View allAll Photos Tagged polymorphic
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.
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.
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.
"harte Fügung" object by A23H, 1991.
Alfred 23 Harth’s early formation can be read as a remarkable intertwining of play, discipline, and conceptual awakening that would later come to characterize his multidisciplinary oeuvre. The boyhood dream of becoming an architect already contained a telling dialectic: on the one hand, the imaginative freedom of building ephemeral huts in the garden, one after another; on the other hand, the precision of constructing variations within given parameters. These garden architectures were not merely child’s play but may be understood retrospectively as proto-installations, temporary structures that mediated between imagination and actuality, an early rehearsal of the experimental crossings between construction, performance, and image that marked Harth’s mature practice.
A decisive rupture, almost an initiation ritual into modern art, occurred in 1958 when his elder brother Dietrich took him to a Dada exhibition in Frankfurt am Main. The timing was crucial: postwar Germany was only just beginning to reopen itself to the radical avant-gardes suppressed under fascism. For the young Harth, Dada presented not only a set of provocative images but also the lived possibility that art could destabilize categories, break down hierarchies, and operate conceptually as much as materially. The work The Navel—a simple black dot on white paper, accompanied by a title that displaced perception into language—sharpened this awareness. What mattered was not the mark itself but the dynamic between sign and referent, artwork and its commentary. The epiphany here was not aesthetic pleasure in the traditional sense but recognition of art as a space of thought, irony, and intellectual tension. This was nothing less than the beginning of a lifelong trajectory in which Harth would consistently return to the interface of sound, image, and idea.
In the following years, Harth immersed himself with voracity in every available art medium. School courses gave him the discipline of drawing, painting, and craft; his own appetite for performance led him to stage small situations, often masked or disguised, anticipating the performative interventions of the happening movement. The acquisition of his first camera at twelve extended his field into visual experimentation, while his pencil drawings of jazz musicians revealed both his growing fascination with musical improvisation and his awareness of biography as a narrative lens for art. What is striking here is the simultaneity of practices—music, drawing, performance, photography—that refused to be subordinated to a single discipline. Even before formal professional training, Harth was cultivating a polymorphic artistic identity in the spirit of the avant-garde.
The turn at fifteen to oil painting coincided with a parallel transformation in music: the gift of a tenor saxophone by his parents, an instrument that would guide him into deep engagement with jazz and improvisation. This was not simply the adoption of a hobby but the entry point into an emerging identity as a musician-artist, one who would soon refuse to see music and art as separated categories. Music, drawing, film, and conceptual play converged into a holistic practice that aligned with the growing international awareness of intermedia arts in the 1960s.
Attending the Goethe Gymnasium in his final school years refined this eclecticism. As an art-focused program with an ambition to train future cultural producers, it provided him with a sweeping introduction to international avant-garde currents, from Informel painting and Fluxus to Concept Art and experimental film. What Harth absorbed was not only technique but also a certain intellectual ecology: Frankfurt at that time was a city where cultural exchange, experimental music, and critical thought interacted dynamically. Together with Hubertus Gassner, who would later become a prominent museum director, Harth initiated happenings and other art events. Harth and founded the centrum freier cunst. Such a venture signaled more than youthful ambition: it represented the determination to create autonomous platforms for hybrid work when established institutions remained largely indifferent. Here Harth’s music group Just Music performed alongside conceptual and photo-based works, embodying an ethos of cross-disciplinary experimentation that paralleled international movements but arose organically from the Frankfurt milieu.
By the time of his Abitur in 1968, Harth embodied a paradoxical combination: on the one hand, a youthful openness to every medium, on the other, a growing self-awareness of art as critical practice. His decision to study design at the Werkkunstschule Offenbach, later shifting to art pedagogy at Goethe University, should not be misunderstood as a retreat into conventional paths. Rather, it reflects his strategy of grounding avant-garde impulses in a broader discourse of form and teaching. His musical activities expanded concurrently, so that life at this junction became an intense negotiation of study, performance, and conceptual inquiry. Alfred Harth's focus on synästhetic creation was indeed a significant aspect of his artistic approach at that time. He was interested in exploring synaesthesia beyond traditional media like TV, film, or theater, aiming to realize multisensory or synästhetic works that integrated sound, visual elements, and space in novel ways. This approach reflected his broader interest in breaking conventional boundaries of artistic disciplines and engaging the audience in immersive, multi-layered experiences that could not be confined to a single medium or format.
