View allAll Photos Tagged polymorphic
Photograph of our kinetic seating installation, "Polymorphic."
More at www.evolo.us/architecture/polymorphic-installation-a-kine...
Photograph of our kinetic seating installation, "Polymorphic."
More at www.evolo.us/architecture/polymorphic-installation-a-kine...
This is a really variable species, with lots of named varieties. Most botanists tend not to put much faith in varietal status (statuses?), but rather look at this stuff as a widely distributed entity...a "polymorphic" species.
It is superficially similar to Stachys, and can fool you in the field, until you get close up to it. Although they look similar, Stachys and Teucrium reside in different subfamiles within the Lamiaceae.
Photograph of our kinetic seating installation, "Polymorphic."
More at www.evolo.us/architecture/polymorphic-installation-a-kine...
I was a biology geek in school and we a good few trips counting snails , drawing diagrams ...they probably get to play with digi cameras now Sigh...... but if you care a brief and overly simply bio lesson ......all these snail in pictures are the same species Cepaea nemoralis it gets studied a lot in biology cos its polymorphic (within the species it has many physical forms ). On grassland you tend to find just the pale ones, cos the darker snails are very visible to feeding birds and therefore fail to pass on their genes to the next generation . But you get wildly differing types in structually diverse environments like this wood the banding good camouflage for the "stripeys" hanging out on the knots while the "pale snails" prefer the leaves .
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The Butterfly House at Wisley.
A late winter, early spring visit to RHS Wisley Gardens near Ripley in Surrey. As well as the gardens, the tropical greenhouse was transformed into a Butterfly House for the winter.
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.
Its range includes north-eastern India (including Sikkim, Assam and Nagaland), Nepal, Bangladesh, Myanmar, Nicobar Islands, Andaman Islands (stragglers only), western, southern and eastern China (including Hainan), Taiwan, southern Japan including Ryukyu Islands, Thailand, Laos, Vietnam, Kampuchea, Malaysia and Indonesia (Sumatra, Mentawai Islands, Nias, Batu, Simeulue, Bangka, Java, Kalimantan and the Lesser Sunda Islands).
Drosera cistiflora is a widespread highly variable and polymorphic species of sundew from the western Cape region of South Africa. there is tremendous variation in flower size and color as well as stem and leaf morphology. For this region, there are current research efforts to identify and reclassify this 'species' into multiple classifications. The late afternoon light provided a spectacular setting for these images.
Miscellaneous
Marked
Hx: 17 m/o male, h/o polymorphic ventricular tachycardia of unknown etiology with ICD episode of cyanosis, meds: sotalol, Mg, Keppra (h/o seizures)
Drosera cistiflora is a widespread highly variable and polymorphic species of sundew from the western Cape region of South Africa. there is tremendous variation in flower size and color as well as stem and leaf morphology. For this region, there are current research efforts to identify and reclassify this 'species' into multiple classifications. The late afternoon light provided a spectacular setting for these images.
Die Ausserirdische 1/The extraterrist woman 1, 1986
Beton, Stahl/concrete, steel, 40 x 120 cm
During the early 1980s, a lively exchange developed between the Rhineland artist collective Paul Pozzozza Museum (PPM) from Düsseldorf and the Frankfurt-based musician and artist Alfred 23 Harth (A23H). Among the active members of PPM was Marcel Hardung, who, together with other protagonists of the group, came into contact with Harth after one of his experimental concerts at the Düsseldorf Kunsthalle. This meeting marked the beginning of an ongoing artistic relationship that reached beyond regional borders and media distinctions.
At the time, Harth was running the waschSalon gallery in Frankfurt, a self‑organized space dedicated to presenting avant‑garde art and performance. The gallery quickly became a platform where artists from different backgrounds—visual, musical, and conceptual—could meet. Several times, Harth invited and exhibited the artists of the PPM circle at the waschSalon, thereby bringing Düsseldorf tendencies into dialogue with Frankfurt’s own experimental currents. In addition, he purchased several works from the artists who exhibited at waschSalon. Although many of these works cannot be traced today, this act of collecting reveals the degree of engagement and commitment Harth maintained toward emerging artists and their practices.
The visual communication of the waschSalon exhibitions was itself a product of this networked creativity. Invitation cards, posters, and similar material were printed at Zypresse, a local press in Frankfurt that had become part of the gallery’s infrastructure. The contact with Zypresse originated through one of Harth’s saxophone students, who was not only a musician but also a graphic designer. This student designed the logo and typography for waschSalon, thereby shaping its graphic identity and bridging Harth’s dual worlds of music pedagogy and visual experimentation.
Taken together, these interconnections illustrate how artistic initiatives in Düsseldorf and Frankfurt of the period operated in a transdisciplinary spirit. PPM’s conceptual play with the notion of the “museum,” Hardung’s contributions within this group, Harth’s polymorphic practice as musician, visual artist, and gallerist, and the involvement of printers, students, and designers—all were woven into a shared fabric. The outcome was not only the staging of exhibitions and concerts but also the creation of ephemeral networks and friendships, whose traces are now scattered across stories, printed matter, and a few surviving works of art.
Photograph of our kinetic seating installation, "Polymorphic."
More at www.evolo.us/architecture/polymorphic-installation-a-kine...
Photograph of our kinetic seating installation, "Polymorphic."
More at www.evolo.us/architecture/polymorphic-installation-a-kine...
Impact event crystallization from living Siphonophore or Chondrophore (Cnidarian Hydrozoa medusa jelly) Marine Invertebrate. This is not Silicate Quartz material. Paragonal.
Corinne L. Richards-Zawacki, Ian J. Wang & Kyle Summers (2012). Mate choice and the genetic basis for colour variation in a polymorphic dart frog: inferences from a wild pedigree. Molecular Ecology, 21, 3879-3892. doi:10.1111/j.1365-294X.2012.05644.x
Corinne L. Richards-Zawacki, Ian J. Wang & Kyle Summers (2012). Mate choice and the genetic basis for colour variation in a polymorphic dart frog: inferences from a wild pedigree. Molecular Ecology, 21, 3879-3892. doi:10.1111/j.1365-294X.2012.05644.x
Photograph of our kinetic seating installation, "Polymorphic."
More at www.evolo.us/architecture/polymorphic-installation-a-kine...
Photograph of our kinetic seating installation, "Polymorphic."
More at www.evolo.us/architecture/polymorphic-installation-a-kine...
Corinne L. Richards-Zawacki, Ian J. Wang & Kyle Summers (2012). Mate choice and the genetic basis for colour variation in a polymorphic dart frog: inferences from a wild pedigree. Molecular Ecology, 21, 3879-3892. doi:10.1111/j.1365-294X.2012.05644.x
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