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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.
i took a shower here, because it was one of the 3 times out of the month that our bus was parked on the wrong side of the street, meaning our fold down shower wouldn't open directly into traffic.
alabama, usa.
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).
Row 1: Blinded sphinx (Paonias excaecata), False hemlock looper (Nepytia canosaria), Larch tolype (Tolype laricis), Canadian imperial (Eacles pini)
Row 2: Virgin tiger moth (Apantesis virgo), Banded tussock moth (Halysidota tessellaris), Red-fringed emerald (Nemoria bistriaria), Canadian sphinx (Sphinx canadensis)
Row 3: Harlequin webworm moth (Diathrausta harlequinalis), Boxwood leaftier (Galasa nigrinodis), plume moth sp, Painted lichen moth (Hypoprepia fucosa)
Row 4: Yellow-headed cutworm (Apamea amputatrix), Polymorphic pondweed moth (Parapoynx maculalis), Variable antepione (Antepione thisoaria), Bristly cutworm (Lacinipolia renigera)
Photograph of our kinetic seating installation, "Polymorphic."
More at www.evolo.us/architecture/polymorphic-installation-a-kine...
On a Green Arrow Arum plant growing at the edge of the lake at Sesquicentennial State Park. The sun was setting and I was playing with the flash - the flash is used here.
Moraceae, paper mulberry, simple alternate whorled opposite, bark light tan pubescent red striations, polymorphic, top leaf scabrous, top bottum leaf pubescent satin
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).
Vitaceae
summer grape
leaves unavailable, but are polymorphic and serrate.
short guy with bad hair for scale
Photograph of our kinetic seating installation, "Polymorphic."
More at www.evolo.us/architecture/polymorphic-installation-a-kine...
Conscious Grind - What is your favorite game? 💡 🌎 💜 🚲 #ozwyz #oblivion #procreateart #sparkling #spirit #lgbtq #ethereal #polymorphic #trippyart #versicolor #speckled #artwork #contemporaryart #mutlihued #artwatchers #tracers #artis #artist #mixed #myartpiece #mindexpanding #tessellation #indieart #shimmer #symmetry #hypnotic #colour #instagood instagr.am/p/COlNV97nN-I/
If the single malt version is called Singleton, I can only assume the blend is called Polymorphic Scotch
at centrum freier cunst, Gedankenfotografie by A23H.
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.
Visiting my mothing blacklight set-up by the house, in the backyard, on the night of July 24, 2012.
National Moth Week (NMW) is a celebration of moths and biodiversity.
First National Moth Week – July 23-29, 2012
Molecular tools developed in the past few years provide easy, less laborious means for assigning known and unknown plant taxa. These techniques answer many new evolutionary and taxonomic questions, which were not previously possible with only phenotypic methods. Molecular techniques such as DNA barcoding, random amplified polymorphic DNA (RAPD), amplified fragment length polymorphism (AFLP), microsatellites and single nucleotide polymorphisms (SNP) have recently been used for plant diversity studies. This review presents a basic description of different molecular techniques that can be utilized for DNA fingerprinting and molecular diversity analysis of plant species. DNA barcoding uses particular regions of DNA making helping in categorization and recognize unknown species. Researchers now interested to generate DNA barcodes designed for all living organisms and to build up data accessible to public to help in understanding of natural biodiversity of world. Cyclotides are peptides derived from plants with particular head to tail cyclic backbone that have three disulphide bonds by forming a cystine knot. Recent information about DNA barcoding can be used for detection of unidentified biological specimens to a taxonomic group, accurate detection of phytomedicinals, and in the biodiversity of living organisms.
Get full text at innspub.net/jbes/review-use-recent-molecular-techniques-a...
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
Paper mulberr
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.