View allAll Photos Tagged polymorphic
What a mouthful. Created by Agam between 1972 and 1974.
"Agam's Kinetic interior for the Elysee Palace was commissioned by President Georges Pompidou in 1971. A 'pictorial space' on the scale of a room, exploiting walls, ceiling, floor, and doors, the Salon follows the principles of artist's 'polymorphic painting' in its use of colored prism-shaped elements to produce abstract compositions that change with the point of view. Installed between 1972 and 1974 under the aegis of the Mobilier National (the state collection of furniture and tapestries), it was dismantled on Valery Giscard d'Estaing's accession to the presidency and presented to the Centre Pompidou in 2000. Drawing on a very precise selection of colors and materials, the work offers the vision of a dynamic, geometric space, suggestion a permanent metamorphosis of the visual world."
Recombination analyses of Streptococcus pneumoniae genomes. Schematic based on Mauve alignments of the whole genome sequences of four PMEN1 S. pneumoniae isolates. Colored blocks correspond to: pink, regions that are homologous in all four genomes and free from genomic rearrangement; green, regions that differ in strain SV36-T3; blue, regions that differ in strain SV35-T23; purple, regions that differ in strains SV35-T23 and SV36-T3; white, unique to one sequence. White dots highlight polymorphic regions. Asterisks denote the position of contig gaps. Horizontal black lines correspond to gaps within sequenced regions. This schematic does not indicate sequence gaps that are positioned at contig breaks (and thus likely to be the result of incomplete sequencing) or differences within ribosomal RNA encoding sequences (since these are often misassembled). Arrows at the top denote the position of the 18 NGs identified based on SNP strain differences. The tree on the left side corresponds to a neighbor joining phylogenetic tree expressing the relationship among the four PMEN1 isolates.
Color is Life: Pencil thin, delicate; green and brown scales conceal these snakes in the bushes along the banks of tidal rivers in brackish mangrove swamps.
TAXONOMY
Kingdom: Animalia
Phylum: Chordata
Class: Reptilia
Order: Squamata
Suborder: Serpentes
Family: Colubridae (Colubrids)
Genus/species: Ahaetulla fronticincta
GENERAL CHARACTERISTICS: Pencil thin, delicate; green and brown scales. Bulbous wide-set raised eyes. Length to 60 cm (23.5 inches).
DISTRIBUTION/HABITAT: Myanmar (formerly Burma) Mostly arboreal. They are abundant on bushes along the banks of tidal rivers in brackish mangrove swamps.
DIET IN THE WILD: Diurnal hunter of small fish: gobies, and rice fish. Prey immobilized with mild venom
from enlarged rear fangs. Visually-oriented hunter.
ACADEMY DIET: An arboreally-adapted species that consumes fishes is an oddity. In the Steinhart, feed on guppies and goldfish.
REPRODUCTION: Fertilization internal. Viviparous. Newborn snakes are a subtle shade of brown. Polymorphic: some adults turn green, brown, or more rarely two-toned.
The Steinhart Aquarium was the first to display this species. Academy field research on this little-known species continues. Steinhart’s vine shakes have bred and reproduced in captivity, a first for this species.
CONSERVATION: IUCN Least Concern (LC)
This snake is a mangrove specialist feeding only on fish. It can occur in somewhat degraded habitat, however as it requires a large enough area of mangrove habitat to support fish populations, it will not persist in sites where the mangrove zone is only a few trees thick.
Water Planet, Feeding Cluster
References
California Academy of Sciences Water is Life Exhibit
video.search.yahoo.com/search/video;_ylt=AwrTHRPo3UBW7XsA...
IUCN Red List www.iucnredlist.org/details/192058/0
Encyclopedia of Life eol.org/pages/1057253/details
flickr www.flickr.com/photos/cas_docents/sets/72157608449603666/
Wordpress Shortlink wp.me/p1DZ4b-OM
3-1-13, 09-09-15
The shell of the polymorphic snail Cepaea nemoralis, an example of logarithmic spiral
Focal length: 100 mm
Aperture: f/9.0
Exposure: 1/250 sec
ISO Speed: 100
Arbol del Tule, Santa Maria del Tule, Oaxaca, Mexico.
Santa Maria del Tule is a small town in the state of Oaxaca, Mexico with its famous Arbol del Tule (tree of Tule) in the chuchyard. It is located about 10 kilometers (6.2 miles) SE from the city of Oaxaca (on the way to Mitla), Highway 190, it is easily reached by bus or car.
The mighty tree in Santa Maria del Tule, has a circumference of over 160 feet at its base, and is between 2000 and 3000 years old, making it one of the oldest living things on earth.
Arbol del Tule is Mexico's most famous tree, and some say the world's largest single biomass. The Tule tree and its environs comprise a unique natural monument, an attraction for locals and visitors alike.
The Montezuma Cypress (Taxodium mucronatum), or Ahuehuete (meaning "deep water") in the ancient Nahuatl language, is Mexico's national tree. According to legend, Hernan Cortes cried beneath the boughs of a cypress after the Aztecs defeated the Spanish on La Noche Triste (The Sad Night).