Looking back, one sees that Harth’s early trajectory established key themes of his later career: the refusal of boundaries between disciplines; the privileging of concept and idea over medium-specificity; the creation of autonomous spaces for collaboration beyond institutional frameworks; and, above all, the conviction that art is not an object but a process—often ephemeral, contingent, and dialogic. The boy who once built huts in his parent’s garden was already rehearsing the logic of variation and improvisation that would structure his later works across music, performance, and visual art. To trace these beginnings is to see how Harth’s career was less a matter of progression from one discipline to another than an ongoing movement across media, always oriented toward the space where form touches thought.
This is the third variant of the Great Mormon Butterfly (Papillo memnon) that I have posted; I believe it is the last of the variants for me, but the three I have photographed do not exhaust the variants. According to information found on line, this butterfly is found in Southern Asia in forest clearings and in areas inhabited by humans; its wingspan is 12-15 cm (5-6 inches); it is polymorphic, so that appearances can vary among individual butterflies (four male forms and numerous female forms); and it is in the swallowtail family, but not all varieties have tails (males do not, and only some females do). Foods include poinsettias, lantana, and citrus fruits. This specimen was seen at the 2013 edition of Butterflies Live! at the Lewis Ginter Botanical Garden; although I'm not certain, the lack of tails and the mostly-black coloring make me think this is a male (male coloration is from dark blue to black) -- but maybe those are small tails; the edges of the wings on the dark blue variant are smoother. Click on the "great mormon" tag at the right to see photos of three variants.
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.
Ophyris morisii
Endemismo sardo-corso
Sinonimi: Ophyris aranifera, Ophyris exaltata
Specie polimorfa per una frequente ibridazione con una o due specie, si pensa che si sia evoluta in qualche migliaio di anni; queste ibridazioni le rendono più resistenti delle originarie. Alcuni studiosi le farebbero risalire all Ophyris sphegodes. La Ophyris della foro è in purezza; vedere le successive.
Bibliografia: La flora della Sardegna.
Ophyris morisii
Sardinian-Corsican endemism
Synonyms: Ophyris aranifera, Ophyris exaltata
Polymorphic species for frequent hybridization with one or two species, it is thought that has evolved in a few thousand years; these hybrids make them more resistant to the original. Some scholars would date to the Ophyris sphegodes.
Bibliography: The flora of Sardinia.
Ophyris morisii
Endemismo sardo-corso
Sinónimos: Ophyris aranifera, Ophyris exaltata
Especies polimórficas para la hibridación frecuente con una o dos especies, se cree que ha evolucionado en unos pocos miles de años; estos híbridos hacen más resistentes a la original. Algunos estudiosos saldrían a las sphegodes Ophyris.
Bibliografía: La flora de Cerdeña.
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.
This moth looks like the moth ided as Psamatodes abydata in the plates of AC in the MPG site
6322, Geometridae, Ennominae Plate # 03.0
But it looks different of the others psamtodes abydata that I found in other places in the MPG site Is this species polymorphic ? or is this a Puerto rican form of it ?
The photo was shot in Cidra, Puerto Rico
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.
Common Mormon (Female; Form: romulus)
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 female of the Common Mormon is polymorphic. In South Asia, it has three forms or morphs. These are as follows: cyrus, stichius, romulus.
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.
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 the rainy season.
Bibhuti Bhushan Wildlife Sanctuary, Parmadan
Images of Bengal, India
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.
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.
Scops-owls are Strigidae (typical owls) belong 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.
Scops-owls in the modern sense are restricted to the Old World, except for a single North American species - the Flammulated Owl - that is only provisionally placed here and is likely to be moved out of Otus eventually. 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.
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.
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.
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.
Мастер класс "Старая монета", создание молда из полиморфного пластика. Polymorphic plastic filled with boiling water. When the pellets are transparent plastic, you can get it and make it a form of polymer clay. Plastic is not hot, easily deformed and hardens quickly. This mold can melt when immersed in hot water again.
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
Dat.: Feb. 28. 2017
Lat.: 46.34740 Long.: 13.58290
Code: Bot_1033/2017_DSC00206
Habitat: grassland, on the edge of light mixed wood and bushes, under Corylus avellana bush; locally flat terrain; alluvial, calcareous ground; semi dry, half sunny, quite open place; elevation 470 m (1.550 feet); average precipitations ~ 3.000 mm/year, average temperature 8-10 deg C, alpine phytogeographical region.
Substratum: brown soil.
Place: Bovec basin, left bank of river Koritnica, north of village Kal-Koritnica, East Julian Alps, Posočje, Slovenia EC.
