2 October 2021 - 13 February 2022, and both shows precede Kapoor’s major retrospective at Gallerie dell'Accademia di Venezia, opening April 2022 to coincide with the Venice Biennale.
Through painting, Kapoor delves into the deep inner world of our mind and body, from the physical exploration of the flesh and blood, to investigating psychological concepts as primal and nameless as origin and obliteration. Since the 1980s, Kapoor has been celebrated largely as a sculptor, yet painting, and its rawest composition, colour and form, have been a fundamental element of his practice-. The presentation will feature a selection of new and recent paintings, created between 2019 and 2021, the majority in the artist’s London-based studio during the pandemic. Like the artist’s wider oeuvre, these paintings are rooted in a drive to grasp the unknown, to awaken consciousness and experiment with the phenomenology of space.
Kapoor’s work has been characterized by an intense encounter with colour and matter – manifest either through refined, reflective surfaces such as metal or mirrors, or through the tactile, sensual quality of the blankets of impasto. The magnetism of the colour red is evident in these new paintings, manifesting the elemental force that flows through us all, yet now accompanied by a new palette of telluric greys and yellows, as if witnessing a surge from the depths of the earth. Some works appear volcanic, with an intense, fiery energy, while others are more primitive and abstract, with layers of dense pigment and resin forming a sculpted solidity. Many of the paintings have a visceral outpouring where a canvas within a canvas rotates and evolves in space, seeming to defy gravity, with brushstrokes cascading over the edges like a waterfall. In others we see distorted, polymorphic figures emerging from a deep, radiant void, with a ghostly aura.
Kapoor achieves a coherence of mind and body, of interior and exterior in two of the series of works, illustrating a mythic landscape with a turbulent, ominous atmosphere that differentiates land from sky, body from space. These whirling landscapes evoke the extraordinary, eerie Romanticism of JMW Turner, a worship of nature marked through an expressive, dramatic scene. Similar in disposition are two works where we imagine the moon rising over the peak – a symbolic narrative of a new cycle, of origins and menstruation.
The wall-based paintings recall some of Kapoor’s most ambitious, distinguished works, including Svayambhu (2007), My Red Homeland (2003) and Symphony for a Beloved Sun (2013). In these floor-based works we see a more ritualistic, visceral language, where Kapoor unashamedly delves into depicting the very blood and flesh from which we are all born. Artists from Leonardo di Vinci to Francis Bacon have been fascinated with the innards of the body, be it our anatomy or the surrealist beauty in violence. The work also stands in a powerful tradition of artists exploring the human body’s expression of divine matters, yet through the unique vision of Kapoor’s Eastern and Western influences, and ---– considering the year in which they were created --– taking on new meaning highlighting the fragility of the body and self.
Cladonia phyllophora Hoffm., syn.: Cladonia alcicornis var. phyllophora (Hoffm.) Malbr., Cladonia cervicornis f. phyllophora (Hoffm.) Dalla Torre & Sarnth., Cladonia degenerans (Flörke) Spreng
Family: Cladoniaceae
EN: Felt cladonia, DE: Beblätterte Becherflechte
Slo.: no name found
Dat.: Sept. 18. 2008
Lat.: 46.32403 Long.: 13.58408
Code: Bot_0297/2008_DSC3510
Habitat: Steep mountain slope, northwest aspect; among large boulders of a recent, large sock slide; in half shade; on sandy, calcareous ground; moderately humid place; protected from direct rain by overhanging rock; average precipitations ~ 3.000 mm/year, average temperature 7-9 deg C, elevations 750 m (2.450 feet), alpine phytogeographical region.
Substratum: sandy soil/raw hummus, among large calcareous boulders.
Place: Bovec basin, Northwest slopes of Mt. Javoršček, 1557 m; toward the end of a dirt forest road, East Julian Alps, Posočje, Slovenia EC.
Comment (relates to Flickr album Cladonia phyllophora): Browsing literature to determine the name of this find I've found only one or two candidates with podetia, which sometimes proliferate in more than two stores from cup margins. Cladonia rappii as well as Cladonia cervikornis/verticilata look similarly from far, but proliferate strictly from the center of the cups. Cladonia ramulosa may look similar too, but rarely (if at all) proliferates in more than two stores and is usually fertile with numerous conspicuous brown apothecia. None of several specimens found in this observation had podetia with apothecia.
The best, although not ideal, fit I've found seems to be Cladonia phyllophora. All sources agree that this taxon is highly polymorphic (google the pictures of it!). The taxon is also very variously interpreted by the authors (Ref. 7.). The description in literature, which seems the closest to this find, is in Brodo, Sharnoff, Sharnoff (2001) (Ref. 2.) mentioning gradually broadening and seemingly soft near the apex podetia having a slightly puffed-up aspect and cup margins richly decorated by small and thick squamules (see Fig. 4.) and brown pycnidia /see Fig.7.). The description in Smith at al (2009) (Ref. 1.) fits reasonably well too, particularly the description of the habit stated as 'often extensive more or less interlocking tiers of proliferating podetia'. However, many sources mention that the surface of the podetia near the base should be areolate with contrasting blackened decorticated and maculated areas (Ref. 1., Ref. 8.) or blackish podetia base (Ref. 7.), which is not the case in this find. Also substratum is usually cited as acid. This find apparently grew on a mixture of sandy soil and raw hummus deposited in gaps among large rock boulders (a few meters across) of a relatively recent large mountain rock slide. It seems possible that it was at least to some extent acid, however, the bedrock and the boulders themselves are no doubt calcareous. I am not sure my determination is correct, but, I am also not aware of a better alternative.
Ref.:
(1) C.W.Smith, et all, The lichens of Great Britain and Ireland,The British Lichen
Society,(2009), p 333.
(2) I.M. Brodo, S.D. Sharnoff, S.Sharnoff, Lichens of North America, Yale Uni. Press (2001), p 265.
(3) V. Wirth, Die Flechten Baden-Württembergs, Teil.1., Ulmer (1995), p 332.
(4) www.researchgate.net/publication/228358096_The_lichen_gen... (accessed May. 31. 2021)
(5) v3.boldsystems.org/index.php/Taxbrowser_Taxonpage?taxid=6... (accessed June 8. 2021)
(6) www.sharnoffphotos.com/lichensB/cladonia_phyllophora.html (accessed June 12. 2021)
(7) www.lichensmaritimes.org/index.php?task=fiche&lichen=... (accessed June 12. 2021)
(8) italic.units.it/index.php?procedure=taxonpage&num=814 (accessed June 14. 2021)
Drosera cistiflora is a widespread highly variable and polymorphic species of sundew from the western Cape region of South Africa. there is tremendous variation in flower size and color as well as stem and leaf morphology. For this region, there are current research efforts to identify and reclassify this 'species' into multiple classifications. The late afternoon light provided a spectacular setting for these images.
Indian Paradise Flycatcher
The Indian paradise flycatcher (Terpsiphone paradisi) is a medium-sized passerine bird native to Asia that is widely distributed. As the global population is considered stable, it has been listed as Least Concern on the IUCN Red List since 2004. It is native to the Indian subcontinent, Central Asia and Myanmar.
Males have elongated central tail feathers, and a black and rufous plumage in some populations, while others have white plumage. Females are short-tailed with rufous wings and a black head. Indian paradise flycatchers feed on insects, which they capture in the air often below a densely canopied tree.
Three subspecies are recognized:
Himalayan paradise flycatcher (T. p. leucogaster) – (Swainson, 1838): Originally described as a separate species. Breeds in the western Tian Shan, in Afghanistan, in the north of Pakistan, in northwestern and central India, in Nepal’s western and central regions; populations occurring in the east of Pakistan and in the south of India migrate towards the foothills of the Himalayas in spring for breeding.
T. p. paradisi – (Linnaeus, 1758): breeds in central and southern India, central Bangladesh and south-western Myanmar; populations occurring in Sri Lanka in the winter season are non-breeding.
Ceylon paradise flycatcher (T. p. ceylonensis) – (Zarudny & Harms, 1912): found in Sri Lanka.
Adult Indian paradise flycatchers are 19–22 cm (7.5–8.7 in) long. Their heads are glossy black with a black crown and crest, their black bill round and sturdy, their eyes black. Female are rufous on the back with a greyish throat and underparts. Their wings are 86–92 mm (3.4–3.6 in) long. Young males look very much like females but have a black throat and blue-ringed eyes. As adults they develop up to 24 cm (9.4 in) long tail feathers with two central tail feathers growing up to 30 cm (12 in) long drooping streamers.
Young males are rufous and have short tails. They acquire long tails in their second or third year. Adult males are either predominantly bright rufous above or predominantly white. Some specimens show some degree of intermediacy between rufous and white. Long-tailed rufous birds are generally devoid of shaft streaks on the wing and tail feathers, while in white birds the shaft streaks, and sometimes the edges of the wing and tail feathers are black.
In the early 1960s, 680 long-tailed males were examined that are contained in collections of the British Museum of Natural History, Chicago Natural History Museum, Peabody Museum, Carnegie Museum, American Museum of Natural History, United States National Museum and Royal Ontario Museum. The specimens came from almost the entire range of the species, though some areas were poorly represented. The relative frequency of the rufous and white plumage types varies geographically. Rufous birds are rare in the extreme southeastern part of the species' range. Throughout the Indian area and, to a lesser extent, in China, asymmetrically patterned intermediates occur. Intermediates are rare or absent throughout the rest of the range of the species. In general, long-tailed males are predominantly rufous with some white in wings and tail — collected in Turkestan, Kashmir, northern India, Punjab, Maharashtra, Sikkim and in Sri Lanka;
predominantly rufous with some white in wings — collected in Iran, Afghanistan, Baluchistan, Punjab, Kashmir, northern and central India, Rajasthan, Maharashtra, Bihar, Nepal;
predominantly rufous with some white in tail — collected in Punjab, northern and central India, Kolkata, Sri Lanka and in the Upper Yangtze Valley in China;
predominantly white with some rufous in tail and wings — collected in Kashmir, Maharashtra, Sichuan and North China;
predominantly white with some rufous in tail — collected in Maharashtra and Fuzhou, China;
predominantly white with back partly rufous — collected in Punjab and Chennai;
moulting from rufous into white plumage — collected in North Bihar.