The town of Santa Maria del Tule takes its name from the famous tree and boasts not just one, but seven extremely large and ancient cypress trees.
The largest dwarfs the town's church and is more than 2,000 years old and has a circumference of 54 meters (164 feet) -- the largest girth of any tree on the planet. Imagine... this tree was a sapling at the time when the civilization at Monte Alban was flourishing!
This living ancient tree still growing. It's age is calculated in 2000 years, it's weight is almost 550 tons, a 705 cubic meters volume, diameter of 42 meters.
This tree is often cited as having the largest trunk circumference in the world, but it has for long been thought that it might actually represent the fused trunks of several different individuals. However, recent study of DNA samples from the tree using random amplified polymorphic DNA indicates that it is in fact a single individual (Dorado et al. 1996).
Local residents celebrate the famous Tule Tree with a grande fiesta every October 7th.
Common Mormon (Female; Form: stichius)
SEE VIDEO: www.flickr.com/photos/23985194@N06/5989934211/in/photostr...
This female form of the Common Mormon mimics the Common Rose very closely but lacks red markings on body. This is the commonest form wherever the Common Rose flies.
The Common Mormon (Papilio polytes) is a common species of swallowtail butterfly (family: papilionidae) widely distributed across Asia. Seen round the year throughout India from plains up to 2000m. This butterfly is known for the mimicry displayed by the numerous forms of its females.
The female of the Common Mormon is polymorphic. In South Asia, it has three forms or morphs. These are as follows: cyrus, stichius, romulus.
Host Plant: Ixora coccinea; Rangan (রঙ্গন, Rugmini in Hindi, commonly known as the Jungle Geranium, Flame of the Woods, and Jungle Flame from Rubiaceae family) is an exotic bright red flower, bloom as a flower bunch comprises of lot of small red flowers at the top of branch. Each red flower has four petals and holds four yellow stamen(no filament) between the petals. Flower blooms more or less throughout the year, but best during monsoon, the rainy season.
Images of Bengal, India
The Gyrfalcon (Falco rusticolus), also spelled Gyr Falcon, sometimes Gerfalcon, is the largest of all falcon species. The Gyrfalcon breeds on Arctic coasts and islands of North America, Europe and Asia. It is mainly resident, but some Gyrfalcons disperse more widely after the breeding season, or in winter[1].
The bird's common name comes from French gerfaucon, and in mediaeval Latin is rendered as gyrofalco. The first part of the word may come from Old High German gîr (cf. modern German Geier), "vulture", referring to its size compared to other falcons, or the Latin gȳrus ("circle", "curved path") from the species' circling as it searches for prey, unlike the other falcons in its range[2]. The male gyrfalcon is called a gyrkin in falconry.
Its scientific name is composed of the Latin terms for a falcon, Falco, and for someone who lives in the countryside, rusticolus.
Plumage is very variable in this highly polymorphic species: the archetypal morphs are called "white", "silver", "brown" and "black" though coloration spans a continuous spectrum from nearly all-white birds to very dark ones.
The Gyrfalcon is a bird of tundra and mountains, with cliffs or a few patches of trees. It feeds only on birds and mammals. Like other hierofalcons, it usually hunts in a horizontal pursuit, rather than the Peregrine's speedy stoop from a height. Most prey is killed on the ground, whether they are captured there or, if the victim is a flying bird, forced to the ground. The diet is to some extent opportunistic, but a majority of breeding birds mostly rely on Lagopus grouse. Avian prey can range in size from redpolls to geese and can include gulls, corvids, smaller passerines, waders and other raptors (up to the size of Buteos). Mammalian prey can range in size from shrews to marmots (sometimes 3 times heavier than the assaulting falcon), and often includes include lemmings, voles, ground squirrels and hares. They only rarely eat carrion.
The Gyrfalcon is the official bird of Canada's Northwest Territories.
Euphrates Poplar Trees - The water is slightly salty, and the trees growing in the area are Euphrates poplar trees. The leaves of the Populus euphratica are polymorphic, that is, different leaves on the same tree or even the same branch may have strikingly different shapes.
To view in LARGE press L | To comment C | For fave F
Tenerife.
Icod de los Vinos
Mariposario del Drago
Situated in Icod de Los Vinos, just across the road from the park that houses the famous Dragon Tree, it features over 800 exotic species of butterflies from many tropical locations around the globe.
First opened in 1997, the centre is a glass building, containing an authentic tropical garden. The butterflies can fly freely around the visitors and you'll be able to see examples ranging in size from the smallest, with a wingspan of only 2cm, to giants with an impressive span of 30cm!
The butterfly centre also has laboratories, where an extensive breeding programme takes place. Visitors are able to see different species of caterpillars, eggs or chrysalises - butterflies in the making! You may even be able to witness the actual birth of one of these attractive creatures.
www.tenerife-information-centre.com/mariposario.html
Papilio memnon, the great Mormon, is a large butterfly native to southern Asia that belongs to the swallowtail family. It is widely distributed and has thirteen subspecies. The female is polymorphic and with mimetic forms.