Comment: Helleborus niger is another plant, which fuels my admiration year after year. Its large, up to 10 cm in diameter, snow-white flowers (when young) with their unusual structure (large white 'petals' are actually sepals!) are very beautifully shaped. But they are not only white! Many other shades from yellow, greenish, vividly pink, wine-red, to purple can be found during their growth. The first flowers already appear in earl winter, sometimes even in late November, if the weather allows and bloom well in April, even in May on cool places with lot of snow during the winter. The plant is a floral element of south and east Alps It is widely exploited in horticulture. Helleborus niger is especially valued in Japan, where Helleborus societies are establish, which organize trips to European places where displays of wild growing plants can be admired.
In west Slovenian in Upper Soča river valley and elsewhere Helleborus niger is too common plant to be truly admired. In February and March there are zillions of plants flowering everywhere, in forests, on grassland and especially along wood edges. On many places they represent the most dominant flowering plant not only during late winter but also in early spring.
How many species genus Helleborus comprise is still an open question. The number varies from 5 to 20, depending on to whom you trust. Many of them are extremely polymorphic and any kind of intermediate forms can be found.
Protected according to: Uredba o zavarovanih prostoživečih rastlinskih vrstah, poglavje A, Uradni list RS, št. 46/2004 (Regulation of protected wild plants, chapter A, Official Gazette of Republic Slovenia, no. 46/2004), (2004). However, protected are only underground parts and seeds (Oo category). Protected also in some other EU states.
Ref.:
(1) D. Aeschimann, K. Lauber, D.M. Moser, J.P. Theurillat, Flora Alpina, Vol. 1., Haupt (2004), p 122.
(2) K. Lauber and G. Wagner, Flora Helvetica, 5. Auflage, Haupt (2012), p 100.
(3) M.A. Fischer, W. Adler, K. Oswald, Exkursionsflora für Österreich, Liechtenstein und Südtirol, LO Landesmuseen, Linz, Austria (2005), p 276.
(4) A. Martinči et all., Mala Flora Slovenije (Flora of Slovenia - Key) (in Slovenian), Tehnična Založba Slovenije (2007), p 127.
(5) P. Skoberne, Zavarovane rastline Slovenije (Protected Plants of Slovenia), Mladinska Kniga (2007) (in Slovenian), p 103.
Papilio polytes subsp. polytes Linnaeus, 1758
玉帶鳳蝶雌蝶具有多態性，具有4種型態，本紅斑型擬態成紅珠鳳蝶，但身體呈黑色。
The female of the Common Mormon is polymorphic with 4 types. Form stichius mimics the Common Rose very closely but the body is black.
鱗翅目 Order Lepidoptera
鳳蝶科 Family Papilionidae
鳳蝶屬 Genus Papilio
Мастер класс "Старая монета", создание молда из полиморфного пластика. Polymorphic plastic filled with boiling water. When the pellets are transparent plastic, you can get it and make it a form of polymer clay. Plastic is not hot, easily deformed and hardens quickly. This mold can melt when immersed in hot water again.
The variable hawk (Geranoaetus 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 where this hawk was photographed.
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.
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
The Plant list think： Vitis baihuashanensis Kang & D.Z. Lu is a synonym of Vitis amurensis var. dissecta Skvortsov I don't think so~
[1997-博士论文] 葡萄属植物系统学研究
ir.ibcas.ac.cn/handle/151111/1689?mode=full
山葡萄复合体(V.amurensis complex)包括山葡萄(V.amurensis Rupr.)、燕山葡萄(V.amuresis Rupr. var. dissecta Skvorts.=var.yanshanensisD．Z．Lu et H．P．Liang)、百花山葡萄(V.baihuashanensis M．S．Kang et D．Z．Lu)、复叶葡萄(V.piasezkii Maxim.)、少毛复叶葡萄[V. piasezkii Maxux1．var. pagnuccii (Planch.) Rehd.]共3个种和2个变种，广泛分布于中国北方，形态变异较大。本文对该复合体做了形态分析，并用RAPD (Random Amplified Polymorphic DNAs)分子标记方法分析了这几个类群的关系。综合这些结果，归并了燕山葡萄和百花山葡萄。 在上述工作的基础上，我们得出了如下的结论： l、葡萄属在葡萄科中是一个进化的类群。整理后的葡萄属包括8系62种、l亚种和15变种，其中有2个新系、1个新组合系、2个新变种、1个新组合种和l3个新异名。 2、本文赞同SmaU在1903年作出的分类学处理，把麝香葡萄作为一个独立的属，比葡萄属原始但与葡萄属有着最近的亲缘关系。 3、依据形态特征和APD分析结果把山葡萄复合体的3个种2变种归并为2种l变种，即山葡萄、复叶葡萄和少毛复叶葡萄，认为分子标记技术在分析属内近缘种闻关系上很有价值。 4、葡萄属具有东亚和北美2个现代分布中心，该属可能起源于北美的东部，在晚白垩纪经白令陆桥散布至欧亚大陆。
等模式标本
www.cvh.org.cn/db/data_allspmfinal/data_pview.php?id=CDBI...
