View allAll Photos Tagged published
アサガオ ‘北京天壇’
ヒルガオ科 / サツマイモ属
Ipomoea nil (L.) Roth, 1797 ‘Tendan’
First published in Catal. Bot. 1: 36 (1797)
This species is accepted.
Confirmation Date: 08/25, 2023.
------------------------------------
Family: Convolvulaceae (APG IV)
------------------------------------
Authors:
Carl von Linnaeus (1707-1778)
Albrecht Wilhelm Roth (1757-1834)
-------------------------------------
Published In:
Catalecta Botanica 1: 36. 1797. (Catal. Bot.) Name publication detail
-------------------------------------
Annotation:as "Nil"
-------------------------------------
Distribution:Trop. & Subtrop. America
(13) grc (22) gha gui ivo nga sen sie (23) caf cmn con eqg ggi zai (24) cha eri eth soc sud (25) tan uga (26) zam zim (27) cpp nam nat (29) com mau mdg reu rod? sey (35) oma sau yem (36) chc chh chi chn chs cht (38) kor nns (40) ban ehm ind nep pak srl whm (41) cbd lao mya scs tha vie (42) jaw lsi mly mol phi sul sum xms (43) nwg (50) nta qld wau (60) nwc (76) cal (77) tex (78) ala fla lou nca 79 MXC MXE MXG MXN MXS MXT 80 BLZ COS ELS GUA HON NIC PAN 81 ARU BAH ber CUB DOM HAI JAM LEE NLA PUE TRT WIN 82 FRG GUY SUR VEN 83 BOL CLM ECU GAL PER 84 BZC BZE BZL BZN BZS 85 AGE AGW PAR URU
Lifeform:Cl. ther.
Original Compiler:George Staples
-------------------------------------
Homotypic Names:
Convolvulus nil L., Sp. Pl. ed. 2: 219 (1762).
Convolvuloides triloba Moench, Methodus: 452 (1794), nom. superfl.
Pharbitis nil (L.) Choisy, Mém. Soc. Phys. Genève 6: 439 (1833 publ. 1834)[Conv. Or.: 57]
-------------------------------------
Basionym/Replaced Synonym:
Convolvulus nil L., Sp. Pl. ed. 2: 219 (1762).
-------------------------------------
Heterotypic Synonyms:
Ipomoea hederacea Anon. in ?, non Jacq.
Convolvulus hederaceus L., Sp. Pl.: 154 (1753).
Ipomoea scabra Forssk., Fl. Aegypt.-Arab.: 44 (1775).
Convolvulus coelestis G.Forst., Fl. Ins. Austr.: 14 (1786).
Ipomoea scabra J.F.Gmel., Syst. Nat.: 345 (1791), nom. illeg.
Convolvulus dillenii Desr. in J.B.A.M.de Lamarck, Encycl. 3: 544 (1792).
Ipomoea bicolor Lam., Tabl. Encycl. 1: 465 (1793).
Convolvulus hederifolius Salisb., Prodr. Stirp. Chap. Allerton: 123 (1796), nom. superfl.
Ipomoea cuspidata Ruiz & Pav., Fl. Peruv. 2: 11 (1799).
Ipomoea caerulea Roxb. ex Ker-Gawl., Bot. Reg. 4: t. 276 (1818).
Ipomoea dillenii (Desr.) Roem. & Schult., Syst. Veg., ed. 15 bis 4: 227 (1819).
Convolvulus caeruleus (Roxb. ex Ker-Gawl.) Spreng., Syst. Veg., 1: 593 (1824).
Convolvulus peruvianus Spreng., Syst. Veg., 1: 593 (1824).
Ipomoea caerulea J.König ex Roxb., Fl. Ind. 2: 91 (1824), nom. illeg.
Ipomoea caerulescens Roxb., Fl. Ind. 2: 90 (1824).
Ipomoea setosa Blume, Bijdr.: 714 (1826), nom. illeg.
Convolvulus tomentosus Vell., Fl. Flumin.: 74 (1829), sensu auct.
Convolvulus scaber Colla, Herb. Pedem. 4: 204 (1835).
Pharbitis cuspidata (Ruiz & Pav.) G.Don, Gen. Hist. 4: 263 (1837).
Pharbitis dillenii (Desr.) G.Don, Gen. Hist. 4: 263 (1837).
Pharbitis forsskaolii G.Don, Gen. Hist. 4: 263 (1837).
Pharbitis purshii G.Don, Gen. Hist. 4: 163 (1837).
Pharbitis scabra (Colla) G.Don, Gen. Hist. 4: 263 (1837).
Pharbitis caerulea (Roxb. ex Ker-Gawl.) G.Don ex Sweet, Hort. Brit., ed. 3: 482 (1839).
Pharbitis caerulescens (Roxb.) Sweet, Hort. Brit., ed. 3: 482 (1839).
Convolvulus lindleyi Steud., Nomencl. Bot., ed. 2, 1: 409 (1840).
Convolvulus variifolius Steud., Nomencl. Bot., ed. 2, 1: 412 (1840).
Ipomoea trichocalyx Steud., Nomencl. Bot., ed. 2, 1: 819 (1840).
Pharbitis nil var. abbreviata Choisy in A.P.de Candolle, Prodr. 9: 343 (1845).
Pharbitis nil var. integrifolia Choisy in A.P.de Candolle, Prodr. 9: 343 (1845).
Pharbitis speciosa Choisy in A.P.de Candolle, Prodr. 9: 343 (1845).
Ipomoea githaginea Hochst. ex A.Rich., Tent. Fl. Abyss. 2: 65 (1850).
Pharbitis limbata Lindl., J. Hort. Soc. London 5: 33 (1850).
Ipomoea hederacea var. limbata (Lindl.) Benth., Fl. Austral. 4: 417 (1868).
Pharbitis albomarginata Lindl. ex Hook.f., Bot. Mag. 94: t. 5720 (1868), not validly publ.
Pharbitis nil var. limbata (Lindl.) Hook., Bot. Mag. 94: t. 5720 (1868).
Ipomoea longicuspis Meisn. in C.F.P.von Martius & auct. suc. (eds.), Fl. Bras. 7: 227 (1869), nom. superfl.
Ipomoea longicuspis var. brevipes Meisn. in C.F.P.von Martius & auct. suc. (eds.), Fl. Bras. 7: 227 (1869).
Ipomoea nil var. limbata (Lindl.) Meisn. in C.F.P.von Martius & auct. suc. (eds.), Fl. Bras. 7: 228 (1869).
Pharbitis albomarginata Lindl. ex Meisn. in C.F.P.von Martius & auct. suc. (eds.), Fl. Bras. 7: 228 (1869).
Ipomoea hederacea var. himalaica C.B.Clarke in J.D.Hooker, Fl. Brit. India 4: 200 (1883).
Ipomoea hederacea var. integrifolia (Choisy) C.B.Clarke in J.D.Hooker, Fl. Brit. India 4: 200 (1883).
Ipomoea githaginea var. inaequalis Beck in P.V.Paulitschke, Harrar Leipzig, App.: 458 (1888).
Ipomoea nil var. japonica Hallier f., Bot. Jahrb. Syst. 18: 137 (1893).
Ipomoea limbata (Lindl.) Voss, Vilm. Blumengärtn. ed. 3, 1: 710 (1895).
Ipomoea speciosa (Choisy) Voss, Vilm. Blumengärtn. ed. 3, 1: 711 (1895), nom. illeg.
Convolvulus setosus Hallier f., Bull. Herb. Boissier 5: 1048 (1897), nom. illeg.
Ipomoea nil var. setosa Boerl., Handl. Fl. Ned. Ind. 2: 511 (1899).