It is one of the most common large species of land snail in Europe. size: 18–25 mm
Cepaea nemoralis is highly polymorphic in shell colour and banding. The background colour of the shell varies along a continuum from brown through pink to yellow and sometimes almost white.Additionally the shells can be with or without dark bands. The bands vary in intensity of colour, in width and in number, from zero to five.
Colombia: This species is colorful top and bottom. Green and yellowish dorsal markings and blueish ventral markings were typical of individuals found at this location. In other areas this species can be incredibly polymorphic showcasing an array of dorsal patterns and colors (yellows, greens, oranges). I freely captured this species with no ill effects despite it being within the Dendrobatidae family.
One segment of the genus Choristoneura is not only a pest for foresters but also taxonomists. Again, I think we deal with a very polymorphic group that is able to adapt to various conifers as they migrate into new areas or the trees, especially during the rapidly changing climates during the Pleistocene, take over areas with the moths following. This branch of the DNA tree from BOLD shows some of the specimens from this locality which have DNA sequences. All basically flying in late July and August. Although identical in DNA, assignment to a described speccies is not possible as these in general match all the following species: Choristoneura pinus, occidentalis, orae, biennis, lambertiana, fumiferana and possibly others. I will be breaking this down further but for now will call this group, Choristoneura fumiferana group or complex (= Choristoneura occidentalis group on the basis it seems by others to be representative currently until further taxonomic work is presented on this group within the genus Choristoneura.
[order] Cuculiformes | [family]
Cuculidae | [latin] Cuculus canorus | [UK] Cuckoo | [FR] Coucou gris | [DE] Kuckuck | [ES] Cuco Europeo | [IT] Cuculo eurasiatico | [NL] Koekoek [IRL] Cuach
spanwidth min.: 54 cm
spanwidth max.: 60 cm
size min.: 32 cm
size max.: 36 cm
Breeding
incubation min.: 11 days
incubation max.: 12 days
fledging min.: 17 days
fledging max.: 17 days
broods 15
eggs min.: 1
eggs max.: 25
Status: Widespread summer visitor to Ireland from April to August.
Conservation Concern: Green-listed in Ireland. The European population is currently evaluated as secure.
Identification: Despite its obvious song, relatively infrequently seen. In flight, can be mistaken for a bird of prey such as Sparrowhawk, but has rapid wingbeats below the horizontal plane - ie. the wings are not raised above the body. Adult male Cuckoos are a uniform grey on the head, neck, back, wings and tail. The underparts are white with black barring. Adult females can appear in one of two forms. The so-called grey-morph resembles the adult male plumage, but has throat and breast barred black and white with yellowish wash. The rufous-morph has the grey replaced by rufous, with strong black barring on the wings, back and tail. Juvenile Cuckoos resemble the female rufous-morph, but are darker brown above.
Similar Species: Sparrowhawk
Call: The song is probably one of the most recognisable and well-known of all Irish bird species. The male gives a distinctive “wuck-oo”, which is occasionally doubled “wuck-uck-ooo”. The female has a distinctive bubbling “pupupupu”. The song period is late April to late June.
Diet: Mainly caterpillars and other insects.
Breeding: Widespread in Ireland, favouring open areas which hold their main Irish host species – Meadow Pipit. Has a remarkable breeding biology unlike any other Irish breeding species.
Wintering: Cuckoos winter in central and southern Africa.
Where to See: Occurs throughout Ireland though nowhere especially common. Good areas to see Cuckoo are the Burren and Connemara, which hold the highest density of breeding pairs.
Physical characteristics
Forests and woodlands, both coniferous and deciduous, second growth, open wooded areas, wooded steppe, scrub, heathland, also meadows, reedbeds. Lowlands and moorlands and hill country to 2 km.
Habitat
Forests and woodlands, both coniferous and deciduous, second growth, open wooded areas, wooded steppe, scrub, heathland, also meadows, reedbeds. Lowlands and moorlands and hill country to 2 km. Food and Feeding
Other details
Cuculus canorus is a widespread summer visitor to Europe, which accounts for less than half of its global breeding range. Its European breeding population is very large (>4,200,000 pairs), and was stable between 1970-1990. Although there were declines in many western populations-most notably France-during 1990-2000, most populations in the east, including key ones in Russia and Romania, were stable, and the species underwent only a slight decline overall
Feeding
Diet based on insects, mainly caterpillars, also dragonflies, mayflies, damselflies, crickets, and cicadas. Sometimes, spiders, snails, rarely fruit. Preys on eggs and nestling of small birds.