Possible interpretations of this phenomenon are : males may be polymorphic for rufous and white plumage colour; rufous birds may be sub-adults; and there may even be two sympatric species distinguishable only in the male.
They are migratory and spend the winter season in tropical Asia. There are resident populations in southern India and Sri Lanka, hence both visiting migrants and the locally breeding subspecies occur in these areas in winter.
According to Linné’s first description Indian paradise flycatchers were only distributed in India. Later ornithologists observed this spectacular bird in other areas, and based on differences in plumage of males described several subspecies.
Indian paradise flycatchers inhabit thick forests and well-wooded habitats from Central Asia to south-eastern China, all over India and Sri Lanka to Myanmar.
Indian paradise flycatchers are noisy birds uttering sharp skreek calls. They have short legs and sit very upright whilst perched prominently, like a shrike. They are insectivorous and hunt in flight in the understorey. In the afternoons they dive from perches to bathe in small pools of water.
The breeding season lasts from May to July. Being socially monogamous both male and female take part in nest-building, incubation, brooding and feeding of the young. The incubation period lasts 14 to 16 days and the nestling period 9 to 12 days. Three or four eggs are laid in a neat cup nest made with twigs and spider webs on the end of a low branch. The nest is sometimes built in the vicinity of a breeding pair of drongos, which keep predators away. Chicks hatch in about 21 to 23 days. A case of interspecific feeding has been noted with paradise flycatcher chicks fed by Oriental white-eyes.
Botanic Gardens, Sydney.
Newly expanding leaves have a dense coating of silvery-brown scurf, very soon shed as each one matures.
I have often wondered if this "Snowflake Tree" was truly a form of T. palmata, but according to the 1998 revision by Jebb, online at www.botanicgardens.ie/glasra/ns3_5.pdf it does belong in this species. It seems T. palmata has extremely polymorphic leaves. It ranges in the wild right across South-east Asia from eastern India and Nepal to south China, though absent from Malesia. Jebb does not allow any infraspecific taxa, or any nomenclatural status to 'Micholitzii' which Frodin treated as a cultivar in the New RHS Dictionary of Gardening (1992), but I think the cultivar name is still useful in a horticultural context.
The Gyrfalcon (Falco rusticolus), also spelled Gyr Falcon, sometimes Gerfalcon, is the largest of all falcon species. The Gyrfalcon breeds on Arctic coasts and islands of North America, Europe and Asia. It is mainly resident, but some Gyrfalcons disperse more widely after the breeding season, or in winter[1].
The bird's common name comes from French gerfaucon, and in mediaeval Latin is rendered as gyrofalco. The first part of the word may come from Old High German gîr (cf. modern German Geier), "vulture", referring to its size compared to other falcons, or the Latin gȳrus ("circle", "curved path") from the species' circling as it searches for prey, unlike the other falcons in its range[2]. The male gyrfalcon is called a gyrkin in falconry.
Its scientific name is composed of the Latin terms for a falcon, Falco, and for someone who lives in the countryside, rusticolus.
Plumage is very variable in this highly polymorphic species: the archetypal morphs are called "white", "silver", "brown" and "black" though coloration spans a continuous spectrum from nearly all-white birds to very dark ones.
The Gyrfalcon is a bird of tundra and mountains, with cliffs or a few patches of trees. It feeds only on birds and mammals. Like other hierofalcons, it usually hunts in a horizontal pursuit, rather than the Peregrine's speedy stoop from a height. Most prey is killed on the ground, whether they are captured there or, if the victim is a flying bird, forced to the ground. The diet is to some extent opportunistic, but a majority of breeding birds mostly rely on Lagopus grouse. Avian prey can range in size from redpolls to geese and can include gulls, corvids, smaller passerines, waders and other raptors (up to the size of Buteos). Mammalian prey can range in size from shrews to marmots (sometimes 3 times heavier than the assaulting falcon), and often includes include lemmings, voles, ground squirrels and hares. They only rarely eat carrion.
The Gyrfalcon is the official bird of Canada's Northwest Territories.
www.lissongallery.com/exhibitions/anish-kapoor-f45a2ea5-2...
For his latest exhibition, Anish Kapoor presents a new series of paintings, an element of his practice that has rarely been seen, exploring the intimate and ritualistic nature of his work. Created over the past year, the show provides a poetic view of the artist's recent preoccupations. While painting has always been an integral part of Kapoor’s practice, this radical new body of work is both spiritual and ecstatic, showing Kapoor working in more vivid and urgent form than ever. Alongside this exhibition, a solo show dedicated to Kapoor's paintings will run at Modern Art Oxford from 2 October 2021 - 13 February 2022, and both shows precede Kapoor’s major retrospective at Gallerie dell'Accademia di Venezia, opening April 2022 to coincide with the Venice Biennale.
Through painting, Kapoor delves into the deep inner world of our mind and body, from the physical exploration of the flesh and blood, to investigating psychological concepts as primal and nameless as origin and obliteration. Since the 1980s, Kapoor has been celebrated largely as a sculptor, yet painting, and its rawest composition, colour and form, have been a fundamental element of his practice-. The presentation will feature a selection of new and recent paintings, created between 2019 and 2021, the majority in the artist’s London-based studio during the pandemic. Like the artist’s wider oeuvre, these paintings are rooted in a drive to grasp the unknown, to awaken consciousness and experiment with the phenomenology of space.
Kapoor’s work has been characterized by an intense encounter with colour and matter – manifest either through refined, reflective surfaces such as metal or mirrors, or through the tactile, sensual quality of the blankets of impasto. The magnetism of the colour red is evident in these new paintings, manifesting the elemental force that flows through us all, yet now accompanied by a new palette of telluric greys and yellows, as if witnessing a surge from the depths of the earth. Some works appear volcanic, with an intense, fiery energy, while others are more primitive and abstract, with layers of dense pigment and resin forming a sculpted solidity. Many of the paintings have a visceral outpouring where a canvas within a canvas rotates and evolves in space, seeming to defy gravity, with brushstrokes cascading over the edges like a waterfall. In others we see distorted, polymorphic figures emerging from a deep, radiant void, with a ghostly aura.
Kapoor achieves a coherence of mind and body, of interior and exterior in two of the series of works, illustrating a mythic landscape with a turbulent, ominous atmosphere that differentiates land from sky, body from space. These whirling landscapes evoke the extraordinary, eerie Romanticism of JMW Turner, a worship of nature marked through an expressive, dramatic scene. Similar in disposition are two works where we imagine the moon rising over the peak – a symbolic narrative of a new cycle, of origins and menstruation.
The wall-based paintings recall some of Kapoor’s most ambitious, distinguished works, including Svayambhu (2007), My Red Homeland (2003) and Symphony for a Beloved Sun (2013). In these floor-based works we see a more ritualistic, visceral language, where Kapoor unashamedly delves into depicting the very blood and flesh from which we are all born. Artists from Leonardo di Vinci to Francis Bacon have been fascinated with the innards of the body, be it our anatomy or the surrealist beauty in violence. The work also stands in a powerful tradition of artists exploring the human body’s expression of divine matters, yet through the unique vision of Kapoor’s Eastern and Western influences, and ---– considering the year in which they were created --– taking on new meaning highlighting the fragility of the body and self.
Cladonia phyllophora Hoffm., syn.: Cladonia alcicornis var. phyllophora (Hoffm.) Malbr., Cladonia cervicornis f. phyllophora (Hoffm.) Dalla Torre & Sarnth., Cladonia degenerans (Flörke) Spreng
Family: Cladoniaceae
EN: Felt cladonia, DE: Beblätterte Becherflechte
Slo.: no name found
Dat.: Sept. 18. 2008
Lat.: 46.32403 Long.: 13.58408
Code: Bot_0297/2008_DSC3510
Habitat: Steep mountain slope, northwest aspect; among large boulders of a recent, large sock slide; in half shade; on sandy, calcareous ground; moderately humid place; protected from direct rain by overhanging rock; average precipitations ~ 3.000 mm/year, average temperature 7-9 deg C, elevations 750 m (2.450 feet), alpine phytogeographical region.
Substratum: sandy soil/raw hummus, among large calcareous boulders.
Place: Bovec basin, Northwest slopes of Mt. Javoršček, 1557 m; toward the end of a dirt forest road, East Julian Alps, Posočje, Slovenia EC.
Comment (relates to Flickr album Cladonia phyllophora): Browsing literature to determine the name of this find I've found only one or two candidates with podetia, which sometimes proliferate in more than two stores from cup margins. Cladonia rappii as well as Cladonia cervikornis/verticilata look similarly from far, but proliferate strictly from the center of the cups. Cladonia ramulosa may look similar too, but rarely (if at all) proliferates in more than two stores and is usually fertile with numerous conspicuous brown apothecia. None of several specimens found in this observation had podetia with apothecia.
The best, although not ideal, fit I've found seems to be Cladonia phyllophora. All sources agree that this taxon is highly polymorphic (google the pictures of it!). The taxon is also very variously interpreted by the authors (Ref. 7.). The description in literature, which seems the closest to this find, is in Brodo, Sharnoff, Sharnoff (2001) (Ref. 2.) mentioning gradually broadening and seemingly soft near the apex podetia having a slightly puffed-up aspect and cup margins richly decorated by small and thick squamules (see Fig. 4.) and brown pycnidia /see Fig.7.). The description in Smith at al (2009) (Ref. 1.) fits reasonably well too, particularly the description of the habit stated as 'often extensive more or less interlocking tiers of proliferating podetia'. However, many sources mention that the surface of the podetia near the base should be areolate with contrasting blackened decorticated and maculated areas (Ref. 1., Ref. 8.) or blackish podetia base (Ref. 7.), which is not the case in this find. Also substratum is usually cited as acid. This find apparently grew on a mixture of sandy soil and raw hummus deposited in gaps among large rock boulders (a few meters across) of a relatively recent large mountain rock slide. It seems possible that it was at least to some extent acid, however, the bedrock and the boulders themselves are no doubt calcareous. I am not sure my determination is correct, but, I am also not aware of a better alternative.