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.
This is a Mokohinau gecko on Burgess Island (Mokohinau Island group). These little critters belong to the pacific gecko complex of the genus Dactylocnemis. While they are considered distinct from D. pacificus proper, their species still awaits formal description.
This species is highly abundant on the island (some of the highest densities I have ever encountered) and they are highly polymorphic with regards to colouration and pattern.
Wood, PVC, blood color, fire.
Alfred 23 Harth’s early formation can be read as a remarkable intertwining of play, discipline, and conceptual awakening that would later come to characterize his multidisciplinary oeuvre. The boyhood dream of becoming an architect already contained a telling dialectic: on the one hand, the imaginative freedom of building ephemeral huts in the garden, one after another; on the other hand, the precision of constructing variations within given parameters. These garden architectures were not merely child’s play but may be understood retrospectively as proto-installations, temporary structures that mediated between imagination and actuality, an early rehearsal of the experimental crossings between construction, performance, and image that marked Harth’s mature practice.
A decisive rupture, almost an initiation ritual into modern art, occurred in 1958 when his elder brother Dietrich took him to a Dada exhibition in Frankfurt am Main. The timing was crucial: postwar Germany was only just beginning to reopen itself to the radical avant-gardes suppressed under fascism. For the young Harth, Dada presented not only a set of provocative images but also the lived possibility that art could destabilize categories, break down hierarchies, and operate conceptually as much as materially. The work The Navel—a simple black dot on white paper, accompanied by a title that displaced perception into language—sharpened this awareness. What mattered was not the mark itself but the dynamic between sign and referent, artwork and its commentary. The epiphany here was not aesthetic pleasure in the traditional sense but recognition of art as a space of thought, irony, and intellectual tension. This was nothing less than the beginning of a lifelong trajectory in which Harth would consistently return to the interface of sound, image, and idea.
In the following years, Harth immersed himself with voracity in every available art medium. School courses gave him the discipline of drawing, painting, and craft; his own appetite for performance led him to stage small situations, often masked or disguised, anticipating the performative interventions of the happening movement. The acquisition of his first camera at twelve extended his field into visual experimentation, while his pencil drawings of jazz musicians revealed both his growing fascination with musical improvisation and his awareness of biography as a narrative lens for art. What is striking here is the simultaneity of practices—music, drawing, performance, photography—that refused to be subordinated to a single discipline. Even before formal professional training, Harth was cultivating a polymorphic artistic identity in the spirit of the avant-garde.
The turn at fifteen to oil painting coincided with a parallel transformation in music: the gift of a tenor saxophone by his parents, an instrument that would guide him into deep engagement with jazz and improvisation. This was not simply the adoption of a hobby but the entry point into an emerging identity as a musician-artist, one who would soon refuse to see music and art as separated categories. Music, drawing, film, and conceptual play converged into a holistic practice that aligned with the growing international awareness of intermedia arts in the 1960s.
Attending the Goethe Gymnasium in his final school years refined this eclecticism. As an art-focused program with an ambition to train future cultural producers, it provided him with a sweeping introduction to international avant-garde currents, from Informel painting and Fluxus to Concept Art and experimental film. What Harth absorbed was not only technique but also a certain intellectual ecology: Frankfurt at that time was a city where cultural exchange, experimental music, and critical thought interacted dynamically. Together with Hubertus Gassner, who would later become a prominent museum director, Harth initiated happenings and other art events. Harth and founded the centrum freier cunst. Such a venture signaled more than youthful ambition: it represented the determination to create autonomous platforms for hybrid work when established institutions remained largely indifferent. Here Harth’s music group Just Music performed alongside conceptual and photo-based works, embodying an ethos of cross-disciplinary experimentation that paralleled international movements but arose organically from the Frankfurt milieu.
