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The Polymorphic Plastic Parade (Tipi tour 09), www.plasticparade.org/ came to Austin. The members of the project had a discussion about the project at the MASS Gallery.
This was very interesting. It was a great idean and I enjoyed discovering how the idea came about and how they accomplished it.
Marsh mermaid-weed, Ben Wheeler, Van Zandt County, October 2012
Emersed leaves can be lanceolate, sharply serrate; submersed leaves deeply pinnatifid or pectinate. BUT, plants in deep shade will have all pinnatifid leaves.
A plant can have finely pinnatified leaves and serrate leaves alternating on the stem, depending on water level fluctuations.
Red mulberry
UplandsSmooth when young and breaks into striated flaky fissures when mature.
Complexity: Simple
Arrangement: Alternate
Shape: Varies
Margins: Serrate - Crenate.
Venation: Pinnate""Upper leaf surface lined with rough pubescence.
Lower leaf surface lined with velvety pubescence.
Polymorphic leaves.
Naked petiole.Fruit aggregate of droops30-40 ft.Edible fruit
Erythranthe ptilota (=Mimulus moschatus var. sessilifolius), Ravenna Park, NE Seattle, King Co., WA, 8 Jul 2012.
One of the segregate species from the former, polymorphic Mimulus moschatus. E. ptilota is easily distinguished from true Erythranthe moschata by its sessile leaves, as well as more technical traits.
Synthetic Trill - What is your favorite show? 🎹 🏆 🎁 ⏳ #ozwyz #random #oblivion #inspiration #queer #artistic #ethereal #artdiscover #artnow #motley #hallucinogenic #polymorphic #wow #futuristic #nonbinary #multimedia #psychedelics #hippie #designer #graphicartist #handmade #mirror #generative #sequence #glitter #divine #artwatchers #generativeart instagr.am/p/CNnXGpWHTgJ/
Photo by Franz Volhard.
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.
Impact event crystallization from living Siphonophore or Chondrophore (Cnidarian Hydrozoa medusa jelly) Marine Invertebrate. This is not Silicate Quartz material. Paragonal.
Impact event crystallization from living Siphonophore or Chondrophore (Cnidarian Hydrozoa medusa jelly) Marine Invertebrate. This is not Silicate Quartz material. Paragonal.
Tenerife
Icod de los Vinos
Butterfly garden
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.
The Polymorphic Plastic Parade (Tipi tour 09), www.plasticparade.org/ came to Austin. The members of the project had a discussion about the project at the MASS Gallery.
This was very interesting. It was a great idean and I enjoyed discovering how the idea came about and how they accomplished it.
From the 1st-2nd Century AD, copy of a Greek original from the 2nd half of the 4th Century BC.
Thasian marble.
From Anzio.
The ambiguous and polymorphic nature of this god is manifested in ths statue through its feminine appearance, emphasised by the hairstyle with the tall knot of hair. Its identification as the god Apollo is confirmed by the presence of snake, one of his attributes, surviving in other copies of the same type.
POISONOUS
All parts of the plant are poisonous, containing cyanogenic glycosides(hydrogen cyanide). In small quantities, hydrogen cyanide has been shown to stimulate respiration and improve digestion, it is also claimed to be of benefit in the treatment of cancer. In excess, however, it can cause respiratory failure and even death. This species is polymorphic for cyanogenic glycosides. The flowers of some forms of the plant contain traces of prussic acid and so the plants can become mildly toxic when flowering. They are completely innocuous when dried.
No known Edible uses.
MEDICINAL USES: Anti-inflammatory; Antispasmodic; Cardiotonic; Carminative; Febrifuge; Hypoglycemic; Restorative; Sedative;
Tonic; Vermifuge.
Carminative, febrifuge, hypoglycemic, restorative, vermifuge. The flowers are antispasmodic, cardiotonic and sedative. The root is carminative, febrifuge, restorative and tonic. The plant is used externally as a local anti-inflammatory compress in all cases of skin inflammation.
OTHER USES: Dye; Green manure.