Ref.:
(1) C.W.Smith, et all, The lichens of Great Britain and Ireland,The British Lichen
Society,(2009), p 333.
(2) I.M. Brodo, S.D. Sharnoff, S.Sharnoff, Lichens of North America, Yale Uni. Press (2001), p 265.
(3) V. Wirth, Die Flechten Baden-Württembergs, Teil.1., Ulmer (1995), p 332.
(4) www.researchgate.net/publication/228358096_The_lichen_gen... (accessed May. 31. 2021)
(5) v3.boldsystems.org/index.php/Taxbrowser_Taxonpage?taxid=6... (accessed June 8. 2021)
(6) www.sharnoffphotos.com/lichensB/cladonia_phyllophora.html (accessed June 12. 2021)
(7) www.lichensmaritimes.org/index.php?task=fiche&lichen=... (accessed June 12. 2021)
(8) italic.units.it/index.php?procedure=taxonpage&num=814 (accessed June 14. 2021)
El estramonio es una planta venenosa cosmopolita, de la familia de las solanáceas. Se encuentra naturalizada en zonas templadas de todo el mundo. El género Datura contiene varias especies parecidas y polimorfas, todas ellas tóxicas de las cuales el estramonio es la más extendida.
Jimsonweed is a cosmopolitan poisonous plant belonging to the nightshade family (Solanaceae). It is naturalized in temperate zones worldwide. The genus Datura contains several similar and polymorphic species, all of which are toxic, with jimsonweed being the most widespread.
Spanish Name: Estramonio, Datura
English Name: Jimsonweed, Devil's trumpet, Stramonium
Scientific Name: Datura stramonium
Family: Solanaceae
Location: Mascarell
Province: Castelló de La Plana
Country: Spain
Mascarell (Castelló/ Comunitat Valenciana/ Spain).
The Gyrfalcon (Falco rusticolus), also spelled Gyr Falcon, sometimes Gerfalcon, is the largest of all falcon species. The Gyrfalcon breeds on Arctic coasts and islands of North America, Europe and Asia. It is mainly resident, but some Gyrfalcons disperse more widely after the breeding season, or in winter[1].
The bird's common name comes from French gerfaucon, and in mediaeval Latin is rendered as gyrofalco. The first part of the word may come from Old High German gîr (cf. modern German Geier), "vulture", referring to its size compared to other falcons, or the Latin gȳrus ("circle", "curved path") from the species' circling as it searches for prey, unlike the other falcons in its range[2]. The male gyrfalcon is called a gyrkin in falconry.
Its scientific name is composed of the Latin terms for a falcon, Falco, and for someone who lives in the countryside, rusticolus.
Plumage is very variable in this highly polymorphic species: the archetypal morphs are called "white", "silver", "brown" and "black" though coloration spans a continuous spectrum from nearly all-white birds to very dark ones.
The Gyrfalcon is a bird of tundra and mountains, with cliffs or a few patches of trees. It feeds only on birds and mammals. Like other hierofalcons, it usually hunts in a horizontal pursuit, rather than the Peregrine's speedy stoop from a height. Most prey is killed on the ground, whether they are captured there or, if the victim is a flying bird, forced to the ground. The diet is to some extent opportunistic, but a majority of breeding birds mostly rely on Lagopus grouse. Avian prey can range in size from redpolls to geese and can include gulls, corvids, smaller passerines, waders and other raptors (up to the size of Buteos). Mammalian prey can range in size from shrews to marmots (sometimes 3 times heavier than the assaulting falcon), and often includes include lemmings, voles, ground squirrels and hares. They only rarely eat carrion.
The Gyrfalcon is the official bird of Canada's Northwest Territories.
The Gyrfalcon (Falco rusticolus), also spelled Gyr Falcon, sometimes Gerfalcon, is the largest of all falcon species. The Gyrfalcon breeds on Arctic coasts and islands of North America, Europe and Asia. It is mainly resident, but some Gyrfalcons disperse more widely after the breeding season, or in winter[1].
The bird's common name comes from French gerfaucon, and in mediaeval Latin is rendered as gyrofalco. The first part of the word may come from Old High German gîr (cf. modern German Geier), "vulture", referring to its size compared to other falcons, or the Latin gȳrus ("circle", "curved path") from the species' circling as it searches for prey, unlike the other falcons in its range[2]. The male gyrfalcon is called a gyrkin in falconry.
Its scientific name is composed of the Latin terms for a falcon, Falco, and for someone who lives in the countryside, rusticolus.
Plumage is very variable in this highly polymorphic species: the archetypal morphs are called "white", "silver", "brown" and "black" though coloration spans a continuous spectrum from nearly all-white birds to very dark ones.
The Gyrfalcon is a bird of tundra and mountains, with cliffs or a few patches of trees. It feeds only on birds and mammals. Like other hierofalcons, it usually hunts in a horizontal pursuit, rather than the Peregrine's speedy stoop from a height. Most prey is killed on the ground, whether they are captured there or, if the victim is a flying bird, forced to the ground. The diet is to some extent opportunistic, but a majority of breeding birds mostly rely on Lagopus grouse. Avian prey can range in size from redpolls to geese and can include gulls, corvids, smaller passerines, waders and other raptors (up to the size of Buteos). Mammalian prey can range in size from shrews to marmots (sometimes 3 times heavier than the assaulting falcon), and often includes include lemmings, voles, ground squirrels and hares. They only rarely eat carrion.
The Gyrfalcon is the official bird of Canada's Northwest Territories.
Found by my wife in our backyard.
Family: Theridiidae
Scientific name: Enoplognatha ovata
Common name: Candystripe or Polymorphic spider
This colourful spider often builds webs on plants. Its colours can vary greatly. Yellow, white, green. Notice the significant black dots on the side of the abdomen. The name Candystripe comes from the specimens with the red stipes..
www.lissongallery.com/exhibitions/anish-kapoor-f45a2ea5-2...
For his latest exhibition, Anish Kapoor presents a new series of paintings, an element of his practice that has rarely been seen, exploring the intimate and ritualistic nature of his work. Created over the past year, the show provides a poetic view of the artist's recent preoccupations. While painting has always been an integral part of Kapoor’s practice, this radical new body of work is both spiritual and ecstatic, showing Kapoor working in more vivid and urgent form than ever. Alongside this exhibition, a solo show dedicated to Kapoor's paintings will run at Modern Art Oxford from 2 October 2021 - 13 February 2022, and both shows precede Kapoor’s major retrospective at Gallerie dell'Accademia di Venezia, opening April 2022 to coincide with the Venice Biennale.
Through painting, Kapoor delves into the deep inner world of our mind and body, from the physical exploration of the flesh and blood, to investigating psychological concepts as primal and nameless as origin and obliteration. Since the 1980s, Kapoor has been celebrated largely as a sculptor, yet painting, and its rawest composition, colour and form, have been a fundamental element of his practice-. The presentation will feature a selection of new and recent paintings, created between 2019 and 2021, the majority in the artist’s London-based studio during the pandemic. Like the artist’s wider oeuvre, these paintings are rooted in a drive to grasp the unknown, to awaken consciousness and experiment with the phenomenology of space.
Kapoor’s work has been characterized by an intense encounter with colour and matter – manifest either through refined, reflective surfaces such as metal or mirrors, or through the tactile, sensual quality of the blankets of impasto. The magnetism of the colour red is evident in these new paintings, manifesting the elemental force that flows through us all, yet now accompanied by a new palette of telluric greys and yellows, as if witnessing a surge from the depths of the earth. Some works appear volcanic, with an intense, fiery energy, while others are more primitive and abstract, with layers of dense pigment and resin forming a sculpted solidity. Many of the paintings have a visceral outpouring where a canvas within a canvas rotates and evolves in space, seeming to defy gravity, with brushstrokes cascading over the edges like a waterfall. In others we see distorted, polymorphic figures emerging from a deep, radiant void, with a ghostly aura.
Kapoor achieves a coherence of mind and body, of interior and exterior in two of the series of works, illustrating a mythic landscape with a turbulent, ominous atmosphere that differentiates land from sky, body from space. These whirling landscapes evoke the extraordinary, eerie Romanticism of JMW Turner, a worship of nature marked through an expressive, dramatic scene. Similar in disposition are two works where we imagine the moon rising over the peak – a symbolic narrative of a new cycle, of origins and menstruation.
The wall-based paintings recall some of Kapoor’s most ambitious, distinguished works, including Svayambhu (2007), My Red Homeland (2003) and Symphony for a Beloved Sun (2013). In these floor-based works we see a more ritualistic, visceral language, where Kapoor unashamedly delves into depicting the very blood and flesh from which we are all born. Artists from Leonardo di Vinci to Francis Bacon have been fascinated with the innards of the body, be it our anatomy or the surrealist beauty in violence. The work also stands in a powerful tradition of artists exploring the human body’s expression of divine matters, yet through the unique vision of Kapoor’s Eastern and Western influences, and ---– considering the year in which they were created --– taking on new meaning highlighting the fragility of the body and self.
Life Stream
Description: Picture taken in a pet shop. No product nor the fish were acquired or bought, and the picture I took was merely for educational purposes in benefit of the species depicted.
They are also known as lowland cichlid, pearlscale cichlid, Texas blue or green Texas cichlid.
This is a Herichthys carpintis of the variation "Short Body" commonly known as Texas Short Body and belongs in the superclass Osteichthyes, class Actinopterygii, subclass Neopterygii, superorder Acanthopterygii, order Perciformes (Cichliformes?), suborder Labroidei, family Cichlidae, subfamily Cichlasomatinae and tribe Heroini. Bear in mind that this taxonomy was very confusing and there may be mistakes, not to mention that I skipped plenty of subdivisions within Neopterygii to make this shorter. If you saw any mistakes, please warn me so I can change this text accordingly. All I ask is for you to provide a reliable source to your correction of my mistake. "Guesses" or speculations won't make me immediately change the text, but are welcome.
Apparently, the subject portrayed is a male but through a picture it's hard to tell with 100% precision. Some females look a lot like the males, with many being mistaken for each other. The differentiation is more reliable by annalyzing the behaviour or through the observation of the sexual and excretory organs through a process called "venting" after the subject reaches sexual maturity. In general, the males are larger than the females and display a characteristic black spot on the center of the dorsal fin, but this can't be used to differentiate the sex of these fishes with 100% reliability.
