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Papilio polytes subsp. polytes Linnaeus, 1758
玉帶鳳蝶雌蝶具有多態性，具有4種型態，帶班型雌蝶與雄蝶相似，不過後翅紅色新月形斑紋發達。此型尤其在紅珠鳳蝶及南亞聯珠鳳蝶較少出沒的地方最為常見。
The female of the Common Mormon is polymorphic with 4 types (cyrus, stichius, romulus, sakontala). Form cyrus is similar to the male, differing in that it always has strongly marked red crescents. It is normally abundant where the Common Rose or Crimson Rose do not occur.
鱗翅目 Order Lepidoptera
鳳蝶科 Family Papilionidae
鳳蝶屬 Genus Papilio
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.
Witkruispsrewer
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
Microscopic photo showing lesional tissue with high cellularity, polymorphic population of mononuclear histiocyte-like cells, fibrous bands, foamy macrophages and rare multinucleated giant cells. H & E stain. 10X. Jian-Hua Qiao, MD, FCAP, Los Angeles, CA, USA. (乔建华医学博士， 美国病理学家学院专家会员。美国加州洛杉矶)
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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.
MT20 21-22nd June 2017 TL005287 (The hottest night since 1976)
John Lamin Phymatodes testaceus
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Phymatodes testaceus (commonly known as the tanbark borer, or the violet tanbark beetle)[1] is a transpalearctic polymorphic species of beetle in the subfamily Cerambycinae in the longhorn beetle family.[2]
The P. testaceus imago is typically 6–16 mm in length. Their eggs are 1 mm long, and in athwart 0.5 mm. Larvae of the species are 10–18 mm long and 2.1 mm wide. Pupa are 9 mm long, and the abdomen is 2.8 mm wide.[3]
Distribution of these beetle extends from the European Atlantic coastline to the Southern Ural Mountains, from southern Sweden and Norway to North Africa and Syria.[3] It is also distributed throughout Japan and North America.[3]
Larvae develop in and under the bark of various deciduous tree species, causing damage. Larvae pupate in the spring. The beetle's life cycle lasts one year in central and southern parts, and two years in northern climes.[4]
The Variable Hawk (Buteo polyosoma) is a polymorphic species of bird of prey in the Accipitridae family. It is widespread and often common in open habitats in western and southern South America, including the Falkland Islands. Its taxonomy is disputed, with some splitting it into the widespread Red-backed Hawk (B. polyosoma) and the Puna Hawk (B. poecilochrous) of the central and north Andean highlands, but the differences between the two are unclear, and consequently recent authorities have recommended treating them as a single species. On the contrary, the rare taxon from the Juan Fernández Islands is relatively distinctive, and possibly worthy of species recognition as the Juan Fernández Hawk (B. exsul).
The name Variable Hawk is fully deserved, as both sexes occur in several morphs. Adults of all have a white tail with a contrasting black subteminal band and grey wings barred dark (in flight from below, the remiges appear whitish with fine barring and a broad black tip). The remaining plumage varies from very dark grey to whitish, and some individuals have reddish-brown to the underparts. Females usually have a reddish-brown back, which males usually lack, although at least some males also have this. The taxon exsul from the Juan Fernández Islands is far less variable, being whitish below and grey above in adults of both sexes
Rafiki’s Planet Watch-Conservation Station
Walt Disney World-Animal Kingdom-Orlando Fl.
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.
A gynandromorph is an organism that contains both male and female characteristics. The term gynandromorph, from Greek "gyne" female and "andro" male, is mainly used in the field of Lepidopterology (butterfly/moth study) or entomology (all insects). These characteristics can be seen in butterflies, where both male and female characteristics can be seen physically because of sexual dimorphism.
A gynandromorph can have bilateral asymmetry, one side female and one side male, or they can be mosaic, a case in which the two sexes aren't defined as clearly.
Bilateral gynandromorphy arises very early in development, typically when the organism has between 8 and 64 cells. Later the gynandromorph is mosaic.
Great Mormon (Papilio memnon) is a large butterfly that belongs to the Swallowtail family and is common to South-Asia. It is widely distributed and has thirteen subspecies. The female is polymorphic and with mimetic forms. The butterfly is large with 120 to 150 mm span. It has four male and many female forms, the females being highly polymorphic and many of them being mimics of unpalatable butterflies. This species has been studied extensively for understanding the genetic basis for polymorphy and Batesian mimicry. As many as twenty-six female forms are reported
Sources: en.wikipedia.org/wiki/Gynandromorph
en.wikipedia.org/wiki/Great_Mormon
AA7C4486a
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.