An orange-yellow dye is obtained from the flowers. A useful green manure plant, fixing atmospheric nitrogen. It is difficult to see this plant as a useful green manure, it is fairly slow growing and does not produce much bulk
.
Impact event crystallization from living Siphonophore or Chondrophore (Cnidarian Hydrozoa medusa jelly) Marine Invertebrate. This is not Silicate Quartz material. Paragonal.
Peter Paul Rubens 1577-1640
The Fall of the Rebel Angels, 1621/22
The Archangel St. Michael, the symbolic figure of the Counter-Reformation, appears here as the guardian of the Church against the heretics who are put on a par with Protestants. His foot is firmly placed on the seven-headed dragon and he holds up his shield against it in defense. Above him, God the Father can be seen with the globe; the triangular nimbus is a reference to the Holy Trinity. The light figure that seems to blend into the heavens forms a counterpoint to the creature from Hell whose polymorphic body represents the demonic power of Satan.
POISONOUS
All parts of the plant are poisonous, containing cyanogenic glycosides(hydrogen cyanide). In small quantities, hydrogen cyanide has been shown to stimulate respiration and improve digestion, it is also claimed to be of benefit in the treatment of cancer. In excess, however, it can cause respiratory failure and even death. This species is polymorphic for cyanogenic glycosides. The flowers of some forms of the plant contain traces of prussic acid and so the plants can become mildly toxic when flowering. They are completely innocuous when dried.
No known Edible uses.
MEDICINAL USES: Anti-inflammatory; Antispasmodic; Cardiotonic; Carminative; Febrifuge; Hypoglycemic; Restorative; Sedative;
Tonic; Vermifuge.
Carminative, febrifuge, hypoglycemic, restorative, vermifuge. The flowers are antispasmodic, cardiotonic and sedative. The root is carminative, febrifuge, restorative and tonic. The plant is used externally as a local anti-inflammatory compress in all cases of skin inflammation.
OTHER USES: Dye; Green manure.
An orange-yellow dye is obtained from the flowers. A useful green manure plant, fixing atmospheric nitrogen. It is difficult to see this plant as a useful green manure, it is fairly slow growing and does not produce much bulk
.
dark morph. Until recently I could not believe the fair haired and the dark bee to belong to the same species. But then with Anthophora plumipes we have got another example of a polymorphic bee species here.
Photograph of our kinetic seating installation, "Polymorphic."
More at www.evolo.us/architecture/polymorphic-installation-a-kine...
Red mulberry
UplandsSmooth when young and breaks into striated flaky fissures when mature.
Complexity: Simple
Arrangement: Alternate
Shape: Varies
Margins: Serrate - Crenate.
Venation: Pinnate""Upper leaf surface lined with rough pubescence.
Lower leaf surface lined with velvety pubescence.
Polymorphic leaves.
Naked petiole.Fruit aggregate of droops30-40 ft.Edible fruit
view from the first fitting @ Faliro sq. Attica, Greece 20111
Design + construction: Werner Maritsas
Materials: plywood + metal
Dimensions 2.50X2.50X2.55
learn pore here: wernermaritsas.wordpress.com/
Photograph of our kinetic seating installation, "Polymorphic."
More at www.evolo.us/architecture/polymorphic-installation-a-kine...
Paper mulberry
Cat 2 Invasive""Varies: hydric - mesic
Smooth, light brown, gaining vertical shallow furrows with maturity.Deciduous"Complexity: Simple
Arrangement: Varies: alternate, opposite, and whorled.
Shape: Polymorphic.
Margins: Serrate
Venation: sub-palmate""Thick pubescence on leaves, petitoles, and new stem growth. (Morus rubra will only have pubescence on leaves.)
Sap is milky colored
Leaves large."Aggressive colonizer.
Order Lepidoptera (Butterflies and Moths)
No Taxon (Moths)
Superfamily Pyraloidea
Family Crambidae (Crambid Snout Moths)
Subfamily Acentropinae
Tribe Nymphulini
Genus Parapoynx
Species maculalis (Polymorphic Pondweed Moth - Hodges#4759)
Lodi Township, MI
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.