Ipomoea hederacea var. inaequalis Baker & Rendle in D.Oliver & auct. suc. (eds.), Fl. Trop. Afr. 4(2): 160 (1905).
Ipomoea vaniotiana H.Lév., Repert. Spec. Nov. Regni Veg. 9: 453 (1911).
Pharbitis nil var. japonica (Hallier f.) H.Hara, Enum. Spermatophytarum Japon. 1: 167 (1949).
Ipomoea nil var. inaequalis (Beck) Cufod., Bull. Jard. Bot. Natl. Belg. 39(Suppl.): XXX (1969).
Ipomoea hederacea var. paichou J.R.Wu, J. Guiyang Tradit. Chin. Med. Coll. 1979(1): 97 (1979).
Ipomoea nil var. himalaica (C.B.Clarke) S.C.Johri, J. Econ. Taxon. Bot. 5: 432 (1984).
Pharbitis nil var. paichou (J.R.Wu) J.R.Wu, Fl. Guizhouensis 6: 348 (1989), without basionym page.
-------------------------------------
Accepted By:
AFPD. 2008. African Flowering Plants Database - Base de Donnees des Plantes a Fleurs D'Afrique.
Austin, D. F., G. W. Staples & R. Simão-Bianchini. 2015. A synopsis of Ipomoea (Convolvulaceae) in the Americas: Further corrections, changes, and additions. Taxon 64(3): 625–633.
Baksh-Comeau, Y. S., Maharaj, C. D. Adams, S. A. Harris, D. Filer & W. Hawthorne. 2016. An annotated checklist of the vascular plants of Trinidad and Tobago with analysis of vegetation types and botanical ‘hotspots’. Phytotaxa 250: 1–431.
CONABIO. 2009. Catálogo taxonómico de especies de México. 1. In Capital Nat. México. CONABIO, Mexico City.
Carnevali, G., J. L. Tapia-Muñoz, R. Duno de Stefano & I. M. Ramírez-Morillo. 2010. Fl. Ilustr. Peníns. Yucatán 1–326. Centro de Investigación Científica de Yucatán, Mérida.
Correa A., M. D., C. Galdames & M. Stapf. 2004. Cat. Pl. Vasc. Panamá 1–599. Smithsonian Tropical Research Institute, Panamá.
Davidse, G., M. Sousa Sánchez, S. Knapp & F. Chiang Cabrera. 2012. Rubiaceae a Verbenaceae. 4(2): i–xvi, 1–533. In G. Davidse, M. Sousa Sánchez, S. Knapp & F. Chiang Cabrera (eds.) Fl. Mesoamer.. Missouri Botanical Garden, St. Louis.
Flora of China Editorial Committee. 1995. Flora of China (Gentianaceae through Boraginaceae). 16: 1–479. In C. Y. Wu, P. H. Raven & D. Y. Hong (eds.) Fl. China. Science Press & Missouri Botanical Garden Press, Beijing & St. Louis.
Forzza, R. C. 2010. Lista de espécies Flora do Brasil floradobrasil.jbrj.gov.br/2010. Jardim Botânico do Rio de Janeiro, Rio de Janeiro.
Funk, V. A., T. H. Hollowell, P. E. Berry, C. L. Kelloff & S. Alexander. 2007. Checklist of the plants of the Guiana Shield (Venezuela: Amazonas, Bolivar, Delta Amacuro; Guyana, Surinam, French Guiana). Contr. U.S. Natl. Herb. 55: 1–584. View in Biodiversity Heritage Library
Hammel, B. E. 2010. Convolvulaceae. En: Manual de Plantas de Costa Rica. Vol. V. B.E. Hammel, M.H. Grayum, C. Herrera & N. Zamora (eds.). Monogr. Syst. Bot. Missouri Bot. Gard. 119: 72–126.
Hokche, O., P. E. Berry & O. Huber. (eds.) 2008. Nuevo Cat. Fl. Vasc. Venez. 1–859. Fundación Instituto Botánico de Venezuela, Caracas.
Idárraga-Piedrahita, A., R. D. C. Ortiz, R. Callejas Posada & M. Merello. (eds.) 2011. Fl. Antioquia: Cat. 2: 9–939. Universidad de Antioquia, Medellín.
Jørgensen, P. M., M. H. Nee & S. G. Beck. (eds.) 2014. Cat. Pl. Vasc. Bolivia, Monogr. Syst. Bot. Missouri Bot. Gard. 127(1–2): i–viii, 1–1744. Missouri Botanical Garden Press, St. Louis.
Jørgensen, P. M., M. H. Nee, S. G. Beck & A. F. Fuentes Claros. 2015 en adelante. Catalogo de las plantas vasculares de Bolivia (adiciones).
Nasir, E. & S. I. Ali (eds). 1980-2005. Fl. Pakistan Univ. of Karachi, Karachi.
Nelson, C. H. 2008. Cat. Pl. Vasc. Honduras i–xxix, 31–1576. Secretaría de Recursos Naturales y Ambiente, Tegucigalpa.
Pérez J., L. A., M. Sousa Sánchez, A. M. Hanan-Alipi, F. Chiang Cabrera & P. Tenorio L. 2005. Vegetación terrestre. Cap. 4: 65–110. In J. Bueno, F Álvarez & S. Santiago (eds.) Biodivers. Tabasco. CONABIO-UNAM, México.
Schatz, G. E., S. Andriambololonera, P.P. Lowry II, P.B. Phillipson, M. Rabarimanarivo, J. I. Raharilala, F. A. Rajaonary, N. Rakotonirina, R. H. Ramananjanahary, B. Ramandimbisoa, A. Randrianasolo, N. Ravololomanana, C. M. Taylor & J. C. Brinda. 2020. Catalogue of the Plants of Madagascar.
Standley, P. C. & L. O. Williams. 1970. Convolvulaceae. In Standley, P. C. & L. O. Williams (eds.), Flora of Guatemala - Part IX. Fieldiana, Bot. 24(9): 4–85. View in Biodiversity Heritage Library
Stevens, W. D., C. Ulloa Ulloa, A. Pool & O. M. Montiel Jarquín. 2001. Flora de Nicaragua. Monogr. Syst. Bot. Missouri Bot. Gard. 85: i–xlii,.
Ulloa Ulloa, C., P. Acevedo-Rodríguez, S. G. Beck, M. J. Belgrano, R. Bernal González, P. E. Berry, L. Brako, M. Celis, G. Davidse, S. R. Gradstein, O. Hokche, B. León, S. León-Yánez, R. E. Magill, D.A. Neill, M. H. Nee, P. H. Raven, H. Stimmel, M. T. Strong, J. L. Villaseñor Ríos, J. L. Zarucchi, F. O. Zuloaga & P. M. Jørgensen. 2017. An integrated assessment of vascular plants species of the Americas. Science 358: 1614–1617 [Online Suppl. Materials: 1–23 + 1–2497], f. 1–4 [f. S1–5].
Ulloa Ulloa, C., P. Acevedo-Rodríguez, S. G. Beck, M. J. Belgrano, R. Bernal González, P. E. Berry, L. Brako, M. Celis, G. Davidse, S. R. Gradstein, O. Hokche, B. León, S. León-Yánez, R. E. Magill, D.A. Neill, M. H. Nee, P. H. Raven, H. Stimmel, M. T. Strong, J. L. Villaseñor Ríos, J. L. Zarucchi, F. O. Zuloaga & P. M. Jørgensen. 2018 [Onwards]. An integrated Assessment of Vascular Plants Species of the Americas (Online Updates).