Herichthys carpintis can be found in harder waters with a pH of 7,5 to 9 and temperatures between 18ºC and 28ºC, which varies with the seasons. They can also inhabit transparent waters with visibility inferior to 1 meter.
Sexual maturity is reached after the fish reaches around 10cm. They will try to reproduce as soon as the sexual maturity is achieved and will search for a smooth surface to lay the eggs. More than 800 eggs can be laid. The offspring are transferred between sites in crevices multiple times by the female to fend off predators. Both the males and the females will guard the offsprings for around 8 weeks.
This species is somewhat aggressive and are known to provoke problems with other creatures even when they are bigger than them, which may result in the death of the Herichthys carpintis, although this behaviour is more often seen when they are under captivity.
They are omnivorous and feed on debris, vegetable matter (they are diggers and will uproot vegetation), other fishes, small insects, gastropods, and so on.
This species is polymorphic, meaning they can present various patterns depending on their zone of distribution, which includes the Eastern coast of Mexico, until the Rio Soto La Marina to the North, and to the South until the Panuco's River Bay, Laguna de Tamiahua. They have been introduced in many places.
They live around 8 years under captivity. This expectancy is usually halved in nature. The individual portrayed measured approximately 13 or 14cm in length and approximately 9cm in height.
Sources:
www.ciclideos.com/herichthys-carpintis-f195.html
www.aquarismopaulista.com/texas-blue-herichthys-carpintis/
en.wikipedia.org/wiki/Polymorphism_(biology)
www.seriouslyfish.com/species/herichthys-carpintis/
PROJECT NOAH (Português): www.projectnoah.org/spottings/1400149398
The Gyrfalcon (Falco rusticolus), also spelled Gyr Falcon, sometimes Gerfalcon, is the largest of all falcon species. The Gyrfalcon breeds on Arctic coasts and islands of North America, Europe and Asia. It is mainly resident, but some Gyrfalcons disperse more widely after the breeding season, or in winter[1].
The bird's common name comes from French gerfaucon, and in mediaeval Latin is rendered as gyrofalco. The first part of the word may come from Old High German gîr (cf. modern German Geier), "vulture", referring to its size compared to other falcons, or the Latin gȳrus ("circle", "curved path") from the species' circling as it searches for prey, unlike the other falcons in its range[2]. The male gyrfalcon is called a gyrkin in falconry.
Its scientific name is composed of the Latin terms for a falcon, Falco, and for someone who lives in the countryside, rusticolus.
Plumage is very variable in this highly polymorphic species: the archetypal morphs are called "white", "silver", "brown" and "black" though coloration spans a continuous spectrum from nearly all-white birds to very dark ones.
The Gyrfalcon is a bird of tundra and mountains, with cliffs or a few patches of trees. It feeds only on birds and mammals. Like other hierofalcons, it usually hunts in a horizontal pursuit, rather than the Peregrine's speedy stoop from a height. Most prey is killed on the ground, whether they are captured there or, if the victim is a flying bird, forced to the ground. The diet is to some extent opportunistic, but a majority of breeding birds mostly rely on Lagopus grouse. Avian prey can range in size from redpolls to geese and can include gulls, corvids, smaller passerines, waders and other raptors (up to the size of Buteos). Mammalian prey can range in size from shrews to marmots (sometimes 3 times heavier than the assaulting falcon), and often includes include lemmings, voles, ground squirrels and hares. They only rarely eat carrion.
The Gyrfalcon is the official bird of Canada's Northwest Territories.
Tenerife.
Icod, the Butterfly Garden.
Mariposario del Drago.
www.mariposario.com/English/index.html
Great Mormon (Papilio memnon) is a large butterfly with contrasting colors that belongs to the Swallowtail family. A common South-Asian butterfly, it is widely distributed and has thirteen subspecies. The female is polymorphic and with mimetic forms.
The Gyrfalcon (Falco rusticolus), also spelled Gyr Falcon, sometimes Gerfalcon, is the largest of all falcon species. The Gyrfalcon breeds on Arctic coasts and islands of North America, Europe and Asia. It is mainly resident, but some Gyrfalcons disperse more widely after the breeding season, or in winter[1].
The bird's common name comes from French gerfaucon, and in mediaeval Latin is rendered as gyrofalco. The first part of the word may come from Old High German gîr (cf. modern German Geier), "vulture", referring to its size compared to other falcons, or the Latin gȳrus ("circle", "curved path") from the species' circling as it searches for prey, unlike the other falcons in its range[2]. The male gyrfalcon is called a gyrkin in falconry.
Its scientific name is composed of the Latin terms for a falcon, Falco, and for someone who lives in the countryside, rusticolus.
Plumage is very variable in this highly polymorphic species: the archetypal morphs are called "white", "silver", "brown" and "black" though coloration spans a continuous spectrum from nearly all-white birds to very dark ones.
The Gyrfalcon is a bird of tundra and mountains, with cliffs or a few patches of trees. It feeds only on birds and mammals. Like other hierofalcons, it usually hunts in a horizontal pursuit, rather than the Peregrine's speedy stoop from a height. Most prey is killed on the ground, whether they are captured there or, if the victim is a flying bird, forced to the ground. The diet is to some extent opportunistic, but a majority of breeding birds mostly rely on Lagopus grouse. Avian prey can range in size from redpolls to geese and can include gulls, corvids, smaller passerines, waders and other raptors (up to the size of Buteos). Mammalian prey can range in size from shrews to marmots (sometimes 3 times heavier than the assaulting falcon), and often includes include lemmings, voles, ground squirrels and hares. They only rarely eat carrion.
The Gyrfalcon is the official bird of Canada's Northwest Territories.
Skops Uil
(Otus senegalensis)
Scops owls are typical owls (family Strigidae) mostly belonging to the genus Otus. Approximately 45 living species are known, but new ones are frequently recognized and unknown ones are still being discovered every few years or so, especially in Indonesia. For most of the 20th century, this genus included the American screech owls, which are now again separated in Megascops based on a range of behavioral, biogeographical, morphological and DNA sequence data. Otus is the largest genus of owls in terms of number of species.
Scops owls in the modern sense are restricted to the Old World. A single North American species, the flammulated owl, was provisionally placed in Otus and has now been moved to its own monotypic genus. See below for details.
As usual for owls, female scops owls are usually larger than the males of their species, with owls of both sexes being compact in size and shape. All of the birds in this genus are small and agile. Scops owls are colored in various brownish hues, sometimes with a lighter underside and/or face, which helps to camouflage them against the bark of trees. Some are polymorphic, occurring in a greyish- and a reddish-brown morph.
Scops owls hunt from perches in semi-open landscapes. They prefer areas which contain old trees with hollows; these are home to their prey which includes insects, reptiles, small mammals such as bats and mice and other small birds. The owls will also eat earthworms, amphibians and aquatic invertebrates. Scops owls have a good sense of hearing which helps them locate their prey in any habitat. They also possess well-developed raptorial claws and a curved bill, both of which are used for tearing their prey into pieces small enough to swallow easily.
Scops owls are primarily solitary birds. Most species lay and incubate their eggs in a cavity nest that was originally made by another animal. During the incubation period, the male will feed the female. These birds are monogamous, with biparental care, and only fledge one young per year. The young of most scops owls are altricial to semialtricial.
As opposed to screech owls, scops owls have only a single type of call. This consists of a series of whistles or high-pitched hoots, given with a frequency of 4 calls per second or less, or of a single, drawn-out whistle. Calls differ widely between species in type and pitch, and in the field are often the first indication of these birds' presence, as well as the most reliable means to distinguish between species. Some, like the recently described Serendib scops owl (Otus thilohoffmanni), were discovered because their vocalizations were unfamiliar to experts in bird-calls.
The genus name is from the Latin otus for an eared owl.
Due to a nomenclatorial dispute, the generic name Scops is not used by either the scops or the screech owls (which when only a few species were known were placed together), nor by any other animal. In 1760, Mathurin Jacques Brisson had established the genus Scopus for the hammerkop, a peculiar African bird. Paul Möhring in 1758 had already used the name Scops for this bird however, and believing this name to be valid Morten Thrane Brünnich replaced Scopus with it in 1772. The scops and screech owls, which were placed in Otus by Thomas Pennant in 1769 (as he too believed that Moehring's Scops was valid) were moved to Scops by Marie Jules César Savigny in 1809. Lorenz Oken in 1817 changed this to Scopus, also under the impression that Scops was the older name for the hammerkop, and valid.
However, the names established by Moehring pre-date the official start date of Linnean nomenclature in zoology as regulated by the ICZN, which is December 31, 1758 – the last day of the year in which the 10th edition of Linné's Systema Naturae was published. Hence, Scopus as established by Brisson is indeed the valid generic name of the hammerkop, and the first valid use of Scops was in 1772 by Brünnich – which according to modern rules of zoological nomenclature was unjustified however, as the name he believed to be reinstating had never been technically valid in the first place.
Wikipedia
Dave Ladd
HSITI Zine 003
A6 Landscape
48pp – Including cover
Laser on pale pink stock
Bound with flouro pink cloth tape.
Edition of 100 – 2007.
Subject:
My spam volume is enormous but my inbox is tiny.
I have been receiving Polymorphic Spam sent for penis enlargement(!) product Mega Dik for the last 2-3 months and now my junk-mail folder is much bigger than “average” size. Now let’s all whizgiggle at them.
DL76 – 2007
Zines, prints and more – now available for sale in our store.
Kleinsingvalk
(Micronisus gabar)
The gabar goshawk (Micronisus gabar) is a small species of African and Arabian bird of prey in the family Accipitridae.
The gabar goshawk is polymorphic and occurs in two distinct forms which fluctuate in relative abundance across the geographic range of the species. The more frequent, paler form has mostly grey upperparts with a conspicuous, white rump and white and grey barring on the chest, thighs and underwings, and a dark grey, barred tail. In contrast, the less frequent form, which accounts on average for approximately 25 percent of the overall population, is almost completely black. In both forms of adult the eyes are dark, and the long legs and the cere are red. The cere and the legs are yellow in immatures and the plumage is generally browner, with the pale birds having untidy barring on the chest than the adult. The females are significantly larger than the males, the male's weigh 90 - 173g and the females 167 - 240g The body length is 28–36 cm and the wingspan 63 cm.