By the time of his Abitur in 1968, Harth embodied a paradoxical combination: on the one hand, a youthful openness to every medium, on the other, a growing self-awareness of art as critical practice. His decision to study design at the Werkkunstschule Offenbach, later shifting to art pedagogy at Goethe University, should not be misunderstood as a retreat into conventional paths. Rather, it reflects his strategy of grounding avant-garde impulses in a broader discourse of form and teaching. His musical activities expanded concurrently, so that life at this junction became an intense negotiation of study, performance, and conceptual inquiry. Alfred Harth's focus on synästhetic creation was indeed a significant aspect of his artistic approach at that time. He was interested in exploring synaesthesia beyond traditional media like TV, film, or theater, aiming to realize multisensory or synästhetic works that integrated sound, visual elements, and space in novel ways. This approach reflected his broader interest in breaking conventional boundaries of artistic disciplines and engaging the audience in immersive, multi-layered experiences that could not be confined to a single medium or format.
Looking back, one sees that Harth’s early trajectory established key themes of his later career: the refusal of boundaries between disciplines; the privileging of concept and idea over medium-specificity; the creation of autonomous spaces for collaboration beyond institutional frameworks; and, above all, the conviction that art is not an object but a process—often ephemeral, contingent, and dialogic. The boy who once built huts in his parent’s garden was already rehearsing the logic of variation and improvisation that would structure his later works across music, performance, and visual art. To trace these beginnings is to see how Harth’s career was less a matter of progression from one discipline to another than an ongoing movement across media, always oriented toward the space where form touches thought.
リコリス・ロンギチュバ ‘ピュア・ホワイト’
Lycoris longituba Y.C.Hsu et G.J.Fan, 1974 ‘Pure White’
(Imported at JAPAN, 1979 from China, By Mr. Kaneko, Japan.)
Very rare plants. 2n=16=6M+10T
Endemic to China (Jiangsu and Anhui). Very polymorphic species. Variable in flower color and shape. Plants with yellow flowers classified as a variety, "Lycoris longituba Y.C.Hsu et G.J.Fan, 1974". Very long tepatube and its fragrance are marked chracteristics of this species. Leaves lanceolate, to 63 cm long and to 4 cm wide, somewhat fleshy and pale green, appearing in early spring and wither up in May. Scape, 60-80 cm hight, appearing in July to August. Spathe, to 5 cm long. Pedicel 1.5-4.5 cm, tepaltube 4.5-6.0 cm. Tepals 7-9.5 cm long, . Stamens 6-7.5 cm, shorter than tepals. Style 7-9.5 cm, nearly equal to or slightly exceeding tepals. Before that it was far carrying out this plant in a scientific statement, it was indicated by U.S. an Advanced Horticulturalist Mr. Sam Coldwell from that it was a new species. The formal scientific statement of "Lycoris longituba" was announced by Y.C.Hsu & G.J.Fan in 1974. However, this plant was introduced into Japan and was already grown in the 1930s. It by misconception of scholar Dr. Inariyama (1948) of Japan "Lycoris x straminea Lindl., 1848" said. When it depended on research of scholar Dr. Kurita of Japan, it became clear that the individual of this plants is one of the variations of "Lycoris longituba Y.C.Hsu et G.J.Fan, 1974"
この植物は、学術記載をされるはるか以前から、アメリカの先進的園芸家・Mr. Sam Coldwell により新種ではないかと指摘をされていた。「Lycoris longituba」の正式な学術記載は Y.C.Hsu & G.J.Fan によって1974年になされた。しかし、既に1930年代にこの植物は日本に渡来して栽培されていた。日本の学者 Dr. Inariyama(1948)の誤認で「Lycoris × straminea Lindl., 1848」と言われていた。日本の学者 Dr. Kurita の研究に依ると、この画像の個体は「Lycoris longituba Y.C.Hsu et G.J.Fan, 1974」のバリエーションの一つだと判明した。
この個体はリコリス中でも最も大型の部類で、主に種子繁殖をし、非常に自家受粉しやすいが、その反面、分球はしずらく、1球が10球までになるには凡そ30年はかかった。ヒガンバナが30年で1000球に分けつする事と比較すると恐ろしいほどスローモーな分けつ力である。此の個体は、金子氏が40年前に中国から導入したヒガンバナ類の中から選抜した個体で、他に麦藁色の個体が明治期にもたらされていたが、在来の物より鑑賞価値は高い。春出葉型なので、短い期間しか葉が無い為、その間には良く日光に当て肥培をすることが肝心で有る。自然交雑種のナツズイセンの片親である事がDr. Kurita の研究で判明した。自然界でのリコリス・ロンギチュバは、白、ピンク、麦藁色など幅があり、黄花の物は別途変種扱いされている。此の個体自体は、蘂にやや色が乗るが、これほどに白い個体は少なく、殆どがやや濁っているのが殆どであり、選抜した意味は大きい。本種は大球性で他のリコリスよりもやや深く土中に球根が潜る。開花は、是から得られたナツズイセンよりも1ヶ月早く、7月中には開花する。
SONY NEX-7
Nikon Ai AF Micro Nikkor ED 200mm F4D (IF)
(Product Year : 1993)
Mais uma vez, muito obrigado ao Marcelo Cazani (Marcazani) pela identificação deste pássaro.