Conservation
This species has a large range, with an estimated global Extent of Occurrence of 10,000,000 km². It has a large global population, including an estimated 8,400,000-17,000,000 individuals in Europe (BirdLife International in prep.). Global population trends have not been quantified, but populations appear to be stable so the species is not believed to approach the thresholds for the population decline criterion of the IUCN Red List (i.e. declining more than 30% in ten years or three generations). For these reasons, the species is evaluated as Least Concern. [conservation status from birdlife.org]
Breeding
May-Jun in NW Europe, Apr-May in Algeria, Apr-Jul in India and Myanmar. Brood-parasitic, hosts include many insectivorous songbird species, like: flycatchers, chats, warblers, pipits, wagtails and buntigs. Often mobbed by real or potential hosts near their nests. Eggs polymorphic in color and pattern, closely match those of host in color and pattern. Nestling period 17-18 days, evicts host's eggs and chicks.
Migration
Migratory in N of range, arriving in SW Britain mainly Apr - May, when occasionally recorded in small parties, and even in one flock of 50+ birds; also seasonal in hill country from Assam and Chin Hills to Shan States, where present Mar - Aug. Resident in tropical lowland areas of S Asia. Winter resident in sub-Saharan Africa and in Sri Lanka. W Palearctic populations migrate to Africa, where a Dutch-ringed juvenile found in Togo in Oct and a British-ringed juvenile found in Cameroon in Jan; migrants appear in N Senegal as early as late Jul through Oct; in W Africa nearly all records are in autumn ( Sept - Dec), birds apparently continuing on to C & S Africa. Race bangsi occurs on passage in W Africa, and winters S of equator from W Africa to L Tanganyika. Asian populations of nominate canorus and bakeri winter in India, SE Asia and Philippines, also in Africa, but the extent of migration of Asian birds to Africa is unknown; some subtelephonus migrate through Middle East and occur in winter from Uganda and E Zaire to Zimbabwe, Mozambique and Natal. Mainly a passage migrant in Middle East, though some breed in region. Migrants also appear on islands in W Indian Ocean ( Seychelles, Aldabra). Nominate canorus accidental in Iceland, Faeroes, Azores, Madeira, Canary Is and Cape Verde Is, rarely also Alaska and eastern N America; one record of canorus in Indonesia, off W Java in winter. Autumn migration starts in August and continues until October. The main passage through Egypt is in September and the first half of October, with a peak in the third week of September (Goodman & Meininger 1989). Southward movement through Africa lasts from September to December and is linked to the occurrence of rainfall and the growth of cover.
The Gyrfalcon (Falco rusticolus), also spelled Gyr Falcon, sometimes Gerfalcon, is the largest of all falcon species. The Gyrfalcon breeds on Arctic coasts and islands of North America, Europe and Asia. It is mainly resident, but some Gyrfalcons disperse more widely after the breeding season, or in winter[1].
The bird's common name comes from French gerfaucon, and in mediaeval Latin is rendered as gyrofalco. The first part of the word may come from Old High German gîr (cf. modern German Geier), "vulture", referring to its size compared to other falcons, or the Latin gȳrus ("circle", "curved path") from the species' circling as it searches for prey, unlike the other falcons in its range[2]. The male gyrfalcon is called a gyrkin in falconry.
Its scientific name is composed of the Latin terms for a falcon, Falco, and for someone who lives in the countryside, rusticolus.
Plumage is very variable in this highly polymorphic species: the archetypal morphs are called "white", "silver", "brown" and "black" though coloration spans a continuous spectrum from nearly all-white birds to very dark ones.
The Gyrfalcon is a bird of tundra and mountains, with cliffs or a few patches of trees. It feeds only on birds and mammals. Like other hierofalcons, it usually hunts in a horizontal pursuit, rather than the Peregrine's speedy stoop from a height. Most prey is killed on the ground, whether they are captured there or, if the victim is a flying bird, forced to the ground. The diet is to some extent opportunistic, but a majority of breeding birds mostly rely on Lagopus grouse. Avian prey can range in size from redpolls to geese and can include gulls, corvids, smaller passerines, waders and other raptors (up to the size of Buteos). Mammalian prey can range in size from shrews to marmots (sometimes 3 times heavier than the assaulting falcon), and often includes include lemmings, voles, ground squirrels and hares. They only rarely eat carrion.
The Gyrfalcon is the official bird of Canada's Northwest Territories.
The Gyrfalcon (Falco rusticolus), also spelled Gyr Falcon, sometimes Gerfalcon, is the largest of all falcon species. The Gyrfalcon breeds on Arctic coasts and islands of North America, Europe and Asia. It is mainly resident, but some Gyrfalcons disperse more widely after the breeding season, or in winter[1].
The bird's common name comes from French gerfaucon, and in mediaeval Latin is rendered as gyrofalco. The first part of the word may come from Old High German gîr (cf. modern German Geier), "vulture", referring to its size compared to other falcons, or the Latin gȳrus ("circle", "curved path") from the species' circling as it searches for prey, unlike the other falcons in its range[2]. The male gyrfalcon is called a gyrkin in falconry.
Its scientific name is composed of the Latin terms for a falcon, Falco, and for someone who lives in the countryside, rusticolus.