Mangrove Watersnakes typically exist in polymorphic populations consisting of several distinct color phases. This adult male from the lower Florida Keys represents the black phase, typified by black and gray bands.
A screenshot from the finished version of "Jump", a first-person shooter that I made in C# with the XNA framework. The .rar is available for download at drop.io/shaymus22/asset/jump-install-rar
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.
A screenshot from the finished version of "Jump", a first-person shooter that I made in C# with the XNA framework. The .rar is available for download at drop.io/shaymus22/asset/jump-install-rar
Now with 100% more enemies that chase after you!
The .rar of the finished product is now available for download at drop.io/shaymus22/asset/jump-install-rar
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.
Microscopic photo showing lesional tissue with high cellularity, polymorphic population of mononuclear histiocyte-like cells, patchy stromal hyalinization, and a few multinucleated giant cells. H & E stain. 20X. Jian-Hua Qiao, MD, FCAP, Los Angeles, CA, USA. (乔建华医学博士， 美国病理学家学院专家会员。美国加州洛杉矶)
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.
Polymorphic larvae showing three colour varieties. Bottom right image shows larva between stitched leaves of foodplant, common nettle.
A screenshot from the finished version of "Jump", a first-person shooter that I made in C# with the XNA framework. The .rar is available for download at drop.io/shaymus22/asset/jump-install-rar
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.
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.
What a mouthful. Created by Agam between 1972 and 1974.
"Agam's Kinetic interior for the Elysee Palace was commissioned by President Georges Pompidou in 1971. A 'pictorial space' on the scale of a room, exploiting walls, ceiling, floor, and doors, the Salon follows the principles of artist's 'polymorphic painting' in its use of colored prism-shaped elements to produce abstract compositions that change with the point of view. Installed between 1972 and 1974 under the aegis of the Mobilier National (the state collection of furniture and tapestries), it was dismantled on Valery Giscard d'Estaing's accession to the presidency and presented to the Centre Pompidou in 2000. Drawing on a very precise selection of colors and materials, the work offers the vision of a dynamic, geometric space, suggestion a permanent metamorphosis of the visual world."
Recombination analyses of Streptococcus pneumoniae genomes. Schematic based on Mauve alignments of the whole genome sequences of four PMEN1 S. pneumoniae isolates. Colored blocks correspond to: pink, regions that are homologous in all four genomes and free from genomic rearrangement; green, regions that differ in strain SV36-T3; blue, regions that differ in strain SV35-T23; purple, regions that differ in strains SV35-T23 and SV36-T3; white, unique to one sequence. White dots highlight polymorphic regions. Asterisks denote the position of contig gaps. Horizontal black lines correspond to gaps within sequenced regions. This schematic does not indicate sequence gaps that are positioned at contig breaks (and thus likely to be the result of incomplete sequencing) or differences within ribosomal RNA encoding sequences (since these are often misassembled). Arrows at the top denote the position of the 18 NGs identified based on SNP strain differences. The tree on the left side corresponds to a neighbor joining phylogenetic tree expressing the relationship among the four PMEN1 isolates.
The shell of the polymorphic snail Cepaea nemoralis, an example of logarithmic spiral
Focal length: 100 mm
Aperture: f/9.0
Exposure: 1/250 sec
ISO Speed: 100
Arbol del Tule, Santa Maria del Tule, Oaxaca, Mexico.
Santa Maria del Tule is a small town in the state of Oaxaca, Mexico with its famous Arbol del Tule (tree of Tule) in the chuchyard. It is located about 10 kilometers (6.2 miles) SE from the city of Oaxaca (on the way to Mitla), Highway 190, it is easily reached by bus or car.
The mighty tree in Santa Maria del Tule, has a circumference of over 160 feet at its base, and is between 2000 and 3000 years old, making it one of the oldest living things on earth.
Arbol del Tule is Mexico's most famous tree, and some say the world's largest single biomass. The Tule tree and its environs comprise a unique natural monument, an attraction for locals and visitors alike.
The Montezuma Cypress (Taxodium mucronatum), or Ahuehuete (meaning "deep water") in the ancient Nahuatl language, is Mexico's national tree. According to legend, Hernan Cortes cried beneath the boughs of a cypress after the Aztecs defeated the Spanish on La Noche Triste (The Sad Night).