The gabar goshawk is usually considered to be sedentary, but immature birds are somewhat nomadic and some small migratory movements have been recorded in parts of its range. It is most frequently observed alone, but pairs are also common, particularly during the breeding season, when the male is often observed pursuing the female through trees, or calling from his perch. The small platform nest is typically constructed using thin twigs and positioned in a vertical fork in the crown of a thorny tree, such as an acacia. One notable aspect of their nest construction is that the birds collect spider webs including the live spiders, the spiders spin new webs which may help camouflage the nest, and the spiders may consume arthropods that would parasitize the chicks.
The eggs are laid from July to December, peaking in September to November. The normal clutch is two eggs, but up to four may be laid, and these are mainly incubated by the female for about 33–38 days. Once hatched, the chicks are brooded by the female for the first 19–21 days of their lives, while the male brings her food to feed to them. They leave the nest around 35–36 days old, becoming fully independent about one month later.
Small birds are the major part of the gabar goshwak’s diet, with small mammals, reptiles, and insects also taken on occasion. The prey is typically flushed from trees and caught following a persistent and energetic pursuit. The gabar goshawk sometimes hunts from the perch, swooping down to catch prey off the ground or in flight. They have also been recorded attacking the nests of colonial birds such as weavers by clawing their way destructively through the nest top to snatch the chicks from the nest.
Known predators of the gabar goshawk include tawny eagles, Wahlberg's eagles, and Ayres's hawk-eagles.
Wikipedia
www.lissongallery.com/exhibitions/anish-kapoor-f45a2ea5-2...
For his latest exhibition, Anish Kapoor presents a new series of paintings, an element of his practice that has rarely been seen, exploring the intimate and ritualistic nature of his work. Created over the past year, the show provides a poetic view of the artist's recent preoccupations. While painting has always been an integral part of Kapoor’s practice, this radical new body of work is both spiritual and ecstatic, showing Kapoor working in more vivid and urgent form than ever. Alongside this exhibition, a solo show dedicated to Kapoor's paintings will run at Modern Art Oxford from 2 October 2021 - 13 February 2022, and both shows precede Kapoor’s major retrospective at Gallerie dell'Accademia di Venezia, opening April 2022 to coincide with the Venice Biennale.
Through painting, Kapoor delves into the deep inner world of our mind and body, from the physical exploration of the flesh and blood, to investigating psychological concepts as primal and nameless as origin and obliteration. Since the 1980s, Kapoor has been celebrated largely as a sculptor, yet painting, and its rawest composition, colour and form, have been a fundamental element of his practice-. The presentation will feature a selection of new and recent paintings, created between 2019 and 2021, the majority in the artist’s London-based studio during the pandemic. Like the artist’s wider oeuvre, these paintings are rooted in a drive to grasp the unknown, to awaken consciousness and experiment with the phenomenology of space.
Kapoor’s work has been characterized by an intense encounter with colour and matter – manifest either through refined, reflective surfaces such as metal or mirrors, or through the tactile, sensual quality of the blankets of impasto. The magnetism of the colour red is evident in these new paintings, manifesting the elemental force that flows through us all, yet now accompanied by a new palette of telluric greys and yellows, as if witnessing a surge from the depths of the earth. Some works appear volcanic, with an intense, fiery energy, while others are more primitive and abstract, with layers of dense pigment and resin forming a sculpted solidity. Many of the paintings have a visceral outpouring where a canvas within a canvas rotates and evolves in space, seeming to defy gravity, with brushstrokes cascading over the edges like a waterfall. In others we see distorted, polymorphic figures emerging from a deep, radiant void, with a ghostly aura.
Kapoor achieves a coherence of mind and body, of interior and exterior in two of the series of works, illustrating a mythic landscape with a turbulent, ominous atmosphere that differentiates land from sky, body from space. These whirling landscapes evoke the extraordinary, eerie Romanticism of JMW Turner, a worship of nature marked through an expressive, dramatic scene. Similar in disposition are two works where we imagine the moon rising over the peak – a symbolic narrative of a new cycle, of origins and menstruation.
The wall-based paintings recall some of Kapoor’s most ambitious, distinguished works, including Svayambhu (2007), My Red Homeland (2003) and Symphony for a Beloved Sun (2013). In these floor-based works we see a more ritualistic, visceral language, where Kapoor unashamedly delves into depicting the very blood and flesh from which we are all born. Artists from Leonardo di Vinci to Francis Bacon have been fascinated with the innards of the body, be it our anatomy or the surrealist beauty in violence. The work also stands in a powerful tradition of artists exploring the human body’s expression of divine matters, yet through the unique vision of Kapoor’s Eastern and Western influences, and ---– considering the year in which they were created --– taking on new meaning highlighting the fragility of the body and self.
Indian Paradise Flycatcher
The Indian paradise flycatcher (Terpsiphone paradisi) is a medium-sized passerine bird native to Asia that is widely distributed. As the global population is considered stable, it has been listed as Least Concern on the IUCN Red List since 2004. It is native to the Indian subcontinent, Central Asia and Myanmar.
Males have elongated central tail feathers, and a black and rufous plumage in some populations, while others have white plumage. Females are short-tailed with rufous wings and a black head. Indian paradise flycatchers feed on insects, which they capture in the air often below a densely canopied tree.
Three subspecies are recognized:
Himalayan paradise flycatcher (T. p. leucogaster) – (Swainson, 1838): Originally described as a separate species. Breeds in the western Tian Shan, in Afghanistan, in the north of Pakistan, in northwestern and central India, in Nepal’s western and central regions; populations occurring in the east of Pakistan and in the south of India migrate towards the foothills of the Himalayas in spring for breeding.
T. p. paradisi – (Linnaeus, 1758): breeds in central and southern India, central Bangladesh and south-western Myanmar; populations occurring in Sri Lanka in the winter season are non-breeding.
Ceylon paradise flycatcher (T. p. ceylonensis) – (Zarudny & Harms, 1912): found in Sri Lanka.
Adult Indian paradise flycatchers are 19–22 cm (7.5–8.7 in) long. Their heads are glossy black with a black crown and crest, their black bill round and sturdy, their eyes black. Female are rufous on the back with a greyish throat and underparts. Their wings are 86–92 mm (3.4–3.6 in) long. Young males look very much like females but have a black throat and blue-ringed eyes. As adults they develop up to 24 cm (9.4 in) long tail feathers with two central tail feathers growing up to 30 cm (12 in) long drooping streamers.
Young males are rufous and have short tails. They acquire long tails in their second or third year. Adult males are either predominantly bright rufous above or predominantly white. Some specimens show some degree of intermediacy between rufous and white. Long-tailed rufous birds are generally devoid of shaft streaks on the wing and tail feathers, while in white birds the shaft streaks, and sometimes the edges of the wing and tail feathers are black.
In the early 1960s, 680 long-tailed males were examined that are contained in collections of the British Museum of Natural History, Chicago Natural History Museum, Peabody Museum, Carnegie Museum, American Museum of Natural History, United States National Museum and Royal Ontario Museum. The specimens came from almost the entire range of the species, though some areas were poorly represented. The relative frequency of the rufous and white plumage types varies geographically. Rufous birds are rare in the extreme southeastern part of the species' range. Throughout the Indian area and, to a lesser extent, in China, asymmetrically patterned intermediates occur. Intermediates are rare or absent throughout the rest of the range of the species. In general, long-tailed males are predominantly rufous with some white in wings and tail — collected in Turkestan, Kashmir, northern India, Punjab, Maharashtra, Sikkim and in Sri Lanka;
predominantly rufous with some white in wings — collected in Iran, Afghanistan, Baluchistan, Punjab, Kashmir, northern and central India, Rajasthan, Maharashtra, Bihar, Nepal;
predominantly rufous with some white in tail — collected in Punjab, northern and central India, Kolkata, Sri Lanka and in the Upper Yangtze Valley in China;
predominantly white with some rufous in tail and wings — collected in Kashmir, Maharashtra, Sichuan and North China;
predominantly white with some rufous in tail — collected in Maharashtra and Fuzhou, China;
predominantly white with back partly rufous — collected in Punjab and Chennai;
moulting from rufous into white plumage — collected in North Bihar.
Possible interpretations of this phenomenon are : males may be polymorphic for rufous and white plumage colour; rufous birds may be sub-adults; and there may even be two sympatric species distinguishable only in the male.
They are migratory and spend the winter season in tropical Asia. There are resident populations in southern India and Sri Lanka, hence both visiting migrants and the locally breeding subspecies occur in these areas in winter.
According to Linné’s first description Indian paradise flycatchers were only distributed in India. Later ornithologists observed this spectacular bird in other areas, and based on differences in plumage of males described several subspecies.
Indian paradise flycatchers inhabit thick forests and well-wooded habitats from Central Asia to south-eastern China, all over India and Sri Lanka to Myanmar.
Indian paradise flycatchers are noisy birds uttering sharp skreek calls. They have short legs and sit very upright whilst perched prominently, like a shrike. They are insectivorous and hunt in flight in the understorey. In the afternoons they dive from perches to bathe in small pools of water.
The breeding season lasts from May to July. Being socially monogamous both male and female take part in nest-building, incubation, brooding and feeding of the young. The incubation period lasts 14 to 16 days and the nestling period 9 to 12 days. Three or four eggs are laid in a neat cup nest made with twigs and spider webs on the end of a low branch. The nest is sometimes built in the vicinity of a breeding pair of drongos, which keep predators away. Chicks hatch in about 21 to 23 days. A case of interspecific feeding has been noted with paradise flycatcher chicks fed by Oriental white-eyes.
The Gyrfalcon (Falco rusticolus), also spelled Gyr Falcon, sometimes Gerfalcon, is the largest of all falcon species. The Gyrfalcon breeds on Arctic coasts and islands of North America, Europe and Asia. It is mainly resident, but some Gyrfalcons disperse more widely after the breeding season, or in winter[1].