Villaseñor Ríos, J. L. 2016. Checklist of the native vascular plants of Mexico. Catálogo de las plantas vasculares nativas de México. Revista Mex. Biodivers. 87(3): 559–902. epublication
Wood, J. R. I., P. Muñoz Rodríguez, B. R. M. B.R.M. Williams & R. W. Scotland. 2020. A foundation monograph of Ipomoea (Convolvulaceae) in the New World. PhytoKeys 143: 1–823.
Zuloaga, F. O., O. Morrone, M. J. Belgrano, C. Marticorena & E. Marchesi. (eds.) 2008. Catálogo de las plantas vasculares del Cono Sur. Monogr. Syst. Bot. Missouri Bot. Gard. 107(1–3): i–xcvi, 1–3348.
Grisebach, A.H.R. (1862). Convolvulaceae. Flora of the British West Indian Isands: 466-476. Lovell Reeve.
Meisner, C.F. (1869). Convolvulaceae. Flora Brasiliensis 7: 199-370.
Gray, A. (1878). Convolvulaceae. Synoptical Flora of North America, edit. 1 2(2): 207-224, 394.
Eggers, H.F.A. (1879). Convolvulaceae. The flora of St Croix and the Virgin Islands: 70-73. US Government Printing Office.
Boldingh, I. (1909). Convolvulaceae. Flora of the Futch West Indian Islands, vol. I: St. Eustatius, Saba, and St. Martin 1: 161-163. E.J. Brill.
Britton, N. (1918). Flora of Bermuda: 1-585. Charles Scribner's Sons, New York.
Standley, P. C. (1938). Convolvulaceae. Publications of Field Museum of Natural History, Botanical Series 18(3): 960-974.
Ooststroom, S.J. van & R.D. Hoogland (1953). Convolvulaceae. Flora Malesiana 4: 388-512. Noordhoff-Kolff N.V., Djakarta.
Hill, A.W. & Sandwith, N. (1953). Fl. Trinidad & Tobago Convolvs.. Flora of Trinidad and Tobago 2(4): 210-240. Government Printing Office, Port-of-Spain.
Andrews, F.W. (1956). Convolvulaceae. The Flowering Plants of the Sudan 3: 102-125. T.Buncle & co., LTD., Arbroath, Scotland.
Leon, H. & Alain, H. (1957). Convolvulaceae. Flora de Cuba 4: 218-248. Cultural S. A., La Habana.
O'Donell, C.A. (1959). Convolvuloideas de Uruguay. Lilloa 29: 349-376. Universidad Nacional de Tucuman, Instituto 'Miguel Lillo'.
Heine, H. (1963). Convolvulaceae. Flora of West Tropical Africa, second edition 2: 335-352 + 496. Crown Agents for Oversea Governments and Administrations.
Gooding, E.G.B. & A.R. Loveless (1965). Convolvulaceae. Flora of Barbados: 332-344. Her Majesty's Stationery Office.
Standley, P.C. & Williams, L.O. (1970). Convolvulaceae. Fieldiana Botany New Series 24 (9: 1,2): 4-85. Field Museum of Natural History.
Shinners, L. (1970). Convolvulaceae. Manual of the vascular plants of Texas: 1241-1261. Texas Research Foundation.
Wiggins, I.L. (1971). Convolvulaceae. Flora of the Galápagos Islands: 367-383. Stanford University Press.
Adams, C.D. (1972). Flowering Plants of Jamaica: 601-614. University of the West Indies, Mona.
Austin, D.F. (1975). Convolvulaceae. Annals of the Missouri Botanical Garden 62: 157-224.
Long, R. W. & O. Lakela (1976). Convolvulaceae. A flora of tropical Florida: 711-724. Banyan Books.
Verdcourt, B. (1978). Corrections and additions to the 'Flora of Tropical East Africa: Convolvulaceae': IV. Kew Bulletin 33: 159-168.
Austin, D.F. & S. Ghazanfar (1979). Convolvulaceae. Flora of West Pakistan 126: 1-64.
Powell, Dulcie A. (1979). The Convolvulaceae of the Lesser Antilles. Journal of the Arnold Arboretum 60: 219-271.
Austin, D.F. (1980). Rev. Handb. Fl. Ceylon Convolvulaceae. A Revised Handbook to the Flora of Ceylon 1: 288-363. Oxford & IBH Publishing Co. PVT. LTD., New Delhi, Calcutta.
Wiggins, I.L. (1980). Convolvulaceae. Flora of Baja California: 373-385. Stanford Univ. Press.
Austin, D. F. (1982). Flora of Ecuador 15: 3-99. Botanical Institute, University of Göteborg, Riksmuseum, Stockholm.
Austin, D.F. (1982). Convolvulaceae. Flora de Venezuela 8(3): 15-226. Fundación Educación Ambiental.
Austin, D.F. & Cavalcante, P.B. (1982). Convolvuláceas da Amazônia. Publicações Avulsas do Museo Goeldi 36: 1-134.
Austin, D.F. (1982). Convolvulaceae. Flora of the Bahama Archipelago: 1161-1190. J.Cramer, Vaduz.
Heine, H. (1984). Fl. Nouv. Caléd. & Dépend. Convolvulaceae. Flore de la Nouvelle-Calédonie et Dépendances 13: 1-91. Muséum National d'Histoire Naturelle, Paris.
Khan, M.S. (1985). Fl. Bangladesh Convolvulaceae. Flora of Bangladesh 30: 1-59. Bangladesh National Herbarium, Dhaka.
Gonçalves, M.L. (1987). Convolvulaceae. Flora Zambesiaca 8(1): 9-129. Royal Botanic Gardens, Kew.
Austin, D.F. (1990). Comments on southwestern United States Evolvulus and Ipomoea (Convolvulaceae). Madrono 37: 124-132.
Lejoly, J. & S. Lisowski (1992). Les genres Merremia et Ipomoea (Convolvulaceae) dans la Flore d'Afrique Centrale (Zaire, Rwanda, Burundi). Fragmenta Floristica et Geobotanica 37: 21-125.
Dempster, L. T. (1993). Convolvulaceae. The Jepson Manual, higher plants of Cilfornia: 516-522. Univ. California Press.
Barker, R.M. & Telford, I.R.H. (1993). Fl. Australia Oceanic Islds. Convolvs. Flora of Australia 50: 342-353. Australian Government Publishing Service, Canberra.
McPherson, G. [w/ D.F. Austin] (1993). Convolvulaceae. Catalogue of the Flowering Plants and Gymnosperms of Peru: 365-374. Missouri Botanical Garden, St. Louis.
Friedmann, F. (1994). Convolvulaceae. Flore des Seychelles Dicotylédones: 491-503. ORSTOM éditions.
Liogier, A.H. (1994). Convolvulaceae. La flora de la Española 6: 49-114. Universidad Central del Este.
Kartesz, J.T. (1994). Convolvulaceae. A synonymized checklist of the vascular flora of the United States, Canada, and Greenland: 217-221. Timber Press.
McDonald, Andrew (1994). Convolvulaceae. Flora de Veracruz 77: 1-133. Instituto Nacional de Investigaciones sobre Recursos Bióticos, Xalapa, Veracruz.
Fang, R.-Z. & Staples, G. (1995). Convolvulaceae. Flora of China 16: 271-325. Missouri Botanical Garden Press, St. Louis.
Austin, D.F. & Huáman, Z. (1996). A synopsis of Ipomoea (Convolvulaceae) in the Americas. Taxon 45: 3-38.
Austin, D.F. (1997). Convolvulaceae. Checklist of the Plants of the Guianas (Guyana, Surinam, Franch Guiana): 87-88. University of Guyana, Georgetown.