Plumage is very variable in this highly polymorphic species: the archetypal morphs are called "white", "silver", "brown" and "black" though coloration spans a continuous spectrum from nearly all-white birds to very dark ones.
The Gyrfalcon is a bird of tundra and mountains, with cliffs or a few patches of trees. It feeds only on birds and mammals. Like other hierofalcons, it usually hunts in a horizontal pursuit, rather than the Peregrine's speedy stoop from a height. Most prey is killed on the ground, whether they are captured there or, if the victim is a flying bird, forced to the ground. The diet is to some extent opportunistic, but a majority of breeding birds mostly rely on Lagopus grouse. Avian prey can range in size from redpolls to geese and can include gulls, corvids, smaller passerines, waders and other raptors (up to the size of Buteos). Mammalian prey can range in size from shrews to marmots (sometimes 3 times heavier than the assaulting falcon), and often includes include lemmings, voles, ground squirrels and hares. They only rarely eat carrion.
The Gyrfalcon is the official bird of Canada's Northwest Territories.
Broussonetia papyrifera – Selfie/Overall
Moraceae- paper mulberry (slight fissures on tan bark, alt/opp/whorled, polymorphic, serrate dentate, pubescent all over, papery)
www.lissongallery.com/exhibitions/anish-kapoor-f45a2ea5-2...
For his latest exhibition, Anish Kapoor presents a new series of paintings, an element of his practice that has rarely been seen, exploring the intimate and ritualistic nature of his work. Created over the past year, the show provides a poetic view of the artist's recent preoccupations. While painting has always been an integral part of Kapoor’s practice, this radical new body of work is both spiritual and ecstatic, showing Kapoor working in more vivid and urgent form than ever. Alongside this exhibition, a solo show dedicated to Kapoor's paintings will run at Modern Art Oxford from 2 October 2021 - 13 February 2022, and both shows precede Kapoor’s major retrospective at Gallerie dell'Accademia di Venezia, opening April 2022 to coincide with the Venice Biennale.
Through painting, Kapoor delves into the deep inner world of our mind and body, from the physical exploration of the flesh and blood, to investigating psychological concepts as primal and nameless as origin and obliteration. Since the 1980s, Kapoor has been celebrated largely as a sculptor, yet painting, and its rawest composition, colour and form, have been a fundamental element of his practice-. The presentation will feature a selection of new and recent paintings, created between 2019 and 2021, the majority in the artist’s London-based studio during the pandemic. Like the artist’s wider oeuvre, these paintings are rooted in a drive to grasp the unknown, to awaken consciousness and experiment with the phenomenology of space.
Kapoor’s work has been characterized by an intense encounter with colour and matter – manifest either through refined, reflective surfaces such as metal or mirrors, or through the tactile, sensual quality of the blankets of impasto. The magnetism of the colour red is evident in these new paintings, manifesting the elemental force that flows through us all, yet now accompanied by a new palette of telluric greys and yellows, as if witnessing a surge from the depths of the earth. Some works appear volcanic, with an intense, fiery energy, while others are more primitive and abstract, with layers of dense pigment and resin forming a sculpted solidity. Many of the paintings have a visceral outpouring where a canvas within a canvas rotates and evolves in space, seeming to defy gravity, with brushstrokes cascading over the edges like a waterfall. In others we see distorted, polymorphic figures emerging from a deep, radiant void, with a ghostly aura.
Kapoor achieves a coherence of mind and body, of interior and exterior in two of the series of works, illustrating a mythic landscape with a turbulent, ominous atmosphere that differentiates land from sky, body from space. These whirling landscapes evoke the extraordinary, eerie Romanticism of JMW Turner, a worship of nature marked through an expressive, dramatic scene. Similar in disposition are two works where we imagine the moon rising over the peak – a symbolic narrative of a new cycle, of origins and menstruation.
The wall-based paintings recall some of Kapoor’s most ambitious, distinguished works, including Svayambhu (2007), My Red Homeland (2003) and Symphony for a Beloved Sun (2013). In these floor-based works we see a more ritualistic, visceral language, where Kapoor unashamedly delves into depicting the very blood and flesh from which we are all born. Artists from Leonardo di Vinci to Francis Bacon have been fascinated with the innards of the body, be it our anatomy or the surrealist beauty in violence. The work also stands in a powerful tradition of artists exploring the human body’s expression of divine matters, yet through the unique vision of Kapoor’s Eastern and Western influences, and ---– considering the year in which they were created --– taking on new meaning highlighting the fragility of the body and self.
www.lissongallery.com/exhibitions/anish-kapoor-f45a2ea5-2...
For his latest exhibition, Anish Kapoor presents a new series of paintings, an element of his practice that has rarely been seen, exploring the intimate and ritualistic nature of his work. Created over the past year, the show provides a poetic view of the artist's recent preoccupations. While painting has always been an integral part of Kapoor’s practice, this radical new body of work is both spiritual and ecstatic, showing Kapoor working in more vivid and urgent form than ever. Alongside this exhibition, a solo show dedicated to Kapoor's paintings will run at Modern Art Oxford from 2 October 2021 - 13 February 2022, and both shows precede Kapoor’s major retrospective at Gallerie dell'Accademia di Venezia, opening April 2022 to coincide with the Venice Biennale.