The bird's common name comes from French gerfaucon, and in mediaeval Latin is rendered as gyrofalco. The first part of the word may come from Old High German gîr (cf. modern German Geier), "vulture", referring to its size compared to other falcons, or the Latin gȳrus ("circle", "curved path") from the species' circling as it searches for prey, unlike the other falcons in its range[2]. The male gyrfalcon is called a gyrkin in falconry.
Its scientific name is composed of the Latin terms for a falcon, Falco, and for someone who lives in the countryside, rusticolus.
Plumage is very variable in this highly polymorphic species: the archetypal morphs are called "white", "silver", "brown" and "black" though coloration spans a continuous spectrum from nearly all-white birds to very dark ones.
The Gyrfalcon is a bird of tundra and mountains, with cliffs or a few patches of trees. It feeds only on birds and mammals. Like other hierofalcons, it usually hunts in a horizontal pursuit, rather than the Peregrine's speedy stoop from a height. Most prey is killed on the ground, whether they are captured there or, if the victim is a flying bird, forced to the ground. The diet is to some extent opportunistic, but a majority of breeding birds mostly rely on Lagopus grouse. Avian prey can range in size from redpolls to geese and can include gulls, corvids, smaller passerines, waders and other raptors (up to the size of Buteos). Mammalian prey can range in size from shrews to marmots (sometimes 3 times heavier than the assaulting falcon), and often includes include lemmings, voles, ground squirrels and hares. They only rarely eat carrion.
The Gyrfalcon is the official bird of Canada's Northwest Territories.
Indian Paradise Flycatcher
The Indian paradise flycatcher (Terpsiphone paradisi) is a medium-sized passerine bird native to Asia that is widely distributed. As the global population is considered stable, it has been listed as Least Concern on the IUCN Red List since 2004. It is native to the Indian subcontinent, Central Asia and Myanmar.
Males have elongated central tail feathers, and a black and rufous plumage in some populations, while others have white plumage. Females are short-tailed with rufous wings and a black head. Indian paradise flycatchers feed on insects, which they capture in the air often below a densely canopied tree.
Three subspecies are recognized:
Himalayan paradise flycatcher (T. p. leucogaster) – (Swainson, 1838): Originally described as a separate species. Breeds in the western Tian Shan, in Afghanistan, in the north of Pakistan, in northwestern and central India, in Nepal’s western and central regions; populations occurring in the east of Pakistan and in the south of India migrate towards the foothills of the Himalayas in spring for breeding.
T. p. paradisi – (Linnaeus, 1758): breeds in central and southern India, central Bangladesh and south-western Myanmar; populations occurring in Sri Lanka in the winter season are non-breeding.
Ceylon paradise flycatcher (T. p. ceylonensis) – (Zarudny & Harms, 1912): found in Sri Lanka.
Adult Indian paradise flycatchers are 19–22 cm (7.5–8.7 in) long. Their heads are glossy black with a black crown and crest, their black bill round and sturdy, their eyes black. Female are rufous on the back with a greyish throat and underparts. Their wings are 86–92 mm (3.4–3.6 in) long. Young males look very much like females but have a black throat and blue-ringed eyes. As adults they develop up to 24 cm (9.4 in) long tail feathers with two central tail feathers growing up to 30 cm (12 in) long drooping streamers.
Young males are rufous and have short tails. They acquire long tails in their second or third year. Adult males are either predominantly bright rufous above or predominantly white. Some specimens show some degree of intermediacy between rufous and white. Long-tailed rufous birds are generally devoid of shaft streaks on the wing and tail feathers, while in white birds the shaft streaks, and sometimes the edges of the wing and tail feathers are black.
In the early 1960s, 680 long-tailed males were examined that are contained in collections of the British Museum of Natural History, Chicago Natural History Museum, Peabody Museum, Carnegie Museum, American Museum of Natural History, United States National Museum and Royal Ontario Museum. The specimens came from almost the entire range of the species, though some areas were poorly represented. The relative frequency of the rufous and white plumage types varies geographically. Rufous birds are rare in the extreme southeastern part of the species' range. Throughout the Indian area and, to a lesser extent, in China, asymmetrically patterned intermediates occur. Intermediates are rare or absent throughout the rest of the range of the species. In general, long-tailed males are
predominantly rufous with some white in wings and tail — collected in Turkestan, Kashmir, northern India, Punjab, Maharashtra, Sikkim and in Sri Lanka;
predominantly rufous with some white in wings — collected in Iran, Afghanistan, Baluchistan, Punjab, Kashmir, northern and central India, Rajasthan, Maharashtra, Bihar, Nepal;
predominantly rufous with some white in tail — collected in Punjab, northern and central India, Kolkata, Sri Lanka and in the Upper Yangtze Valley in China;
predominantly white with some rufous in tail and wings — collected in Kashmir, Maharashtra, Sichuan and North China;
predominantly white with some rufous in tail — collected in Maharashtra and Fuzhou, China;
predominantly white with back partly rufous — collected in Punjab and Chennai;
moulting from rufous into white plumage — collected in North Bihar.
Possible interpretations of this phenomenon are : males may be polymorphic for rufous and white plumage colour; rufous birds may be sub-adults; and there may even be two sympatric species distinguishable only in the male.
They are migratory and spend the winter season in tropical Asia. There are resident populations in southern India and Sri Lanka, hence both visiting migrants and the locally breeding subspecies occur in these areas in winter.
According to Linné’s first description Indian paradise flycatchers were only distributed in India. Later ornithologists observed this spectacular bird in other areas, and based on differences in plumage of males described several subspecies.
Indian paradise flycatchers inhabit thick forests and well-wooded habitats from Central Asia to south-eastern China, all over India and Sri Lanka to Myanmar.
Indian paradise flycatchers are noisy birds uttering sharp skreek calls. They have short legs and sit very upright whilst perched prominently, like a shrike. They are insectivorous and hunt in flight in the understorey. In the afternoons they dive from perches to bathe in small pools of water.
The breeding season lasts from May to July. Being socially monogamous both male and female take part in nest-building, incubation, brooding and feeding of the young. The incubation period lasts 14 to 16 days and the nestling period 9 to 12 days. Three or four eggs are laid in a neat cup nest made with twigs and spider webs on the end of a low branch. The nest is sometimes built in the vicinity of a breeding pair of drongos, which keep predators away. Chicks hatch in about 21 to 23 days. A case of interspecific feeding has been noted with paradise flycatcher chicks fed by Oriental white-eyes.
The Gyrfalcon (Falco rusticolus), also spelled Gyr Falcon, sometimes Gerfalcon, is the largest of all falcon species. The Gyrfalcon breeds on Arctic coasts and islands of North America, Europe and Asia. It is mainly resident, but some Gyrfalcons disperse more widely after the breeding season, or in winter[1].
The bird's common name comes from French gerfaucon, and in mediaeval Latin is rendered as gyrofalco. The first part of the word may come from Old High German gîr (cf. modern German Geier), "vulture", referring to its size compared to other falcons, or the Latin gȳrus ("circle", "curved path") from the species' circling as it searches for prey, unlike the other falcons in its range[2]. The male gyrfalcon is called a gyrkin in falconry.
Its scientific name is composed of the Latin terms for a falcon, Falco, and for someone who lives in the countryside, rusticolus.
Plumage is very variable in this highly polymorphic species: the archetypal morphs are called "white", "silver", "brown" and "black" though coloration spans a continuous spectrum from nearly all-white birds to very dark ones.
The Gyrfalcon is a bird of tundra and mountains, with cliffs or a few patches of trees. It feeds only on birds and mammals. Like other hierofalcons, it usually hunts in a horizontal pursuit, rather than the Peregrine's speedy stoop from a height. Most prey is killed on the ground, whether they are captured there or, if the victim is a flying bird, forced to the ground. The diet is to some extent opportunistic, but a majority of breeding birds mostly rely on Lagopus grouse. Avian prey can range in size from redpolls to geese and can include gulls, corvids, smaller passerines, waders and other raptors (up to the size of Buteos). Mammalian prey can range in size from shrews to marmots (sometimes 3 times heavier than the assaulting falcon), and often includes include lemmings, voles, ground squirrels and hares. They only rarely eat carrion.
The Gyrfalcon is the official bird of Canada's Northwest Territories.
Photographed at San Antonio Open Space Preserve, Los Altos, California
=============================
From Wikipedia: The lesser goldfinch (Spinus psaltria) is a very small songbird of the Americas. Together with its relatives the American goldfinch and Lawrence's goldfinch, it forms the American goldfinches clade in the genus Spinus sensu stricto.
The American goldfinches can be distinguished by the males having a black (rarely green) forehead, whereas the latter is (like the rest of the face) red or yellow in the European goldfinch and its relatives. North American males are markedly polymorphic and 5 subspecies are often named; at least 2 of them seem to represent a less-progressed stage in evolution however.
Description:
This petite species is not only the smallest North American Spinus finch, it may be the smallest true finch in the world. Some sources list more subtropical Spinus species as slightly smaller on average, including the Andean siskin. This species ranges from 9 to 12 cm (3.5 to 4.7 in) in length and can weigh from 8 to 11.5 g (0.28 to 0.41 oz). Among standard measurements, the wing chord is 5.5 to 7 cm (2.2 to 2.8 in), the tail is 3.9 to 4.7 cm (1.5 to 1.9 in), the bill is 0.9 to 1.1 cm (0.35 to 0.43 in) and the tarsus is 1.1 to 1.2 cm (0.43 to 0.47 in). There is a slight NW-SE cline in size, with the largest birds from Mexico and south being up to one-fifth larger than the smallest from the extreme NW of its range; this effect is more pronounced in females. There is also considerable variation in the amount of black on head and back in males, and thus three subspecies have been proposed. But this variation too seem to be simple and clinal changes in allele frequency, and thus the "subspecies" might be better considered morphs or geographical forms.
Males are easily recognized by their bright yellow underparts and big white patches in the tail (outer rectrices) and on the wings (the base of the primaries). They range from having solid black from the back to the upper head including the ear-coverts to having these regions medium green; each of the back, crown and ear regions varies in darkness rather independently though as a rule the ears are not darker than the rest. In most of the range dark psaltria birds (Arkansas goldfinch) predominate. The light birds are termed hesperophilus and are most common in the far western U.S. and northwestern Mexico.