Wood, J.R.I. (1997). Handb. Yemen Fl. Convolvulaceae. A Handbook of the Yemen Flora: 230-236. The Board of Trustees of the Royal Botanic Gardens, Kew.
Austin, D.F. (1998). Convolvulaceae. Flora of the Venezuelan Guayana 4: 377-424. Missouri Botanical Garden, St. Louis.
Mill, R.R. (1999). Fl. Bhutan Convolvulaceae. Flora of Bhutan 2(2): 834-862. Royal Botanic Gardens, Edinburgh.
Balick, M.J., Nee, M.H. & Atha, D.E. (2000). Checklist of the Vascular Plants of Belize with Common Names an Uses: i-x, 1-246. New York Botanic Garden Press, New York.
Meeuse, A.D.J. & W.G. Welman (2000). Convolvulaceae. Flora of Southern Africa 28: 1-138. Botanical Research Institute, Department of Agriculture.
Bosser, J. & H. Heine (2000). Fl. Mascar. Convolvulaceae. Flore des Mascareignes 127: 1-63. IRD Éditions, MSIRI, RBG-Kew, Paris.
Liogier, H.A. & L.F. Martorell (2000). Convolvulaceae. Flora of Puerto Rico and Adjacent Islands: a Systematic Synopsis: 162-167. Editorial de la Universidad de Puerto Rico, San Juan.
Deroin, T. (2001). Convolvulaceae. Flore de Madagascar et des Comores (Plantes Vasculaires) 171: 11-287. Typographie Firmin-Didot et Cie., Paris.
Alfarhan, A. & Thomas, J. (2001). Saudi Arabian CNV + CUS. Flora of the Kingdom of Saudi Arabia 2(2): 156-222. Ministry of Agriculture & Water, Riyadh.
Austin, D.F. (2001). Convolvulaceae. Flora de Nicaragua 1: 653-679. Missouri Botanical Garden Press, St. Louis.
Subba Rao, G.V. & G.R. Rao (2002). Convolvulaceae. Flora of Visakhapatnam District, Andhra Pradesh 1: 549-574. Botanical Survey of India.
Lee, Yong No (2002). Convolvulaceae. Flora of Korea 1: 652-656. Kyo-Hak Publ. Co., Ltd..
Kress, W.J., R.A. DeFilipps, E. Farr, & Y.Y. Kyi (2003). Cklist. Myanmar Convolvulaceae. Checklist of the Trees, Shrubs, Herbs, and Climbers of Myanmar: 197-201. National Museum of Natural History, Washington DC..
Miller, A.G. & M. Morris (2004). Ethnofl. Soqotra Archipel. Convolvulaceae + Cuscutaceae. Ethnoflora of the Soqotra Archipelago: 516-524. Royal Botanic Garden Edinburgh.
Hedberg, I., Kelbessa, E., Edwards, S., Demissew, S. & Persson, E. (eds.) (2006). Flora of Ethiopia and Eritrea 5: 1-690. The National Herbarium, Addis Ababa University, Ethiopia & The Department of Systematic Botany, Upps.
Staples, G. & Jarvis, C.E. (2006). Typification of Linnaean plant names in Convolvulaceae. Taxon 55: 1019-1024.
Jarvis, C.E. (2007). Convolvulaceae. Order out of Chaos. Linnean Soc. London & Nat. Hist. Museum.
Carranza, E. (2007). Convolvulaceae I, in Fl. Bajío. Flora del Bajío y de regiones adyacentes 151: 1-129.
Austin, D. F. & M. Costea (2008). Convolvulaceae. Catálogo de las plantas vascualres del Cono Sur 2: 1936-1966. Missouri Bot. Garden.
Lisowski, S. (2009). Convolvulaceae. Flore (Angiospermes) de la République de Guinée: 136-145. Jardin Botanique National de Belgique.
Staples, G. (with P. Traiperm) (2010). Convolvulaceae. Flora of Thailand 10: 330-468. The Forest Herbarium, National Park, Wildlife and Plant Conservation Department, Bangkok.
Bianchini, R.S., Ferreira, P.P.A. (2010). Convolvulaceae. Lista de Espécies da Flora do Brasil. Jardim Botânico do Rio de Janeiro.
Idárraga-Piedrahita, A., Ortiz, R.D.C., Callejas Posada, R. & Merello, M. (eds.) (2011). Flora de Antioquia: Catálogo de las Plantas Vasculares 2: 1-939. Universidad de Antioquia, Medellín.
Bhellum, B.L. & Magotra, R. (2011). Flora of Jammu and Kashmir state (family Convolvulaceae): a census. Journal of Economic and Taxonomic Botany 35: 732-736.
Garcia-Mendoza, A.J. & Meave, J.A. (eds.) (2012). Diversidad florística de Oaxaca: de musgos a angiospermas (colecciones y listas de especies) , ed. 2: 1-351. Instituto de Biología, Universidad Nacional Autónoma de México.
Acevedo-Rodríguez, P. & Strong, M.T. (2012). Catalogue of seed plants of the West Indies. Smithsonian Contributions to Botany 98: 1-1192.
Johnson, R.W. (2012). Convolvulaceae. Australian Plant Census. Council of Heads of Australian Herbaria.
Press, J.R., K.K. Shrestha, & D.A. Sutton (2012). Nepal Cklist. Convolvulaceae. Annotated Checklist of the Flowering Plants of Nepal - online. Natural History Museum et al..
Spaulding, D. (2013). Convolvulaceae. Checklist of Alabama's vascular flora: 137-139.
Brundu, G. & Camarda, I. (2013). The Flora of Chad: a checklist and brief analysis. PhytoKeys 23: 1-18.
Chang, C.S., Kim, H. & Chang, K.S. (2014). Provisional checklist of vascular plants for the Korea peninsula flora (KPF): 1-660. DESIGNPOST.
Velayos, M., Barberá, P., Cabezas, F.J., de la Estrella, M., Fero, M. & Aedo, C. (2014). Checklist of the vascular plants of Annobón (Equatorial Guinea). Phytotaxa 171: 1-78.
Carranza, E. (2015). Flora del Valle de Tehuacán-Cuicatlán 135: 1-128. Instituto de Biología, Universidad Nacional Autónoma de México.
Darbyshire, I., Kordofani, M., Farag, I., Candiga, R. & Pickering, H. (eds.) (2015). The Plants of Sudan and South Sudan: 1-400. Kew publishing, Royal Botanic Gardens, Kew.
Wood, J.R.I., Carine, M.A., Harris, D., Wilkin, P., Williams, B. & Scotland, R.W. (2015). Ipomoea (Convolvulaceae) in Bolivia. Kew Bulletin 70(31): 1-124.
Vladimirov, V. & al. (2016). New floristic records in the Balkans: 29. Phytologia Balcanica 22: 93-123.
Staples, G. (2018). Flore du Cambodge du Laos et du Viêt-Nam 36: 1-406. Muséum National d'Histoire Naturelle, Paris.
Balkrishna, A. (2018). Flora of Morni Hills (Research & Possibilities): 1-581. Divya Yoga Mandir Trust.
Wood, J.R.I., Muñoz-Rodríguez P., Williams, B.R.M., Scotland, R.W. (2020). A foundation monograph of Ipomoea (Convolvulaceae) in the New World. PhytoKeys 143: 1-823.
-------------------------------------
The diameter of the flower is about φ4 cm and it is a very cute flower.