Once more, thank you very much Marcelo Cazani (Marcazani) for the identification of this bird.
A text, in english, from Wikipedia, the free encyclopedia:
See at en.wikipedia.org/wiki/American_Kestrel
Jump to: navigation, search
American Kestrel
Conservation status
Least Concern (IUCN 3.1)
Scientific classification
Kingdom: Animalia
Phylum: Chordata
Class: Aves
Order: Falconiformes
Family: Falconidae
Genus: Falco
Species: F. sparverius
Binomial name
Falco sparverius
Linnaeus, 1758
Synonyms
Cerchneis sparverius
Tinnunculus sparverius
The American Kestrel (Falco sparverius) is a small falcon. This bird was (and sometimes still is) colloquially known in North America as the "Sparrow Hawk". This name is misleading because it implies a connection with the Eurasian Sparrowhawk Accipiter nisus, which is unrelated; the latter is an accipiter rather than a falcon. Though both are diurnal raptors, they are only distantly related.
American Kestrels are widely distributed across the Americas. Their breeding range extends from central and western Alaska across northern Canada to Nova Scotia, and south throughout North America, into central Mexico, the Baja, and the Caribbean. They are local breeders in Central America and are widely distributed throughout South America.
Most of the birds breeding in Canada and the northern United States migrate south in the winter, although some males stay as year-round residents. It is a very rare vagrant to western Europe.
The American Kestrel is the smallest falcon in North America—about the size of an American Robin. Like all raptors, the American Kestrel is sexually dimorphic, although there is some overlap within the species. The female ranges in length from 23 to 28 centimeters (9-11 inches) with a wingspan of 53–61 centimeters (21–24 inches) and weighs an average of 120 grams (4.2 ounces). The length of the male varies between 20–25 centimeters (8–10 inches) with a wingspan ranging from 51–56 centimeters (20–22 inches) and weighing an average of 111 grams (3.9 ounces). These subtle differences are often difficult to discern in the field.
The coloration of the feathers, however, greatly varies between the sexes. Males have blue-grey secondary feathers on their wings, while the undersides are white with black barring. The back is rufous in coloration, with barring on the lower half. The belly and flanks are white with black spotting. The tail is also rufous, except for the outer rectrix set, which is white with a black subterminal band.
The back of the female American Kestrel is rufous with dark brown barring. The wings exhibit similar coloration and patterning to the back. The undersides of the females are white with rufous streaking. The tail of the female is noticeably different from the male, being rufous in color with numerous narrow dark brown or black bars. Juveniles exhibit coloration patterns similar to the adults.
In both sexes, the head is white with a bluish-grey top. There are also two narrow, vertical black facial markings on each side of the head; one below the eyes and one on the rear portion of the auriculars. Two black spots (ocelli) can be found on each side of the white or orangish nape. The wings are moderately long, fairly narrow, and taper to a point. While perched, the wingtips are noticeably shorter than the tail tip.
The American Kestrel has three basic vocalizations - the "klee" or "killy", the "whine", and the "chitter." The "klee" or "killy" is usually delivered as a rapid series - "killy, killy, killy, killy" when the kestrel is upset or excited. It is used at the apex of the dive display, during fights with other kestrels, and after unsuccessful hunting attempts.
The "whine" may last as long as one to two minutes and may be single or treble. The more intense the situation, the more likely the "whine" will move toward the treble extreme. "Whines" are given during courtship feeding and copulation. The treble whine is heard from breeding females and fledged hungry young.
The "chitter" is the most frequent vocalization in male - female interactions. Its volume and duration depends upon the stress or excitement of the situation. It is associated with friendly approaches and bodily contact between the sexes during breeding season. Occasionally a "chitter" follows a "whine."
Calling occurs throughout the day. Nestlings at two weeks can produce all three vocalizations. Female kestrels tend to have slightly lower pitched and harsher voices than males.