The zone in which both light and dark males occur on a regular basis is broadest in the north, and extends across the width of the Rocky Mountains and Sierra Madre Occidental ranges. It reaches the Pacific coast in southern Sonora to northern Sinaloa, roughly between area of Ciudad Obregón to Culiacán. In the United States, the most diverse array of phenotypes can be found in Colorado and New Mexico. East of the 106th meridian west in southwestern Texas as well as in most of Mexico, almost all males have black backs. Spinus psaltria colombianus, east and south of the Isthmus of Tehuantepec, is richer yellow below in males. This as well as the even yellower S. p. jouyi from the Yucatán Peninsula and adjacent regions and S. p. witti from the Islas Marías off Nayarit require more study, especially as at least the former two seem also to be significantly larger and longer-billed.
Females' and immatures' upperparts are more or less grayish olive-green; their underparts are yellowish, buffier in immatures. They have only a narrow strip of white on the wings (with other white markings in some forms) and little or no white on the tail. They are best distinguished from other members of the genus by the combination of small size, upperparts without white or yellow, and dark gray bill. In all plumages this bird can easily be taken for a New World warbler if the typical finch bill isn't seen well.
Like other goldfinches, it has an undulating flight in which it frequently gives a call: in this case, a harsh chig chig chig. Another distinctive call is a very high-pitched, drawn-out whistle, often rising from one level pitch to another (teeeyeee) or falling (teeeyooo). The song is a prolonged warble or twitter, more phrased than that of the American goldfinch, often incorporating imitations of other species.
Distribution and ecology:
Lesser Goldfinch Landing, Santa Fe.jpg
This American goldfinch ranges from the southwestern United States (near the coast, as far north as extreme southwestern Washington) to Venezuela and Peru. It migrates from the colder parts of its U.S. range.
The lesser goldfinch often occurs in flocks or at least loose associations. It utilizes almost any habitat with trees or shrubs except for dense forest, and is common and conspicuous in many areas, often coming near houses. It is common at feeders in the Southwest United States and will come almost anywhere with thistle sock feeders. Flocks of at least six birds will often be seen at feeders. It feeds mostly on tree buds and weed seeds; geophagy has been observed in this species.
The nesting season is in summer in the temperate parts of its range; in the tropics it apparently breeds all-year round, perhaps less often in September/October. It lays three or four bluish white eggs in a cup nest made of fine plant materials such as lichens, rootlets, and strips of bark, placed in a bush or at low or middle levels in a tree.
The moult occurs in two different patterns which coincides with the blackness of the upperparts quite well. Here too is a broad zone of intergradation. Pacific birds moult after breeding, and females shed a few body feathers before breeding too. Juvenile males shed more remiges than females when moulting into adult plumage. East of the 106th meridian west, birds moult strongly before breeding and replace another quantity of feathers afterwards, and post-juvenal moult does not differ significantly between the sexes. However, this seems dependent on the differing rainfall regimes; simply put, birds at least anywhere in the North American range moult most of their plumage at the end of the dry season and may replace more feathers at the end of the wet season.
Considered a Species of Least Concern by the IUCN due to its vast range, it nonetheless seems to be declining locally. For example, it is rare in the Ecuadorean Andes foothills.
AB2A0716-1_fCAFlkr
ze-no-STEEJ-ee-uh or ze-no-STEG-ee-uh -- Greek: xeno (strange); stegia (covering) ... Dave's Botanary
try-den-TAY-ta -- three-toothed ... Dave's Botanary
commonly known as: narrowleaf morning glory • Bengali: হলুদ কলমি লতা holud kolmi lawta, প্রসারিণী prosharini • Gujarati: ભીંતગરીયો bhintagariyo • Hindi: प्रसारिणी prasarini • Kachchhi: ઝામરવલ jhamarval, ટોપરાવલ toparaval • Kannada: ಇಲಿಕಿವಿ ಸೊಪ್ಪು ilikivi soppu, ಪ್ರಸಾರಣಿ prasaarani • Konkani: काळी वेल kali vel • Malayalam: പ്രസാരണി prasaarani, തലനീളി thalaneeli • Marathi: काळी वेल kali vel • Odia: ପ୍ରସାରଣୀ prasarani • Rajasthani: प्रसारिणी prasarini • Sanskrit: प्रसारिणी prasarini • Tamil: முதியோர் கூந்தல் mutiyor kuntal • Telugu: లంజ సవరం lanja savaram, సీతమ్మ జడ seethamma jada, సీతమ్మ సవరం seetamma savaram, సుంచు మూతి sunchu mutthi
botanical names: Xenostegia tridentata (L.) D.F.Austin & Staples ... homotypic synonyms: Convolvulus tridentatus L. • Evolvulus tridentatus (L.) L. • Ipomoea tridentata (L.) Roth • Merremia tridentata (L.) Hallier f. ... infraspecific: Xenostegia tridentata subsp. tridentata ... and more at POWO, retrieved 07 February 2025
~~~~~ DISTRIBUTION in INDIA ~~~~~
throughout (except n-w India); including Lakshadweep islands
Names compiled / updated at Names of Plants in India.
Inspired by some generative illustrations I've seen, decided to draw some more complex stuff - with a couple of perverse looking monsters for good measure.
Pseudo Bismuth - Thanks for following & sharing @ozwyz 🐳 🎱 🍆 #ozwyz #polymorphic #style #artscene #experimental #glitter #color #variegated #ethereal #artsy #dailyart #photoshop #amazingart #procreateartist #pnwartist #biartist #gay #hotart #weird #metamorphosis #mirror #coolart #tacomawa #mutlihued #odd #phaser #abstractart #dynamicart instagr.am/p/CMSTautnjzI/
The Gyrfalcon (Falco rusticolus), also spelled Gyr Falcon, sometimes Gerfalcon, is the largest of all falcon species. The Gyrfalcon breeds on Arctic coasts and islands of North America, Europe and Asia. It is mainly resident, but some Gyrfalcons disperse more widely after the breeding season, or in winter[1].
The bird's common name comes from French gerfaucon, and in mediaeval Latin is rendered as gyrofalco. The first part of the word may come from Old High German gîr (cf. modern German Geier), "vulture", referring to its size compared to other falcons, or the Latin gȳrus ("circle", "curved path") from the species' circling as it searches for prey, unlike the other falcons in its range[2]. The male gyrfalcon is called a gyrkin in falconry.
Its scientific name is composed of the Latin terms for a falcon, Falco, and for someone who lives in the countryside, rusticolus.
Plumage is very variable in this highly polymorphic species: the archetypal morphs are called "white", "silver", "brown" and "black" though coloration spans a continuous spectrum from nearly all-white birds to very dark ones.
The Gyrfalcon is a bird of tundra and mountains, with cliffs or a few patches of trees. It feeds only on birds and mammals. Like other hierofalcons, it usually hunts in a horizontal pursuit, rather than the Peregrine's speedy stoop from a height. Most prey is killed on the ground, whether they are captured there or, if the victim is a flying bird, forced to the ground. The diet is to some extent opportunistic, but a majority of breeding birds mostly rely on Lagopus grouse. Avian prey can range in size from redpolls to geese and can include gulls, corvids, smaller passerines, waders and other raptors (up to the size of Buteos). Mammalian prey can range in size from shrews to marmots (sometimes 3 times heavier than the assaulting falcon), and often includes include lemmings, voles, ground squirrels and hares. They only rarely eat carrion.
The Gyrfalcon is the official bird of Canada's Northwest Territories.
Binomial name (Wetenschappelijke naam):
Haematopus unicolor
Dutch name (Nederlandse naam):
Zwarte scholekster
English name (Engelse naam):
Variable Oystercatcher
Common information (Algemeen):
The Variable Oystercatcher (Haematopus unicolor) is a species of wader in the Haematopodidae family. It is endemic to New Zealand. The Maori name is torea-pango.[2] They are also known as 'red bills'.[3]
"Variable" refers to the frontal plumage, which ranges from pied through mottled to all black. They are polymorphic meaning they have different genetic variants.[4] Blacker birds are more common in the south. All Stewart Island variable oystercatchers are black. They have pink legs, an orange eye ring and red beaks. They are often seen in pairs on the coast all around New Zealand. During breeding, the pair will defend their territory, sometimes aggressively. Once mated pairs rarely divorce.[2] After breeding they may be seen within flocks, or on the edges of flocks, of black and white South Island Pied Oystercatcher (SIPO) which also have vivid orange beaks. After breeding they may even form small flocks of their own. Males are around 678 grams and females slightly larger at around 724 grams.[5] Variables can be identified as they are slightly larger than the SIPO - SIPO are around 550 grams.[6] Occasionally totally black but if they are pied (black and white) they can be easily confused with SIPO. The variable species has less definition between the black and the white area, as well as a mottled band on the leading edges of the underwing. Variables also have a smaller white rump patch which is only a band across the base of the tail rather than a wide wedge shape reaching up to the middle of the back as in the SIPO. When mottled they are sometimes called 'smudgies'. They feed on molluscs, crabs and marine worms. After heavy rain, they sometime go inland in search of earthworms.[6] They can open a shellfish by either hammering a hole in it or getting the bill between the two shells (of a bivalve) and twisting them apart. They breed in North Island, South Island, Stewart Island, and Chatham Islands. They do not breed inland or beside rivers although the SIPO does.
They nest on the shore between rocks or on sand dunes by making a scrape out of the sand or shingle, sometimes lined with some seaweed. When in flight they make a high pitched 'kleep kleep' sound.[7] They usually lay 2-3 eggs but they can lay up to 5. The eggs are typically stone coloured with small brown patches all over. Eggs hatch in 25–32 days. Chicks are well camouflaged by their colour and can fly in about 6 weeks. The bird lives up to about 27 years.
Equipment (Apparatuur):
Body: Canon EOS 7D
Lens: Canon EF 300mm f/4L IS USM + Canon extender 1.4x III
Source (Bron informatie): en.wikipedia.org/wiki
See also my website (Bezoek ook eens mijn website): www.thornspic.nl
The Gyrfalcon (Falco rusticolus), also spelled Gyr Falcon, sometimes Gerfalcon, is the largest of all falcon species. The Gyrfalcon breeds on Arctic coasts and islands of North America, Europe and Asia. It is mainly resident, but some Gyrfalcons disperse more widely after the breeding season, or in winter[1].