花の直径はφ4cm ほどの大変可愛らしい花です。
SONY α7 ILCE-7
Minolta AF MACRO 100mm F2.8
FOR IMMEDIATE RELEASE
MANIFESTO GLEITZEIT 2015
BY STELLY RIESLING
Featured below is another original art work of mine in homage to THE PIONEER OF INVISIBLE ART — PAUL JAISINI. Forget all the copycats that came after him — Master Paul Jaisini was the *FIRST* of a totally original concept and the *BEST*. My favorite thing about him is that he’s a voice, not an echo, which is quite rare.
DISCLAIMER: This is for anyone who is a hater OR wishes to better understand me, what I’m all about, so you can decide whether I’m weird or normal enough for you — a kind of very loose manifesto, rushed and unrevised, full of raw uncut emotion that I don’t like to be evident in my writing as lately I prefer a more professional, formal style, so we can consider this a rough draft of the more polished writing to come when I have extra time. I might return to this text later and clean it up or break it into separate parts. Right now it’s a long-winded hot mess, so if you manage to make any sense of it, BIG PROPS TO YOU. lol …and if you manage to read it ALL, you have my solemn respect!!! in a day when reading has been reduced to just catchy headliners and short captions of images once in a while. The consequence of this one-liner internet culture is non-linear, tunnel thinking, which is baaaaaad.
There lives among us a most enigmatic and charismatic creature named Paul Jaisini who led me into the wonderful world of art, not personally, but through descriptions of his artworks in essays written and published online by his friend, which painted the most fascinating images in my mind. Early on as a kiddo, I experimented with photography, simple point and shoot whatever looked attractive to me. Digital manipulation of my photographs with computer software followed… and somehow I learned useful drawing techniques along the way to combine existing elements with nonexistent ones, which allowed me to elevate the context for my ideas. Later, I started creating my own digital art from scratch for my friends and family as a favorite pastime. They would shower me with praise and repeatedly encouraged me to share my “different” vision with the rest of the world… it took a while and wasn’t easy to overcome the insecurity of not being good enough along with a gripping fear of being harshly criticized, but one day I woman-ed up and started publishing my work on the web, reminding myself that my livelihood didn’t depend on a positive reception.
Paul Jaisini’s role in all this has been to not disgrace myself, even if what I do is just a hobby. And I would never do him and other genius artists the disservice of calling myself a professional because I know I’ll never be as good as any of the GIANTS of pre-modern history. Be the best or be nothing, no middle ground.
People’s jealousy in the past, future and present over my obsessive love of Paul Jaisini, which they are well aware is purely plutonic, has caused them to despise the man and has made many relationships/friendships impossible for me. I refuse to have such people in my life because by harboring any negativity towards Paul, they unknowingly feel that way about me and express it to me. It’s their own problem for not realizing this. Paul’s new art movement, Gleitzeit, shaped me into the allegedly awesome girl I am today, giving my art more edge, more “sexy” because it refined my vision of the world and propelled me to attain the skills necessary to not dishonor my family name through tenacious pursuit of perfection. Since the beginning of my life, I attempted to depict what I saw in visual, musical and literal forms, but continuously failed without adequate training and determination. Paul Jaisini’s Gleitzeit was the answer to my prayers. Who I am today I owe mostly to him and his selfless ideals of the artverse that I’ve given unconditional loyalty to (he has this cool ability for hyper-vision to see whole universes, not itty bitty worlds, hence I call it an artverse instead of art world, with him in mind). So again, anyone who hates Paul Jaisini hates ME because, regardless of what he means to you, he is the most important person in my life for making me ME. The way a famous actor, dancer or singer inspires others to act, dance or sing, Paul inspired me to become a better artist, better writer, better everything. More people would understand if he was a household name because they’re wired to in society. But we’re inspiring each other all the time in our own little communities without being famous, so if someone has the ability to change even ONE person’s life immensely with creativity, it is a massive achievement. And passionate folks like myself are compelled to scream it from the cyber rooftops. So here I am. It’s whatever.
Furthermore, I’d like to address here a few pressing matters in light of some recent drama brought on by both strangers and former friends. To start, I never judge the passions, interests or likes of others, which are often in my face all over the place, so likewise they have no right to judge any of mine. It is quite unfortunate and frustrating how very little understanding and education the majority of people have or want to have. Their logic is as primitive as a chipmunk when it comes to promotion of fine art on the web: “spamming, advertising, report!” It’s their own problem that they fail to understand what it’s about due to the distorted lens through which they see the world or inability to think for themselves; an inherent lack of perception or inquisitiveness. Well, guess what? Every single image, every animation, every video, every post dedicated to Mr. Paul Jaisini and “Gleitziet” (to elaborate: a revolutionary new art movement Paul founded with his partner in crime and personal friend, EYKG, who discovered him and believed in him more than anyone) has an important purpose. Every one of those things you run across is a piece of a puzzle, a move in a game, an inch down a rabbit hole; the deeper you go, the more interesting it gets; the more levels you pass, the more clues unfold, the greater the suspense and nearer the conclusion (yet further). You earn awesome rewards like enlightenment, spiritual revelations, truths, knowledge, wisdom and the most profound reward of all: the drive to improve yourself to the absolute maximum, so an unending, unshakable drive. People often make a wrong turn in this cyber game and go back a few levels or get stuck. Those that keep on pushing, however, will come to find the effort has been worth it. And what awaits you in the end of it all? The greatest challenge to beating the game: YOUR OWN MIND. You will be forced to let go of every belief you held before you had reached the last level, to completely alter your mindset and perception of the world, of life, of yourself. But by the time you’ve gotten to that point, it will be as easy as falling off a cliff! (It is a kind of suicide after all — death and rebirth of spirit.)
Paul Jaisini does NOT, *I repeat* does NOT use mystery and obscurity to his advantage as a clever marketing ploy, no, he’s too next level for that with a consciousness so rich, he should wear a radioactive warning sign (he’ll melt your brain, best wear a tinfoil hat in his presence as I certainly would.) The statement he makes is loud and clear, hidden in plain site for those who take the time to connect the dots and have enough curiosity to fuel their journey into unknown territory (an open mind and flexible perception helps a lot). Actually, anyone with an IQ above 90 is sure to figure it out sooner or later. Hint: You don’t have to SEE an extraordinary thing with your eyes to know it exists, to understand it and realize its greatness — you can only feel it in your bone marrow, your spinal fluid, your heart and soul. The moment you do figure it out, as the skeleton key of the human soul, it will unlock the greatness and massive potential buried deep within, changing the doomed direction humanity is undoubtedly headed. I don’t speak in riddles, I speak in a clear direct way that intelligent humans will understand, so I’m counting on them.
GIG is an international group of artists and writers that support Paul Jaisini’s Gleitzeit. We started off as an unofficial fan club of Jaisini in 1996, comprised of only 6 individuals spanning 3 countries, and eventually escalated in status to an official fan group across the entire globe. A decade later it had grown to hundreds of fans. Nearly another decade later, there are thousands. Let’s not leave out another delightful group of vicious haters that have been around for nearly as long as us since the late 90s and have also grown in impressive numbers. Now, for the record (and please write this one down because I’m sick of repeating myself), Paul Jaisini himself is not part of our group and has nothing to do with us. He loves and hates us equally for butchering his name and making him appear as a narcissistic nut-job in his own words. He casts hexes on us for the blinding flash we layer over the art that members contribute to GIG — “disgusting-police-lights, seizure-inducing-laser-lightshow, bourgeois-myspace-effects retarded-raver shit” in Paul’s words. Ahh, how we love his sweet-talking us. In a desperate attempt to please him, those among us who make the art and animations have spent countless hours and sleepless nights trying to solve a crazy-complex quantum-physics type of equation = how to not create tacky or tasteless content. He does fancy some of it now, we got better, that’s something! In the reason stated below, our mission just got out of hand at some point.