The town of Santa Maria del Tule takes its name from the famous tree and boasts not just one, but seven extremely large and ancient cypress trees.
The largest dwarfs the town's church and is more than 2,000 years old and has a circumference of 54 meters (164 feet) -- the largest girth of any tree on the planet. Imagine... this tree was a sapling at the time when the civilization at Monte Alban was flourishing!
This living ancient tree still growing. It's age is calculated in 2000 years, it's weight is almost 550 tons, a 705 cubic meters volume, diameter of 42 meters.
This tree is often cited as having the largest trunk circumference in the world, but it has for long been thought that it might actually represent the fused trunks of several different individuals. However, recent study of DNA samples from the tree using random amplified polymorphic DNA indicates that it is in fact a single individual (Dorado et al. 1996).
Local residents celebrate the famous Tule Tree with a grande fiesta every October 7th.
Common Mormon (Female; Form: stichius)
SEE VIDEO: www.flickr.com/photos/23985194@N06/5989934211/in/photostr...
This female form of the Common Mormon mimics the Common Rose very closely but lacks red markings on body. This is the commonest form wherever the Common Rose flies.
The Common Mormon (Papilio polytes) is a common species of swallowtail butterfly (family: papilionidae) widely distributed across Asia. Seen round the year throughout India from plains up to 2000m. This butterfly is known for the mimicry displayed by the numerous forms of its females.
The female of the Common Mormon is polymorphic. In South Asia, it has three forms or morphs. These are as follows: cyrus, stichius, romulus.
Host Plant: Ixora coccinea; Rangan (রঙ্গন, Rugmini in Hindi, commonly known as the Jungle Geranium, Flame of the Woods, and Jungle Flame from Rubiaceae family) is an exotic bright red flower, bloom as a flower bunch comprises of lot of small red flowers at the top of branch. Each red flower has four petals and holds four yellow stamen(no filament) between the petals. Flower blooms more or less throughout the year, but best during monsoon, the rainy season.
Images of Bengal, India
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.
Euphrates Poplar Trees - The water is slightly salty, and the trees growing in the area are Euphrates poplar trees. The leaves of the Populus euphratica are polymorphic, that is, different leaves on the same tree or even the same branch may have strikingly different shapes.
To view in LARGE press L | To comment C | For fave F
Tenerife.
Icod de los Vinos
Mariposario del Drago
Situated in Icod de Los Vinos, just across the road from the park that houses the famous Dragon Tree, it features over 800 exotic species of butterflies from many tropical locations around the globe.
First opened in 1997, the centre is a glass building, containing an authentic tropical garden. The butterflies can fly freely around the visitors and you'll be able to see examples ranging in size from the smallest, with a wingspan of only 2cm, to giants with an impressive span of 30cm!
The butterfly centre also has laboratories, where an extensive breeding programme takes place. Visitors are able to see different species of caterpillars, eggs or chrysalises - butterflies in the making! You may even be able to witness the actual birth of one of these attractive creatures.
www.tenerife-information-centre.com/mariposario.html
Papilio memnon, the great Mormon, is a large butterfly native to southern Asia that belongs to the swallowtail family. It is widely distributed and has thirteen subspecies. The female is polymorphic and with mimetic forms.
It is one of the most common large species of land snail in Europe. size: 18–25 mm
Cepaea nemoralis is highly polymorphic in shell colour and banding. The background colour of the shell varies along a continuum from brown through pink to yellow and sometimes almost white.Additionally the shells can be with or without dark bands. The bands vary in intensity of colour, in width and in number, from zero to five.
Colombia: This species is colorful top and bottom. Green and yellowish dorsal markings and blueish ventral markings were typical of individuals found at this location. In other areas this species can be incredibly polymorphic showcasing an array of dorsal patterns and colors (yellows, greens, oranges). I freely captured this species with no ill effects despite it being within the Dendrobatidae family.
One segment of the genus Choristoneura is not only a pest for foresters but also taxonomists. Again, I think we deal with a very polymorphic group that is able to adapt to various conifers as they migrate into new areas or the trees, especially during the rapidly changing climates during the Pleistocene, take over areas with the moths following. This branch of the DNA tree from BOLD shows some of the specimens from this locality which have DNA sequences. All basically flying in late July and August. Although identical in DNA, assignment to a described speccies is not possible as these in general match all the following species: Choristoneura pinus, occidentalis, orae, biennis, lambertiana, fumiferana and possibly others. I will be breaking this down further but for now will call this group, Choristoneura fumiferana group or complex (= Choristoneura occidentalis group on the basis it seems by others to be representative currently until further taxonomic work is presented on this group within the genus Choristoneura.