The bird's common name comes from French gerfaucon, and in mediaeval Latin is rendered as gyrofalco. The first part of the word may come from Old High German gîr (cf. modern German Geier), "vulture", referring to its size compared to other falcons, or the Latin gȳrus ("circle", "curved path") from the species' circling as it searches for prey, unlike the other falcons in its range[2]. The male gyrfalcon is called a gyrkin in falconry.
Its scientific name is composed of the Latin terms for a falcon, Falco, and for someone who lives in the countryside, rusticolus.
Plumage is very variable in this highly polymorphic species: the archetypal morphs are called "white", "silver", "brown" and "black" though coloration spans a continuous spectrum from nearly all-white birds to very dark ones.
The Gyrfalcon is a bird of tundra and mountains, with cliffs or a few patches of trees. It feeds only on birds and mammals. Like other hierofalcons, it usually hunts in a horizontal pursuit, rather than the Peregrine's speedy stoop from a height. Most prey is killed on the ground, whether they are captured there or, if the victim is a flying bird, forced to the ground. The diet is to some extent opportunistic, but a majority of breeding birds mostly rely on Lagopus grouse. Avian prey can range in size from redpolls to geese and can include gulls, corvids, smaller passerines, waders and other raptors (up to the size of Buteos). Mammalian prey can range in size from shrews to marmots (sometimes 3 times heavier than the assaulting falcon), and often includes include lemmings, voles, ground squirrels and hares. They only rarely eat carrion.
The Gyrfalcon is the official bird of Canada's Northwest Territories.
Growing in wetland, high altitude in Baima Snow Mountain nature reserve.
Alpine scrub, meadows, rock crevices, streamsides, bogs; 3000-5300 m. S Gansu, Qinghai, Shaanxi (Taibai Shan), W Sichuan, NW Yunnan, Xizang [Bhutan, Kashmir, Nepal, Sikkim].
Saxifraga melanocentra, as circumscribed in the present account, is polymorphic. Some of the variation is apparently correlated with chromosome number, while some is possibly associated with putative hybrids with S. pallida. Plants from SW China are smaller and have better-developed nectary discs than their counterparts in Nepal.
The Gyrfalcon (Falco rusticolus), also spelled Gyr Falcon, sometimes Gerfalcon, is the largest of all falcon species. The Gyrfalcon breeds on Arctic coasts and islands of North America, Europe and Asia. It is mainly resident, but some Gyrfalcons disperse more widely after the breeding season, or in winter[1].
The bird's common name comes from French gerfaucon, and in mediaeval Latin is rendered as gyrofalco. The first part of the word may come from Old High German gîr (cf. modern German Geier), "vulture", referring to its size compared to other falcons, or the Latin gȳrus ("circle", "curved path") from the species' circling as it searches for prey, unlike the other falcons in its range[2]. The male gyrfalcon is called a gyrkin in falconry.
Its scientific name is composed of the Latin terms for a falcon, Falco, and for someone who lives in the countryside, rusticolus.
Plumage is very variable in this highly polymorphic species: the archetypal morphs are called "white", "silver", "brown" and "black" though coloration spans a continuous spectrum from nearly all-white birds to very dark ones.
The Gyrfalcon is a bird of tundra and mountains, with cliffs or a few patches of trees. It feeds only on birds and mammals. Like other hierofalcons, it usually hunts in a horizontal pursuit, rather than the Peregrine's speedy stoop from a height. Most prey is killed on the ground, whether they are captured there or, if the victim is a flying bird, forced to the ground. The diet is to some extent opportunistic, but a majority of breeding birds mostly rely on Lagopus grouse. Avian prey can range in size from redpolls to geese and can include gulls, corvids, smaller passerines, waders and other raptors (up to the size of Buteos). Mammalian prey can range in size from shrews to marmots (sometimes 3 times heavier than the assaulting falcon), and often includes include lemmings, voles, ground squirrels and hares. They only rarely eat carrion.
The Gyrfalcon is the official bird of Canada's Northwest Territories.
Morphologically highly polymorphic species from Puebla and Oaxaca states in Mexico, where it is found wild at
elevations from 4500 to 7500 feet.
It was used to make Agave wine (pulque) and the spirit Bacanora.
The size of the whole plant, the characteristic number of leaves as well as shape and spininess all vary a lot. Forms like this, with large numbers of nearly orbicular leaves are popular in cultivation. Some young plants sucker freely but they stop doing so as they mature. They can take ten years to flower, and then the whole rosette dies.
Eastern Redback Salamander are common species that can be found from sea level to almost 5,000 feet above sea level. They are polymorphic, having a red dorsal stripes of many shades of orange or red or have a solid gray form (leadback) with varying amounts of dorsal and lateral spotting/speckling.
Butterfly
A close-up of a grey/brown patterned butterfly with large "eye" spots on its wings. One of many I saw in late summer in Chitwan National Park in Southern Nepal. I went for a walk and ended up photographing all kinds of butterflies in a field all afternoon.
I believe this to be a type of:
Mycalesis
The bushbrowns, Mycalesis, are a genus of brush-footed butterflies. They are common in the warm regions from Central Asia to Australia, and have a high diversity in South Asia and the Wallacea.
They are notably polymorphic, with wet- and dry-season forms differing in many species, especially as regards size and number of underwing eyespots.
Mycalesis superficially resemble the species Orsotriaena medus, but can readily be identified by the number of spots
Wikipedia en.wikipedia.org/wiki/Mycalesis
Chitwan National Park is the first national park in Nepal. Formerly called Royal Chitwan National Park it was established in 1973 and granted the status of a World Heritage Site in 1984. It covers an area of 932 km2 and is located in the subtropical Inner Terai lowlands of south-central Nepal in the Chitwan district. In altitude it ranges from about 100 metres (330 ft) in the river valleys to 815 metres (2,674 ft) in the Churia Hills. In the north and west of the protected area the Narayani-Rapti river system forms a natural boundary to human settlements. Adjacent to the east of Chitwan National Park is Parsa Wildlife Reserve, contiguous in the south is the Indian Tiger Reserve Valmiki National Park. The coherent protected area of 2,075 km2 represents the Tiger Conservation Unit (TCU) Chitwan-Parsa-Valmiki, which covers a 3,549 km2 huge block of alluvial grasslands and subtropical moist deciduous forests. The wide range of vegetation types in the Chitwan National Park is haunt of more than 700 species of wildlife and a not yet fully surveyed number of butterfly, moth and insect species. Apart from King Cobra and Indian rock python, 17 other species of snakes, Indian starred tortoise and monitor lizards occur. The Narayani-Rapti river system, their small tributaries and myriads of oxbow lakes is habitat for 113 recorded species of fish and mugger crocodiles.
Wikipedia en.wikipedia.org/wiki/Chitwan_National_Park
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The Gyrfalcon (Falco rusticolus), also spelled Gyr Falcon, sometimes Gerfalcon, is the largest of all falcon species. The Gyrfalcon breeds on Arctic coasts and islands of North America, Europe and Asia. It is mainly resident, but some Gyrfalcons disperse more widely after the breeding season, or in winter[1].
The bird's common name comes from French gerfaucon, and in mediaeval Latin is rendered as gyrofalco. The first part of the word may come from Old High German gîr (cf. modern German Geier), "vulture", referring to its size compared to other falcons, or the Latin gȳrus ("circle", "curved path") from the species' circling as it searches for prey, unlike the other falcons in its range[2]. The male gyrfalcon is called a gyrkin in falconry.
Its scientific name is composed of the Latin terms for a falcon, Falco, and for someone who lives in the countryside, rusticolus.
Plumage is very variable in this highly polymorphic species: the archetypal morphs are called "white", "silver", "brown" and "black" though coloration spans a continuous spectrum from nearly all-white birds to very dark ones.
The Gyrfalcon is a bird of tundra and mountains, with cliffs or a few patches of trees. It feeds only on birds and mammals. Like other hierofalcons, it usually hunts in a horizontal pursuit, rather than the Peregrine's speedy stoop from a height. Most prey is killed on the ground, whether they are captured there or, if the victim is a flying bird, forced to the ground. The diet is to some extent opportunistic, but a majority of breeding birds mostly rely on Lagopus grouse. Avian prey can range in size from redpolls to geese and can include gulls, corvids, smaller passerines, waders and other raptors (up to the size of Buteos). Mammalian prey can range in size from shrews to marmots (sometimes 3 times heavier than the assaulting falcon), and often includes include lemmings, voles, ground squirrels and hares. They only rarely eat carrion.
The Gyrfalcon is the official bird of Canada's Northwest Territories.
Carrboro Artscenter - May 28, 2009
I don't own any BPB or Palace records -- a fact I plan to rectify shortly -- so I was blissfully unprepared for how great this show was going to be. The polymorphic perversity of many of the songs took me by surprise. There was the duet with Cheyenne Mize, "The Girl In Me," that catalogued, in exhausting detail, the extent to which the woman in him loved the man in her. Yes. That was the obvious one.
But it was an undercurrent that ran throughout the set. Oldham seems to write songs from an ambiguously gendered perspective, and takes a visible amount of pleasure in tweaking gender, moreso than one would expect from a balding bearded gnome in a plaid shirt & boots.
He has the strangest collection of kicks, half-leaps and other odd stage moves. He'd stand stock still & sing, moving only his eyes (so deep-set that they were cast in permanent ghoulish shadow), and then suddenly all his limbs would fly out in different directions.
The band was phenomenal. Gtr, upright bass, drums, fiddle, percussion, and Oldham on 2nd guitar about 75% of the time. Equally comfortable working in a sparse oldtime idiom, hushed avant/ambient drone, or giant shambling Crazy Horse rock -- a range covered more than once in the space of a single song, at times. Which seems forced in the case of some bands, but not so here. It was just unambiguously exhilarating.
I've been to quite a few shows lately by bands I know more by reputation than by music, in an attempt to surprise myself, I suppose. This was the first one where I felt like the strategy paid off fully, and then some.