What little is known about Paul Jaisini, even in all this time, is he’s a horrible perfectionist who slaughtered hundreds of innocent babies — I mean — artworks of remarkable beauty created by his own right hand (mostly paintings, some watercolors and drawings). He’s a fierce recluse who wants nothing to do with anyone or anything in life. But those few of us who know of an incredible talent he possesses (one could go as far as calling it a superpower), could not allow him to live his life without the recognition he FUCKING DESERVES more than any artist out there living today and, arguably, yesterday. We use whatever means necessary to reach more people, lots of flash and razzle-dazzle to lure them into our sinister trap of a higher awareness. Mwahaha! The visual boom you’ve witnessed in both cyber and real worlds, that is GIG’s doing — two damn decades of spreading an art virus — IVA. InVisibleArtitis… or a drug as in Intravenous Art. It’s whatever you want it to be, honey.
Our Gleitzeit International Group (GIG) started off innocently enough and gradually spiraled out of control to fight the haters, annoying the hell out of them as much as humanly possible. They don’t like what we do? WE DO MORE AND MORE OF IT. But never without purpose, without a carefully executed plan in mind collectively. If we have to tolerate an endless tidal wave of everyone’s vomit — e.g., idiotic memes and comics; dumbed-down one-liner quotes; selfies; so-called “art photography” passed through one-click app filters; mindless scribbles or random splatters by regular folks who have the nerve to call themselves serious/pro artists; primitive images of pets, babies, landscapes, random objects, etc… then people sure as shit are gonna tolerate what we put out, our animated and non-animated visual art designed for our beloved master, Paul Jaisini, who has shown us the light, the right path to follow, taught us great things and done so much for us — and so in our appreciation of him, we stamp his name on everything, for the sacrifices he has made in the name of art, to save our art verse, he’s a goddamn hero. There’s a book being written in his dedication where little will be left to the imagination about him.
If Paul Jaisini was as famous as Koons or Hirst, for example, people would know it’s not him posting stuff online with his name on it but fans creating fanart like myself among others. But noooooo, such a thing is unfathomable to most people - the promotion of another artist. Like, what’s in it for us? Uhh, nothing?? This is all NON-PROFIT bitches, the way art should be. It’s a passion FIRST, a commodity/commercial product/marketable item LAST and least. Its been that way for us since the early 90s to this day. Not a single member of GIG has sold an art work (neither has Paul Jaisini who’s a true professional) and we want to keep it that way. We do it for reasons far beyond ego. So advertising? Really? How the hell do you advertise or sell thin air, you know, invisible paintings, invisible anything? Ha ha, very funny indeed. The idea here is so simple, your neighbor’s dog can grasp it. Our motives: replace fast food for the mind with fine art, actual fine art. You know, creativity? Conscious thought? Talent? Skill? Knowledge? All that good stuff rolled into one to bring viewers more than a momentary ooohand aaahh reaction. Replace the recycled images ad nauseum; repetitious, worn-out ideas; disposable, gimmicky, money-driven fast art for simpletons. Stick with the highest of ideals and save the whole bloody planet.
Fine art is often confused with craft-making. This often creates bad blood between classically trained artists who put out paintings that leave a lasting impression, that make strong conversation pieces, that are thought-provoking and deep… and trained craftspeople whose skills are adequate to create decorative pieces for homely environments — landscapes, still lifes, animals, pretty fairies, common things of fantasy, and other simplicity. Skills alone are not enough for high art, you need a vision, a purpose, the ability to tell a story with every stroke of your brush that will both fascinate and terrify the viewers, arousing powerful emotions, illuminating. I have yet to see a visible painting in my generation that does anything at all for me, other than evoke sheer outrage and disgust. What a terrible waste of space and valuable resources it all is.
Paul Jaisini leads, we follow. He wishes to remain unknown - so do most of us. I’m next in line, slipping into recluse mode, no longer wanting to attach my face, my human image to my art stuff. I wish to be a nameless, faceless artist as well, invisible like P.J., and in his footsteps I too have destroyed thousands of my own artistic photography and digital art made with tedious, labor-intensive handwork. The whole point of this destruction is achieving the finest results possible by letting go of the imperfect, purging it on a regular basis, to make way for the perfect. I love what I do so it doesn’t matter, I know I’ll keep producing as much as I’m discarding, keeping the balance. Hoarding is an enemy of progress, especially the digital kind as there’s absolutely no limit to it. It’s like carrying a load of bricks on your back you’ll never use or need.
The watering down of creativity that digital pack ratting has caused as observed over the years is most tragic. For the creative individual, relying on terabytes of stock photos or OSFAP as I call them (Once Size Fits All Photos) instead of making your own as you used to when you had no choice, being 100% original, is a splinter in the conscience. It’s not evil to use stock of, say, things you don’t have access to (outer space, deep sea, Antarctica, etc.), but many digital artists I know today can’t take their own shot of a pencil ‘cause they “ain’t got no time for that!” How did they have time before? Did time get so compressed in only a decade?
Ohhhhh, and the edits, textures, filters, plug-ins and what-have-you available out there to everyone and their cats… are responsible for the tidal wave of rubbish that eclipses the magnificent light of the real talents.
I can tell you with utmost sincerity there is no better feeling on earth than knowing your creation is ALL yours, every pixel and dot, from the first to the last. It’s not always possible to make it so, but definitely the most rewarding endeavor. I’m most proud of myself when I can accomplish that.
Back to Paul Jaisini, from the start there have been a number of theories floating around on what his real story is. One of my own theories is that he stands for the unknowns of the world who can’t get representation, can’t get exhibited at a decent gallery because highly gifted/trained artists aren’t good enough - those kind of establishments prefer bananas, balloon dogs, feces, gigantic dicks/cunts, and all kinds of what-the-fucks…
So again, you don’t get the Paul Jaisini thing? That’s your problem. Don’t hate others for getting it. People are good, very good, at making baseless assumptions and impulsively spewing it as truth. They criticize and judge as if they’re high authorities on the subject yet they clearly lack education in fine art or art history and possess little to no talent or skill to back up their bullshit. My little “credibility radar” never fails. When they say I know this or I know that, I reply don’t say “I know” or state things as fact as a general rule of thumb - instead say “I assume/believe” and state the reasons you feel thus to appear less immature, especially about a controversial topic like invisible art. I have zero respect or tolerance for egomaniacs who think they know it all and act accordingly like arrogant pricks. Who can stand those, right? Once again, a good example would be: I, Stelly Riesling, believe everything I’ve written in this little manifesto to be correct based on personal experience and observation from multiple angles, thorough research and sufficient data collected from verifiable sources (and don’t go copying-pasting my own words back at me, be original). Just because you or I say so doesn’t make it so. Just because you or me think or believe so doesn’t make it true or right. I only ask that my opinions are regarded respectfully and whoever opposes them does so in a mature, civilized manner. We should only be entitled to opinions that don’t bring out the worst in us.
I don’t normally take such a position, but the time has come to stand up for what I believe in! It’s quite amusing and comical how haters think calling me names, attacking me or my interests or members of the project I’m part of for years is going to change something. It only makes more evident the importance of what I’m doing so I push on harder still.
Words of advise to those who can identify with me, with my frustrations over people’s reluctance to change their miserable ways, with our declining art world…
DON’T waste time on people who sweat the small stuff, whose actions are consistently inconsistent with their words. DO waste time on people who always keep their eye on the ball—the bigger picture of life.