[order] Cuculiformes | [family]
Cuculidae | [latin] Cuculus canorus | [UK] Cuckoo | [FR] Coucou gris | [DE] Kuckuck | [ES] Cuco Europeo | [IT] Cuculo eurasiatico | [NL] Koekoek [IRL] Cuach
spanwidth min.: 54 cm
spanwidth max.: 60 cm
size min.: 32 cm
size max.: 36 cm
Breeding
incubation min.: 11 days
incubation max.: 12 days
fledging min.: 17 days
fledging max.: 17 days
broods 15
eggs min.: 1
eggs max.: 25
Status: Widespread summer visitor to Ireland from April to August.
Conservation Concern: Green-listed in Ireland. The European population is currently evaluated as secure.
Identification: Despite its obvious song, relatively infrequently seen. In flight, can be mistaken for a bird of prey such as Sparrowhawk, but has rapid wingbeats below the horizontal plane - ie. the wings are not raised above the body. Adult male Cuckoos are a uniform grey on the head, neck, back, wings and tail. The underparts are white with black barring. Adult females can appear in one of two forms. The so-called grey-morph resembles the adult male plumage, but has throat and breast barred black and white with yellowish wash. The rufous-morph has the grey replaced by rufous, with strong black barring on the wings, back and tail. Juvenile Cuckoos resemble the female rufous-morph, but are darker brown above.
Similar Species: Sparrowhawk
Call: The song is probably one of the most recognisable and well-known of all Irish bird species. The male gives a distinctive “wuck-oo”, which is occasionally doubled “wuck-uck-ooo”. The female has a distinctive bubbling “pupupupu”. The song period is late April to late June.
Diet: Mainly caterpillars and other insects.
Breeding: Widespread in Ireland, favouring open areas which hold their main Irish host species – Meadow Pipit. Has a remarkable breeding biology unlike any other Irish breeding species.
Wintering: Cuckoos winter in central and southern Africa.
Where to See: Occurs throughout Ireland though nowhere especially common. Good areas to see Cuckoo are the Burren and Connemara, which hold the highest density of breeding pairs.
Physical characteristics
Forests and woodlands, both coniferous and deciduous, second growth, open wooded areas, wooded steppe, scrub, heathland, also meadows, reedbeds. Lowlands and moorlands and hill country to 2 km.
Habitat
Forests and woodlands, both coniferous and deciduous, second growth, open wooded areas, wooded steppe, scrub, heathland, also meadows, reedbeds. Lowlands and moorlands and hill country to 2 km. Food and Feeding
Other details
Cuculus canorus is a widespread summer visitor to Europe, which accounts for less than half of its global breeding range. Its European breeding population is very large (>4,200,000 pairs), and was stable between 1970-1990. Although there were declines in many western populations-most notably France-during 1990-2000, most populations in the east, including key ones in Russia and Romania, were stable, and the species underwent only a slight decline overall
Feeding
Diet based on insects, mainly caterpillars, also dragonflies, mayflies, damselflies, crickets, and cicadas. Sometimes, spiders, snails, rarely fruit. Preys on eggs and nestling of small birds.
Conservation
This species has a large range, with an estimated global Extent of Occurrence of 10,000,000 km². It has a large global population, including an estimated 8,400,000-17,000,000 individuals in Europe (BirdLife International in prep.). Global population trends have not been quantified, but populations appear to be stable so the species is not believed to approach the thresholds for the population decline criterion of the IUCN Red List (i.e. declining more than 30% in ten years or three generations). For these reasons, the species is evaluated as Least Concern. [conservation status from birdlife.org]
Breeding
May-Jun in NW Europe, Apr-May in Algeria, Apr-Jul in India and Myanmar. Brood-parasitic, hosts include many insectivorous songbird species, like: flycatchers, chats, warblers, pipits, wagtails and buntigs. Often mobbed by real or potential hosts near their nests. Eggs polymorphic in color and pattern, closely match those of host in color and pattern. Nestling period 17-18 days, evicts host's eggs and chicks.