This bird is apparently not a true kestrel. mtDNA cytochrome b sequence analysis (Groombridge et al. 2002) indicates a Late Miocene split[1] between the ancestors of the American Kestrel, and those of the Common Kestrel and its closest relatives. The color pattern with its large areas of brown is reminiscent of kestrels, but the coloration of the head - notably the black ear patch, which is not found in any of the true kestrels - and the male's extensively gray wings are suggestive of a closer relationship with the hobbies, an informal grouping of falcons of usually average size.
Species such as the Merlin and the Aplomado Falcon are proposed as possible close relatives. Indeed, the Merlin is a highly polymorphic bird and although its grey tail and back are distinctive, certain morphs are the only birds that might conceivably be confused with American Kestrels. Conclusive evidence is lacking, and what can be said at present judging from the fairly noninclusive DNA sequence studies[2] is that the general relationships of the present species seem to lie with a number of rather basal "hobby" lineages, such as the Merlin and Aplomado Falcon mentioned already, or the Red-footed and Amur Falcons - or even the Peregrine Falcon lineage with its large species.
The American Kestrel is not very closely related to any of these groups, although it might be closer to the Aplomado Falcon (and its presumed close relatives, the Bat and Orange-breasted Falcons) than to any other living species (Wink et al. 1998) - an association that is also better supported by biogeography than a close relationship with the exclusively Old World true kestrels. It is nonetheless highly distinct in morphology from any of these and, interestingly, has a syrinx similar to the Peregrine and the hierofalcons[3].
In conclusion, until better evidence is available, it is best considered part of a radiation of falcon lineages that diversified around the North Atlantic at the end of the Miocene. Though several fossils of small falcons arte known from North America at roughly the correct time, the earliest testimony of the American Kestrel lineage is Pleistocene remains of the living species (Brodkorb 1964).
American Kestrels are found in a variety of habitats including parks, suburbs, open fields, forest edges and openings, alpine zones, grasslands, marshes, open areas on mountainsides, prairies, plains, deserts with giant cacti, and freeway and highway corridors.
In addition to requiring open space for hunting, American Kestrels seem to need perches for hunting from, cavities for nesting (either natural or man-made), and a sufficient food supply.
The American Kestrel is the only North American falcon to habitually hover with rapid wing beats, keeping its head motionless while scanning the ground for prey. The kestrel commonly perches along fences and powerlines. It glides with flat wings and wingtips curved upward. It occasionally soars in circles with its tail spread and its wings flat.
This falcon species is not long-lived. The oldest banded wild bird was 11 years and seven months old while a captive lived 17 years. A mortality rate average of 57 percent was found. First year mortality rates have declined since 1945 with a decrease in shooting. Major causes of death include collision with traffic, illegal shooting, and predation by other raptors, including the Red-tailed Hawk, Northern Goshawk, Cooper's Hawk, Peregrine Falcon, Barn Owl, and Great Horned Owl.
In summer, kestrels feed largely on grasshoppers, dragonflies, lizards, mice, and voles. They will also eat other small birds. Wintering birds feed primarily on rodents and birds. The birds characteristically hunt along roadsides from telephone wires, fence posts, trees or other convenient perches when not flying in search of food. When they are flying and looking for food they frequently hover with rapid wingbeats.
Because it feeds on both insects and vertebrates, the American Kestrel maintains fairly high population densities. It has a small breeding home range, from 1.75 square miles (4.5 km²) to 2 square miles (5.2 km²). Territory size has been estimated at 269 acres (1.1 km²) to 321 acres (1.3 km²) with much larger wintering home ranges.
Several hunting techniques are used by the American Kestrel. It will hover over one spot—when prey is sighted the kestrel will partly fold its wings and drop lower once or several times before striking. When the prey disappears the falcon will glide in a semicircle before turning back into the wind to hover again. It will also soar in circles, or figure eights, using the same stooping tactics as when hovering.
The kestrel commonly hunts from elevated perch sites, waiting for prey to move on the ground. The kestrel bobs its head and pumps its tail just before attacking.
Other prey capture techniques include direct pursuit, landing and flushing prey from the ground (especially for grasshoppers)and then taking them in flight, capturing flying insects from an elevated perch, and nest robbing including the burrows of Bank Swallows and the nests of Cliff Swallows. It is also an occasional bat catcher, taking bats from their tree roosts, or striking bats in flight from above or as the bats leave or enter caves. The kestrel will kill and cache food items.
The American Kestrel occasionally robs others of the same species. It has also been known to rob a shrike of its prey. Kestrels sometimes harass other hawks, and even Golden Eagles, in flight.