Paul Jaisini’s invisible paintings are more than hype, more than your lame assumptions. Here’s one I got that’s pure gold: a cult! It started out as A JOKE OF MINE that was used against me. I told a then-good friend that he should come join our little “art cult” in a clearly lighthearted manner, and later he takes this idea I put in his head first and accuses me of being in an (imaginary) cult—the jokes on me eh?. But wait, aren’t cults religious? Our group consists of people around the world of different faiths (or none at all) so how could that ever work? If religion was about making fine (non-pop) art mainstream and bringing awesome, fresh, futuristic concepts to the collective consciousness, the world would not be so fucked up today because talent, creativity, originality and individuality would be the main focus, not superficial poppycock; those things would be praised and encouraged and supported in society by all institutions, not demonized and stigmatized.
Here is one thing I CAN state as solid fact: only one person close to Paul Jaisini knows the TRUE story, or at least some of it: EYKG. Everything else that has ever been said about him is myth, legend, gossip, speculation, the worst of which is said by jealous non-artists (wannabes, clones, posers, hang-ons, unoriginal ppl in general) and anti-artists (religious psychos, squares, losers and -duh- stupid ppl). Sadly, people are unable to see the bigger picture by letting their egos run their lives or repeating after others as parrots.
Commercial art, consumerism, and ignorance of the masses truly makes me want to curl up in a ball, not eat or drink or move until I die, just die in my sleep while dreaming of a better world, a world where real fine artists rule it with real fine art as they used to and life is beautiful once again….
Well I hope that settled THAT for now, or perhaps inadvertently made matters worse. I hope I didn’t sound too pissed from all these issues that keep popping up like penises on ChatRoulette… just got to me already! Can you tell? I had to put my foot down, stomp ‘em all!
To be continued, still lots more ignorance and pettiness to battle… Till then peace out my bambini. MWAH!
FOR IMMEDIATE RELEASE
MANIFESTO GLEITZEIT 2015
PROLOGUE
Paul Jaisini was like a messiah, as you wish, who saw/understood the impending end and complete degeneration of Fine art or Art become and investment nothing more than that. He predicted the bubble pops art when everybody would eventually become an artist, including dogs cats and horses, because they as kids followed the main rule: express yourself without skills or knowledge or any aesthetic concerns. J. Pollack started pouring paints onto canvases; Julian Schnabel, former cab driver from NY, suddenly decided he could do better than what he saw displayed in galleries, so he started gluing dishes on canvases; A.Warhol, an industrial artist who made commercial silk-screen for the factories he worked in, started to exhibit "Campbell's soup" used for commercial adds... and later the thing that made him an "American Idol": by copying and pasting Hollywood celebrities (same type of posters he made before for movie theaters).
When Paul Jaisini stood out against the Me culture in the US by burning all of his own 120 brilliant paintings (according to the then-new director of Fort Worth MoMa Museum, who offered hin an exhibition of his art in 1992, and later the Metropolitan Museum curator, Phillippe de Montebello, in 1994).Paul probably assumed all fellow true fine artists would join him or stand by him against corruption of the art world.
And after 20 years of his stand-off...the time has finally come today. Many artists and humanitarians around the world took a place beside him. His invisible Paintings became a synonym for the future reincarnation of fine art and long lost harmony. The establishment is in panic! The "moneybags" (as Paul Jaisini named them) are in panic, because they invested BILLIONS of dollars in real crap made by
craftsmen. Now they realize that the reputation of American legends of expressionism was nothing but a copy of Russian avant-garde" Kazimir Malevich, Vasiliy Kandinsky and tens of others from France and Germany.. US tycoon investors were spending billions on "Me more original, than you". "Artist Shit" is a 1061 artwork by the Italian artist Piero Manzoni. The work consists of 90 tin cans, filled with feces. A tin can was sold for £124,000, 180,000 at Sothebys, 2007.
EPILOGUE
Before I resume promoting and admiring a very important art persona on today's international art arena, I'd like to clear up some BIG questions; people ask continuously and subconsciously, directly & indirectly: "Why does the name Paul Jaisini, flood the Internet in such "obnoxious" quantities that it's started suppressing some other activities that my friends might share with the rest of the Internet's Ego Me only Me www society? I can't just answer this... so I'll try to explain why I'm writing this: Jaisini's followers keep posting art and info about,
He IMHO the only hope in quickly decomposing visual fine art. "Paul Jaisini realized many years ago, in 1994, when he declared (at that time to himself only) the start of a New era, a New vision, that he is trying to redirect from the rat race, started by an establishment in post-war New York, long before the Internet culture.
Sub related information: Adolf Gottlieb, Mart Rothko, etc (after visiting Paris France in 1933):
"We must forget analytical art, we must express ourselves, as a 5 year old child would, without a developed consciousness. Forget about results - do what you feel, EXPRESS yourself with your own unique style"
With this statement Mark Rothko starts to teach his students, degeneration of fine art begins, and the generation of war of styles took a start signal of the material race, greatly rewarded by establishment "individual" - eccentric craftsmen - show business clowns.
Sub related Information: In the summer of 1936, Adolf Gottlieb painted more than 800 paintings, which was 20X more than he created in his whole art career as a painter, starting from the time of Gottlieb becomes a founding member of "The Ten" group in NYC "Group of Ten" was a very peculiar, enigmatic group... Based on a religious point of view;(where a human figure was prohibited from being created)
GLOSSARY
IN 1997, Paul Jaisini's best friend Ellen Y.K.Gottlieb started a cyber campaign by promoting on a very young Internet, back then, Paul Jaisini's burned paintings as Invisible Paintings, visible only through poetic essays. She and a handful of people saw his originals and were devastated that nobody could ever see them again. "We, his fans, believe that someday Paul will recreate his 120 burned paintings if he has any decency and moral obligation to his fans, who have dedicated decades to make it happen, for their Phoenix to rise from the ashes and the whole world will witness that all these years we spent to get him back to re-paint the Visuals again were not in vain," - said E.Y.K.Gottlieb in 2014 during the 20th anniversary celebration of Invisible Paintings to GIGroup in NYCity. So now, hopefully, this clears up why I and others do what we do - our "cyber terrorism" of good art, dedicated to Paul Jaisini's return, which is & and was our mission & our goal. We post good art to fight "troll art" which is worthless pics, after being passed through 1-click filters of free web apps. We are, in fact, against this www pops pollution, done with "bubble art" by the out of control masses with 5 billon pics a day: Pics of cats, memes, quotes,national geographic sunsets and waterfalls, not counting their own daily "selfies: and whatever self-indulging Me-ego-Me affairs, sponsored happily by photo gadget companies like Canon, Nikon, Sony...who churn out higher quality madness tools at lower cost.
This way Government taking away attention from the real world crisis of lowest morality & economical devastation. The masses are too easily re-engineered/manipulated by the Establishment PopsStyle delivered to them by pop music and Hollywood "super" stars. In 1992 Paul Jaisini's Gleitzeit theory predict such a massive, pops self-entertain madness, following technologicalexplosion, but not in illusive scales.
Uber Aless @2015 NYC USA
NOTE Date's numbers and events can be slightly inaccurate.
#gleitzeit #paul-jaisini #invisible #painting #art #futurism #art-news,
(Published in Photo Technique, Spring 2013)
Often, when I head out in search of a new photographic study in a relatively (or completely!) unfamiliar area, I rely upon a variety of means to guide me to my goal. The problem is many enticing subjects lie far from the beaten track and as such are difficult to find, and sadly I've a notoriously awful sense of direction... I cheerily describe occasions where I've ended up driving along remote and overgrown country lanes in search of something or other as my 'mystery tours' to my wife, who has been hostage on several of these much to her chagrin.