Through painting, Kapoor delves into the deep inner world of our mind and body, from the physical exploration of the flesh and blood, to investigating psychological concepts as primal and nameless as origin and obliteration. Since the 1980s, Kapoor has been celebrated largely as a sculptor, yet painting, and its rawest composition, colour and form, have been a fundamental element of his practice-. The presentation will feature a selection of new and recent paintings, created between 2019 and 2021, the majority in the artist’s London-based studio during the pandemic. Like the artist’s wider oeuvre, these paintings are rooted in a drive to grasp the unknown, to awaken consciousness and experiment with the phenomenology of space.
Kapoor’s work has been characterized by an intense encounter with colour and matter – manifest either through refined, reflective surfaces such as metal or mirrors, or through the tactile, sensual quality of the blankets of impasto. The magnetism of the colour red is evident in these new paintings, manifesting the elemental force that flows through us all, yet now accompanied by a new palette of telluric greys and yellows, as if witnessing a surge from the depths of the earth. Some works appear volcanic, with an intense, fiery energy, while others are more primitive and abstract, with layers of dense pigment and resin forming a sculpted solidity. Many of the paintings have a visceral outpouring where a canvas within a canvas rotates and evolves in space, seeming to defy gravity, with brushstrokes cascading over the edges like a waterfall. In others we see distorted, polymorphic figures emerging from a deep, radiant void, with a ghostly aura.
Kapoor achieves a coherence of mind and body, of interior and exterior in two of the series of works, illustrating a mythic landscape with a turbulent, ominous atmosphere that differentiates land from sky, body from space. These whirling landscapes evoke the extraordinary, eerie Romanticism of JMW Turner, a worship of nature marked through an expressive, dramatic scene. Similar in disposition are two works where we imagine the moon rising over the peak – a symbolic narrative of a new cycle, of origins and menstruation.
The wall-based paintings recall some of Kapoor’s most ambitious, distinguished works, including Svayambhu (2007), My Red Homeland (2003) and Symphony for a Beloved Sun (2013). In these floor-based works we see a more ritualistic, visceral language, where Kapoor unashamedly delves into depicting the very blood and flesh from which we are all born. Artists from Leonardo di Vinci to Francis Bacon have been fascinated with the innards of the body, be it our anatomy or the surrealist beauty in violence. The work also stands in a powerful tradition of artists exploring the human body’s expression of divine matters, yet through the unique vision of Kapoor’s Eastern and Western influences, and ---– considering the year in which they were created --– taking on new meaning highlighting the fragility of the body and self.
Rhizocarpon geographicum (L.) DC, syn.: Rhizocarpon riparium Räs
Map Lichen, DE.: Lankartenflechte
Slo.: zemljevidni skorjevec
Dat.: July 4. 2016
Lat.: 46.21318 Long.: 13.54701
Code: Bot_983/2016_IMG0758
Habitat: mountain grassland, moderately steep mountain slope, south aspect; on the border of limestone and flysh bedrock; open place, full sun, moist place; exposed to direct rain; elevation 1.400 m (4.600 feet); average precipitations ~ 3.000 mm/year, average temperature 3-5 deg C, pre-alpine phytogeographical region.
Substratum: small inclusions of hard, smooth, siliceous rock in bare, exposed calcareous (limestone or dolomite) bedrock.
Place: Mont Matajur region, next to the trail from village Livek to Mt. Matajur, west of Planina Matajur, Julian Pre-Alps, Posočje, Slovenia EC.
Comment: Rhizocarpon geographicum is beautiful, conspicuous lichen, which is very common in the regions with siliceous, acid ground. But in Slovenia it is rather a rare find because of the lack of such ground. With its bright yellow thallus, black apothecia and black prothallus and characteristically areolate pattern of the thallus, which coarsely resembles a map, it is superficially easy to determine. However the Rhizocarpon geographicum group is extremely polymorphic, still poorly understood species complex. Several taxa have been separated with slightly different chemistry, spore properties and/or habit.
The thallus of Rhizocarpon geographicum grows very slowly, only about 0.1 mm per year (Ref.4). The largest thalli can be much more than thousand years old. This slow hrouth is used in global warming studies. Retreat of glaciers can be measured by measuring thalli diameter along valleys with retreating glaciers.
Thalli up to 10 x 6 cm large.
Ref.:
(1) F.S. Dobson, Lichens, The Richmonds Publishing Ca.LTD (2005), p 386.
(2) V. Wirth, Die Flechten Baden-Württembergs, Teil.2., Ulmer (1995), p 812.
(3) V. Wirth, R. Duell, Farbatlas Flechten und Moose, Ulmer, (2000), p 137.
(4) B. Marbach, C. Kainz, Moose, Farne und Flechten, BLV Naturfürer (2002), p 90.