Migration
Migratory in N of range, arriving in SW Britain mainly Apr - May, when occasionally recorded in small parties, and even in one flock of 50+ birds; also seasonal in hill country from Assam and Chin Hills to Shan States, where present Mar - Aug. Resident in tropical lowland areas of S Asia. Winter resident in sub-Saharan Africa and in Sri Lanka. W Palearctic populations migrate to Africa, where a Dutch-ringed juvenile found in Togo in Oct and a British-ringed juvenile found in Cameroon in Jan; migrants appear in N Senegal as early as late Jul through Oct; in W Africa nearly all records are in autumn ( Sept - Dec), birds apparently continuing on to C & S Africa. Race bangsi occurs on passage in W Africa, and winters S of equator from W Africa to L Tanganyika. Asian populations of nominate canorus and bakeri winter in India, SE Asia and Philippines, also in Africa, but the extent of migration of Asian birds to Africa is unknown; some subtelephonus migrate through Middle East and occur in winter from Uganda and E Zaire to Zimbabwe, Mozambique and Natal. Mainly a passage migrant in Middle East, though some breed in region. Migrants also appear on islands in W Indian Ocean ( Seychelles, Aldabra). Nominate canorus accidental in Iceland, Faeroes, Azores, Madeira, Canary Is and Cape Verde Is, rarely also Alaska and eastern N America; one record of canorus in Indonesia, off W Java in winter. Autumn migration starts in August and continues until October. The main passage through Egypt is in September and the first half of October, with a peak in the third week of September (Goodman & Meininger 1989). Southward movement through Africa lasts from September to December and is linked to the occurrence of rainfall and the growth of cover.
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.
Broussonetia papyrifera – Selfie/Overall
Moraceae- paper mulberry (slight fissures on tan bark, alt/opp/whorled, polymorphic, serrate dentate, pubescent all over, papery)
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.
Rhizocarpon geographicum (L.) DC, syn.: Rhizocarpon riparium Räs
Map Lichen, DE.: Lankartenflechte
Slo.: zemljevidni skorjevec
Dat.: July 4. 2016
Lat.: 46.21318 Long.: 13.54701
Code: Bot_983/2016_IMG0758
Habitat: mountain grassland, moderately steep mountain slope, south aspect; on the border of limestone and flysh bedrock; open place, full sun, moist place; exposed to direct rain; elevation 1.400 m (4.600 feet); average precipitations ~ 3.000 mm/year, average temperature 3-5 deg C, pre-alpine phytogeographical region.
Substratum: small inclusions of hard, smooth, siliceous rock in bare, exposed calcareous (limestone or dolomite) bedrock.
Place: Mont Matajur region, next to the trail from village Livek to Mt. Matajur, west of Planina Matajur, Julian Pre-Alps, Posočje, Slovenia EC.
Comment: Rhizocarpon geographicum is beautiful, conspicuous lichen, which is very common in the regions with siliceous, acid ground. But in Slovenia it is rather a rare find because of the lack of such ground. With its bright yellow thallus, black apothecia and black prothallus and characteristically areolate pattern of the thallus, which coarsely resembles a map, it is superficially easy to determine. However the Rhizocarpon geographicum group is extremely polymorphic, still poorly understood species complex. Several taxa have been separated with slightly different chemistry, spore properties and/or habit.
The thallus of Rhizocarpon geographicum grows very slowly, only about 0.1 mm per year (Ref.4). The largest thalli can be much more than thousand years old. This slow hrouth is used in global warming studies. Retreat of glaciers can be measured by measuring thalli diameter along valleys with retreating glaciers.
Thalli up to 10 x 6 cm large.
Ref.:
(1) F.S. Dobson, Lichens, The Richmonds Publishing Ca.LTD (2005), p 386.
(2) V. Wirth, Die Flechten Baden-Württembergs, Teil.2., Ulmer (1995), p 812.
(3) V. Wirth, R. Duell, Farbatlas Flechten und Moose, Ulmer, (2000), p 137.
(4) B. Marbach, C. Kainz, Moose, Farne und Flechten, BLV Naturfürer (2002), p 90.
(5) C.W.Smith, et all, The lichens of Great Britain and Ireland, The British Lichen Society, (2009), p 800.
(6) I.M. Brodo, S.D. Sharnoff, S. Sharnoff, Lichens of North America, Yale Uni. Press (2001), p 635.
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.