American Kestrels form pairs in which the bond is strong, tending toward permanence. Returning migrants commonly re-establish territories held the previous year. In one study[citation needed], a pair nested in the same tree for six consecutive years. Nesting occurs from late spring to late summer in North America, with incubation underway by the end of May[4]; in tropical South America the birds breed roughly from June onwards through to September or so[5].
Courtship begins shortly after the male establishes a territory. In early courtship, he may give the "dive display", a series of climbs and dives 33 to 66 feet (10 to 20 m) with 3-5 "klee" notes given near the peak of each climb. He may present the female with food during courtship feeding. He may entice her to the nest site by calling. He may "flutter-glide" toward her with quick and shallow wing beats while carrying food and she may also beg for food by flutter-gliding. The female initiates copulation by bowing with her tail in line with her body or slightly raised.
A cavity nester, American Kestrels will use holes in trees, rock cavities and crevices in cliffs, artificial nest boxes, or small spaces in buildings. The number of suitable breeding cavities limits this species' breeding density. The American Kestrel has adapted well to nest boxes. In one program, nest boxes were fixed to the backs of signs along a freeway thus allowing kestrels to breed in areas formerly devoid of nest sites. Pairs nesting in boxes on poles have much higher nesting success than pairs using boxes on trees. No nest is built inside. In nest boxes sawdust and wood shavings may be a suitable substrate for the eggs. Males and females defend the nest against intruders, with the male maintaining a small core territory and the female defending the nest cavity directly rather the surroundings[5].
Both sexes take turns incubating their eggs, a very rare situation among North American birds of prey where the female usually incubates exclusively. Correspondingly, both sexes develop bare oval patches on each side of their breasts where the warm bare skin can contact the eggs for warming. Eggs hatch 29 to 31 days after being laid.[6] There are from three to seven eggs laid, but four to six are average.[6] The eggs are typically short elliptical in shape, and are white or pinkish-white with an even covering of fine spots and flecks of brown shades, occasionally concentrating as a ring or a cap. They will renest if the first nest fails and have been reported to raise 2 broods per year in some of the southern states.
The young grow very quickly, becoming noisy between day 11 and 14 and assuming adult weight in about 2.5 weeks. The young fledge in 30 to 31 days.[7] [6]Early fledgling behavior varies. Broods typically stay together for a week or two. Some broods remain close to the nest area for a week or two while others travel throughout the parents' home range. Generally, young do not disperse more than 0.6 miles (one km) away from the nest area until two to four weeks old. Young disperse as hunting skills develop. Occasionally groups of older juveniles from various broods join together into flocks.
The American Kestrel can be double-brooded, particularly in the southern United States, in areas of abundant small mammals. Replacement clutches can be laid.
Um texto em português:
Falcão-americano ou quiriquiri (Falco sparverius) é um pequeno falcão (23-27 cm de comprimento e 85-140 g de peso). Tem uma ampla área de distribuição: desde o Alasca e Norte do Canadá até à ponta Sul da América do Sul (Terra do Fogo). Tem asas azul acizentadas. O dorso é avermelhado pontuado de preto. A cauda também é avermelhada possuindo uma larga lista preta. Na face possui 2 listas verticais que começam junto aos olhos e seguem para baixo. É um predador de pequeno tamanho, alimentando-se de insetos e microvertrebrados como roedores e pequenos pássaros; ocasionalmente caça morcegos.
Falcão é o nome genérico dado a várias aves da família Falconidae, mais estritamente aos animais classificados dentro do género Falco. O que diferencia os falcões das demais aves de rapina é o fato de terem evoluído no sentido de uma especialização no voo em velocidade (em oposição ao voo planado das águias e abutres e ao voo acrobático dos gaviões), facilitado pelas asas ponteagudas e finas, favorecendo a caça em espaços abertos – daí o fato dos falcões não serem aves de ambientes florestais, preferindo montanhas e penhascos, pradarias, estepes e desertos. Os falcões podem ser identificados, aliás, pelo fato de não planarem em correntes termais, como outras aves de rapina. O falcão-peregrino, especializado na caça de aves médias e grandes em voo, pode atingir 300 km/h em voo picado e é o animal mais rápido da terra. Diferentemente das águias e gaviões, que matam suas presas com os pés, os falcões utilizam as garras apenas para apreenderem a presa, matando-a depois com o bico por desconjuntamento das vértebras, para o que possuem um rebordo em forma de dente na mandíbula superior.
Na Idade Média, os falcões eram apreciados como animais de caça acessíveis apenas à elite.