(5) C.W.Smith, et all, The lichens of Great Britain and Ireland, The British Lichen Society, (2009), p 800.
(6) I.M. Brodo, S.D. Sharnoff, S. Sharnoff, Lichens of North America, Yale Uni. Press (2001), p 635.
www.lissongallery.com/exhibitions/anish-kapoor-f45a2ea5-2...
For his latest exhibition, Anish Kapoor presents a new series of paintings, an element of his practice that has rarely been seen, exploring the intimate and ritualistic nature of his work. Created over the past year, the show provides a poetic view of the artist's recent preoccupations. While painting has always been an integral part of Kapoor’s practice, this radical new body of work is both spiritual and ecstatic, showing Kapoor working in more vivid and urgent form than ever. Alongside this exhibition, a solo show dedicated to Kapoor's paintings will run at Modern Art Oxford from 2 October 2021 - 13 February 2022, and both shows precede Kapoor’s major retrospective at Gallerie dell'Accademia di Venezia, opening April 2022 to coincide with the Venice Biennale.
Through painting, Kapoor delves into the deep inner world of our mind and body, from the physical exploration of the flesh and blood, to investigating psychological concepts as primal and nameless as origin and obliteration. Since the 1980s, Kapoor has been celebrated largely as a sculptor, yet painting, and its rawest composition, colour and form, have been a fundamental element of his practice-. The presentation will feature a selection of new and recent paintings, created between 2019 and 2021, the majority in the artist’s London-based studio during the pandemic. Like the artist’s wider oeuvre, these paintings are rooted in a drive to grasp the unknown, to awaken consciousness and experiment with the phenomenology of space.
Kapoor’s work has been characterized by an intense encounter with colour and matter – manifest either through refined, reflective surfaces such as metal or mirrors, or through the tactile, sensual quality of the blankets of impasto. The magnetism of the colour red is evident in these new paintings, manifesting the elemental force that flows through us all, yet now accompanied by a new palette of telluric greys and yellows, as if witnessing a surge from the depths of the earth. Some works appear volcanic, with an intense, fiery energy, while others are more primitive and abstract, with layers of dense pigment and resin forming a sculpted solidity. Many of the paintings have a visceral outpouring where a canvas within a canvas rotates and evolves in space, seeming to defy gravity, with brushstrokes cascading over the edges like a waterfall. In others we see distorted, polymorphic figures emerging from a deep, radiant void, with a ghostly aura.
Kapoor achieves a coherence of mind and body, of interior and exterior in two of the series of works, illustrating a mythic landscape with a turbulent, ominous atmosphere that differentiates land from sky, body from space. These whirling landscapes evoke the extraordinary, eerie Romanticism of JMW Turner, a worship of nature marked through an expressive, dramatic scene. Similar in disposition are two works where we imagine the moon rising over the peak – a symbolic narrative of a new cycle, of origins and menstruation.
The wall-based paintings recall some of Kapoor’s most ambitious, distinguished works, including Svayambhu (2007), My Red Homeland (2003) and Symphony for a Beloved Sun (2013). In these floor-based works we see a more ritualistic, visceral language, where Kapoor unashamedly delves into depicting the very blood and flesh from which we are all born. Artists from Leonardo di Vinci to Francis Bacon have been fascinated with the innards of the body, be it our anatomy or the surrealist beauty in violence. The work also stands in a powerful tradition of artists exploring the human body’s expression of divine matters, yet through the unique vision of Kapoor’s Eastern and Western influences, and ---– considering the year in which they were created --– taking on new meaning highlighting the fragility of the body and self.
"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.
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.
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.
[order] Cuculiformes | [family]
Cuculidae | [latin] Cuculus canorus | [UK] Cuckoo | [FR] Coucou gris | [DE] Kuckuck | [ES] Cuco Europeo | [IT] Cuculo eurasiatico | [NL] Koekoek [IRL] Cuach
spanwidth min.: 54 cm
spanwidth max.: 60 cm
size min.: 32 cm
size max.: 36 cm
Breeding
incubation min.: 11 days
incubation max.: 12 days
fledging min.: 17 days
fledging max.: 17 days
broods 15
eggs min.: 1
eggs max.: 25
Status: Widespread summer visitor to Ireland from April to August.
Conservation Concern: Green-listed in Ireland. The European population is currently evaluated as secure.
Identification: Despite its obvious song, relatively infrequently seen. In flight, can be mistaken for a bird of prey such as Sparrowhawk, but has rapid wingbeats below the horizontal plane - ie. the wings are not raised above the body. Adult male Cuckoos are a uniform grey on the head, neck, back, wings and tail. The underparts are white with black barring. Adult females can appear in one of two forms. The so-called grey-morph resembles the adult male plumage, but has throat and breast barred black and white with yellowish wash. The rufous-morph has the grey replaced by rufous, with strong black barring on the wings, back and tail. Juvenile Cuckoos resemble the female rufous-morph, but are darker brown above.
