View allAll Photos Tagged polymorphic
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
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.
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.
Split lick 💾 🎹 🍄 💻 ⏰ #ozwyz #woahart #seattleart #tracers #trippy #oddvideo #creativity #artdaily #morph #pnw #polymorphic #mindexpanding #digital #galaxy #tacomawashington #glitchcommunity #computerart #discoverart #computer #trippyart #glitches #shimmer #alphabetmafia #mirror #picoftheday #colour #worldofartists #entrancing #existentialart instagr.am/p/CZ5_j61LfGM/
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...
Intense, daring, and magnetic. Signature Black deodorant is an alchemy of irresistible notes that enrich and enhance one another. The fragrance combines the inviting aromatic notes of Orange, Grapefruit, and Sweet pea with delightful accords of Peach, Gardenia, and Freesia and finishes off with the tempting base of Patchouli, White Musk, and Leather, leaving a lingering impression.
Sensual, crystal clear, and glamorous. The fragrance of Signature White entices us to explore the generous and polymorphic sides of nature. Top notes of Plum, Black Currant, and Peach fill the wearer with glee and sparkle which unfold into refreshing floral notes of Carnation, Jasmine, and Peony while the base of Vanilla, Amber, and Cedar add to the sophistication of this hypnotic creation.
Photograph of our kinetic seating installation, "Polymorphic."
More at www.evolo.us/architecture/polymorphic-installation-a-kine...
Strawberry dart frog, Dendrobates pumilio, photographed at La Loma Jungle Lodge on Isla Bastimentos, Panama.
Image: Cori Richards-Zawacki.
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...
DSCF1846.JPG Group D
Wingspan ~16mm
F#357
RWWA-3574 BOLD DNA: specimen is likely to be one of the following between 98-100%: Zeiraphera improbana, Zeiraphera sp., Zeiraphera hesperiana, Zeiraphera fortunana, Zeiraphera griseana, Zeiraphera unfortunana and Zeiraphera diniana.
The highest DNA matches are with two specimens of Zeiraphera improbana (UBC-2007-0190 and 0193) from British Columbia. These are the only two specimens of Z. improbana with matches over those of Zeiraphera griseana in this group of Zeiraphera from here. This will require additional study.
www.flickr.com/photos/76798465@N00/sets/72157632313441686...
This matching to the numerous above species I think indicates the polymorphic nature of the group Zeiraphera griseana.
Locality: Coastal SW Washington State at the edge of Willapa Bay geo:lat=46 37.273 geo:lon=-123 56.814
Highdown Gardens near Worthing, West Sussex ...
Caltha palustris, known as Marsh Marigold and Kingcup, is a perennial herbaceous plant of the family Ranunculaceae, native to marshes, fens, ditches and wet woodland in temperate regions of the Northern Hemisphere.
It becomes most luxuriant in partial shade. It is rare on peat. In the United Kingdom, it is probably one of the most ancient native plants, surviving the glaciations and flourishing after the last retreat of the ice, in a landscape inundated with glacial melt waters.
The flowers are yellow, with 4-9 (mostly 5) petal-like sepals and many yellow stamens. They appear in early spring to late summer. The flowers are visited by a great variety of insects for pollen and for the nectar secreted from small depressions, one on each side of each carpel. Hoverflies, bees, butterflies and dragonflies love the flowers.
Carpels form into green sac-like follicles to 1 cm long, each opening to release several seeds.
Caltha palustris is a highly polymorphic species, showing continuous and independent variation in many features. Forms in the UK may be divided into two subspecies: Caltha palustris subsp. palustris, and Caltha palustris subsp. minor.
It is sometimes considered a weed in clay-like garden soils, where every piece of its root will survive and spread. In warm free-draining soils, it simply dies away. It grows well as a pond marginal, or in the water with up to 4" of water above the basket.
As is the case with many members of the family Ranunculaceae, all parts of the plant are poisonous and can be irritant. Skin rashes and dermatitis have been reported from excessive handling of the plant. It is known to sometimes kill cows and will happily grow in cow manure.
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 .
This variable hawk/aguilucho común was photographed at Parque Nacional Cayambe-Coca, Papallacta Pass, Ecuador
Click twice to optimally enlarge the bird (so you can at least sort-of see it's a hawk, to be specific, an accipiter)..
The common name "variable" refers to the species' highly polymorphic forms. Our professional birding guide identified this one in spite of its significant distance over our heads. Notably, we were standing at 14,108 feet, as measured by a fellow traveler's GPS device.
This location is also famous for the array of radio-antennas near its peak, right at the border of Pichincha and Napo provinces.
Asplenium aethiopicum (Burm.f.) Bech.
Aspleniaceae
Indigenous to the Hawaiian islands.
A highly polymorphic pan-tropical species that needs more work
Stellwagen Bank CBC- 12/30/11
Excerpt from my email to on-board participants regarding the 24-year record-high count of 46 Northern Fulmars and their 3:1 dark/light ratio:
"Perhaps most unusual and surprising was the ratio of dark and light morph fulmars (a polymorphic species). In the Atlantic population, birds in the high Arctic at the northern-most reaches of the species’ range are mostly dark, while those that occupy the southern portions of its range (and the birds we typically see at Stellwagen) are mostly light. Why this pattern was reversed among the birds we saw yesterday is a mystery. Let’s hope it’s not indicative of more trouble in the Arctic due to climate change."
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.
Moraceae, paper mulberry, simple alternate whorled opposite, bark light tan pubescent red striations, polymorphic, top leaf scabrous, top bottum leaf pubescent satin
Moraceae, paper mulberry, simple alternate whorled opposite, bark light tan pubescent red striations, polymorphic, top leaf scabrous, top bottum leaf pubescent satin
Impact event crystallization from living Siphonophore or Chondrophore (Cnidarian Hydrozoa medusa jelly) Marine Invertebrate. This is not Silicate Quartz material. Paragonal.
Photograph of our kinetic seating installation, "Polymorphic."
More at www.evolo.us/architecture/polymorphic-installation-a-kine...
Bits around the home garden today 5/6/2015 TL005287
Ian Andrews6:28pm Jun 5
Yup...another for Natalina, who must be amassing a fair amount of data from this site!
Natalina Bonassera
March 11
The main aim of this group is to record Merodon equestris sightings to build a picture of its colour form variation in the UK.
Merodon equestris is a polymorphic hoverfly known to have at least 34 different colour forms.
The data gathered from this group will be used in an MSc thesis aiming to shed light on where Merodon equestris is most frequently seen, its emergence times, and geographical spread of colour forms across different areas and habitats in the UK.
I would be very grateful if photos of any sightings of Merodon equestris in the UK could be posted on this group. Please include a photo, date, location, details of habitat type (urban park, garden, meadow, woodland ect.) and grid reference. If you are unsure of what your grid reference is then here is a link to a helpful web site called grid reference finder, where you can find your grid reference www.gridreferencefinder.com/.
This group is open to anyone, whether novice or expert. Here is a link to Steven Falk's photo album of Merodon equestris on Flickr to give you an idea of what this species looks like www.flickr.com/…/63075200@N…/sets/72157629553247540/.
All the records posted on this group will be passed on to the Hoverfly Recording Scheme.
Please join this group, add friends and share it with anyone who records or has an interest in hoverflies!
Thank you!