Similar Species: Sparrowhawk
Call: The song is probably one of the most recognisable and well-known of all Irish bird species. The male gives a distinctive “wuck-oo”, which is occasionally doubled “wuck-uck-ooo”. The female has a distinctive bubbling “pupupupu”. The song period is late April to late June.
Diet: Mainly caterpillars and other insects.
Breeding: Widespread in Ireland, favouring open areas which hold their main Irish host species – Meadow Pipit. Has a remarkable breeding biology unlike any other Irish breeding species.
Wintering: Cuckoos winter in central and southern Africa.
Where to See: Occurs throughout Ireland though nowhere especially common. Good areas to see Cuckoo are the Burren and Connemara, which hold the highest density of breeding pairs.
Physical characteristics
Forests and woodlands, both coniferous and deciduous, second growth, open wooded areas, wooded steppe, scrub, heathland, also meadows, reedbeds. Lowlands and moorlands and hill country to 2 km.
Habitat
Forests and woodlands, both coniferous and deciduous, second growth, open wooded areas, wooded steppe, scrub, heathland, also meadows, reedbeds. Lowlands and moorlands and hill country to 2 km. Food and Feeding
Other details
Cuculus canorus is a widespread summer visitor to Europe, which accounts for less than half of its global breeding range. Its European breeding population is very large (>4,200,000 pairs), and was stable between 1970-1990. Although there were declines in many western populations-most notably France-during 1990-2000, most populations in the east, including key ones in Russia and Romania, were stable, and the species underwent only a slight decline overall
Feeding
Diet based on insects, mainly caterpillars, also dragonflies, mayflies, damselflies, crickets, and cicadas. Sometimes, spiders, snails, rarely fruit. Preys on eggs and nestling of small birds.
Conservation
This species has a large range, with an estimated global Extent of Occurrence of 10,000,000 km². It has a large global population, including an estimated 8,400,000-17,000,000 individuals in Europe (BirdLife International in prep.). Global population trends have not been quantified, but populations appear to be stable so the species is not believed to approach the thresholds for the population decline criterion of the IUCN Red List (i.e. declining more than 30% in ten years or three generations). For these reasons, the species is evaluated as Least Concern. [conservation status from birdlife.org]
Breeding
May-Jun in NW Europe, Apr-May in Algeria, Apr-Jul in India and Myanmar. Brood-parasitic, hosts include many insectivorous songbird species, like: flycatchers, chats, warblers, pipits, wagtails and buntigs. Often mobbed by real or potential hosts near their nests. Eggs polymorphic in color and pattern, closely match those of host in color and pattern. Nestling period 17-18 days, evicts host's eggs and chicks.
Migration
Migratory in N of range, arriving in SW Britain mainly Apr - May, when occasionally recorded in small parties, and even in one flock of 50+ birds; also seasonal in hill country from Assam and Chin Hills to Shan States, where present Mar - Aug. Resident in tropical lowland areas of S Asia. Winter resident in sub-Saharan Africa and in Sri Lanka. W Palearctic populations migrate to Africa, where a Dutch-ringed juvenile found in Togo in Oct and a British-ringed juvenile found in Cameroon in Jan; migrants appear in N Senegal as early as late Jul through Oct; in W Africa nearly all records are in autumn ( Sept - Dec), birds apparently continuing on to C & S Africa. Race bangsi occurs on passage in W Africa, and winters S of equator from W Africa to L Tanganyika. Asian populations of nominate canorus and bakeri winter in India, SE Asia and Philippines, also in Africa, but the extent of migration of Asian birds to Africa is unknown; some subtelephonus migrate through Middle East and occur in winter from Uganda and E Zaire to Zimbabwe, Mozambique and Natal. Mainly a passage migrant in Middle East, though some breed in region. Migrants also appear on islands in W Indian Ocean ( Seychelles, Aldabra). Nominate canorus accidental in Iceland, Faeroes, Azores, Madeira, Canary Is and Cape Verde Is, rarely also Alaska and eastern N America; one record of canorus in Indonesia, off W Java in winter. Autumn migration starts in August and continues until October. The main passage through Egypt is in September and the first half of October, with a peak in the third week of September (Goodman & Meininger 1989). Southward movement through Africa lasts from September to December and is linked to the occurrence of rainfall and the growth of cover.
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.
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 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
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.
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
We had lunch beside a native village and after eating I wandered further along the dirt road. John & Karen had already gone that way and found an area which did have a fair number of butterflies.
This one settled quite often in an area of overgrown 'grass' and I spent a while trying to creep up on it and get a good photo. One of my few good butterflies photos from the day.
Acraeas were very common on the trip but this is my only known sighting of this species.
The butterfly is a polymorphic Müllerian mimic of Danaus chrysippus.
Müllerian mimicry is a natural phenomenon when two or more poisonous species, that may or may not be closely related and share one or more common predators, have come to mimic each other's warning signals. It is named after the German naturalist Fritz Müller, who first proposed the concept in 1878.
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.