My battered, dishevelled and slightly out-dated UK road atlas is a constant companion, and has been snorted at derisively by many - yet it gives me a sense of place in relation to the land and sea, plus I gather the pretty lines on it actually indicate the presence of roads. I'm still enthralled and excited by new technology, yet fear I have reached the age where all too soon I'll start to develop an irrational fear and suspicion of it. Until that day, I plan to embrace it as best I can, ergo I have driven along those prettily coloured lines I mentioned in search of fascinating scenes also aided by other means. Google maps loaded on my phone helpfully provides me the opportunity to pinpoint a location in relation to my moving vehicle (hands-free of course!), and has on several instances stopped me from heading in the completely opposite direction from my goal. Yes, there are local road maps one can buy, but does anyone really bother with those? You do? Oh, ok... The obvious answer for me is of course satellite navigation, something I had hitherto avoided purely because my annual mileage just didn't seem to warrant it. However, increasingly, I need to seek out remote spots that I haven't visited before - yes, someone else will invariably have beaten me to it, but their images will be different to mine, and I think when producing your own work it's a thrill to shoot something fresh. So, I bit the bullet a few weeks ago and bought a sat nav. I've only used it a couple of times so far, but am encouraged that I'm yet to be guided into a riverbed, persuaded to traverse a shopping centre, or taken the wrong way around the M25. That last one would have been a real worry as I haven't been anywhere near London for ages. The child in me has insisted on downloading the near-obligatory 'comedy' voice to accompany me on my travels, and while I realise that particular novelty will soon grow tiresome I find it more disconcerting being directed by the clipped tones of James, Kate or Serena - even if the latter is able to tell me the name of the street I'm on. So, my current companions of choice are Burt and Ernie, of Sesame Street fame. Stop laughing at the back - I figure if I am to become stranded on a level-crossing as a train hurtles towards me at speed I might as well do so with a smile on my face...
Naturally, one of the best ways to discover somewhere new is to rely on the local knowledge of others - so many thanks to Martin Mattocks for guiding and accompanying me when I took this shot. Cheers for a great day out as always Martin, although if you're reading this there's no way I'm ever going back to that fish and chip shop...
On a separate note, I'm delighted my 'Bathing Dangerous Here' shot (elsewhere on my photostream) has been shortlisted for this year's LPOTY competition. I don't think I'll be as lucky as I was last year to progress to the book and exhibition in London, but if I do I might get to make that sat nav M25 attempt after all.
Published by Hutchinson, undated
Everyone agreed the Peeky and Boo were the two naughtiest elves in the whole of Elfland. Ond on this particular week, they'd been even naughtier than usual...
I was there for Switchfoot Live in Malaysia concert on 1st May 2011 as the official photographer. Two of my shots have been published in the local newspapers (below is the original shots). More of my photos are expected to be published soon in magazines.
Click the links to view the articles from the newspapers;
Published ΕΘΝΟΣ travel
www.ethnos.gr/travel/article/248130/skyrianokarnabalimath...
carnetdevoyage.gr/skiriano-karnavali-mathina-antropogeogr...
February 2023
Portfolio
www.moments-collective.com/portfolio/stefanos-chronis
March 2023
The third year I have had a photo highly commended in the British Wildlife Photography Awards (BWPA) appearing in both the exhibition and book.
A female red deer (hind) in Bushy Park during a previous rutting season.
My book is finally available: app.thebookpatch.com/BookStore/natural-origami/b23d0866-0...
It includes 15 animal-based models using a new crease pattern diagramming method for experienced folders.
Published today at the Philippine Daily Inquirer Lifestyle page is the launching of ManilaArt2011.
My friend/contact Mr. Elmer Borlongan's Batang Edsa is the official artwork to this event.
Best known as emong in the Flickr World.
Congratulations po!
A few days ago IMPOSTOR (SLIDE #2) by Jill Hathaway was published with my photo on the cover, AND she sent me the book! Things like these make me feel like I'm living a dream!
Check it out on Goodreads:
www.goodreads.com/book/show/13423265-impostor
Also, a thousand apologies for the lack of updates, I'm working on getting my portfolio together, finding an internship abroad at a creative agency or magazine and I'm editing some images right now! Expect more activity from now on! Hope everyone is doing well, and thank you so much for all the support. I miss you ♥
Ace also published the first edition of the novel with a different cover by Jack Gaughan.
www.flickr.com/photos/57440551@N03/14800538221/in/album-7...
This is the first novel in Farmer’s World of Tiers series. They are set within a series of artificially-constructed universes, created and ruled by decadent beings who are genetically identical to humans, but who regard themselves as superior, the inheritors of an advanced technology they no longer understand.
Robert Wolff finds a strange horn in an empty house that holds the key to a different universe. To blow that horn would open up a door through space-time and permit entry to a cosmos whose dimensions and laws are very different from our own. That other universe is a place of tiers, world upon world piled upon each other like the landings of a mountain. The one to blow that horn would ascend those steps, from creation to creation, until he comes face to face with the being whose brainchild it was. But what if that maker of universes was a madman? An imposter? A super-criminal? That is the premise of Farmer's novel.
Postcard X-102, published by Pacific Novelty Co., San Francisco
“The palace is shown reflected in the lagoon in front of the Fine Arts Building and gives a good idea of the artistic surroundings of the Exposition.” [Text on back]
The Panama Pacific Expo was a world’s fair whose stated purpose was to celebrate the completion of the Panama Canal, but it was widely seen in the city as an opportunity to showcase its recovery from the 1906 earthquake. The fair was held from February 20 to December 4, 1915 on a one-square-mile site along the northern shore, now known as the Marina District. Among the exhibits was the Liberty Bell from Philadelphia, the Southern Pacific Railroad’s first steam locomotive, and the first demonstration of a transcontinental telephone call.
Create a published Souvenirpixels post before posting to Flickr
I visited Birkenhead lake for the Victoria day long weekend. It is a bit far from Vancouver but is an amazing place to go camping for a long weekend. We had relatively good weather for May and will definitely go back next year.
Commercial stock photo licences and fine art prints can be purchased directly from my website.
For non-commercial use under creative commons licence please link back to my website (NOT FLICKR) @ www.souvenirpixels.com/photo-blog/birkenhead-lake-view
Just thought I'd do an update on some pics I had published in Digital Camera Mag recently.
The first one is Aug 2009 of this shot from Maori Bay.
The second one is the latest issue (Oct 2009) which I just received today. The shot is from Otuataua Stonefields.
I created a series of flower characters for a book titled Blossom Buddies, published by teNeues in 2009. The book includes 100 blossom buddies.
I have been published! It is a thrill for any photographer to see their work in print; it is an honor to have ones work on a book cover; especially a book by a Pulitzer winning author. (It helps to get paid well too!)
This is a follow-on from the previously-published fictional ETH-fitted Class 56/4s. In its early days, Virgin Trains made extensive use of Class 47 diesels to supplement its fleet of high-speed trains for services over non-electrified lines. In a surprising move in the late 1990s, it hired preserved Deltic D9000 to provide additional capacity and possibly also with an eye to publicity. Had the 56/4 been a reality, this would have been an excellent and possibly more enduring alternative, providing roughly the same tractive output from a less complex power unit (13-Mar-21).
All rights reserved. For the avoidance of doubt, this means that it would be a criminal offence to post this image on Facebook or elsewhere (please post a link instead). Please follow the link below for further information about my Flickr collection:
www.flickr.com/photos/northernblue109/6046035749/in/set-7...
Los Angeles 1987. Nikon F Kodachrome 64 ASA. Photograph published in The Huffington Post in late December 2015.
www.huffingtonpost.com/jeff-singh/2015-year-in-review-wha...
Photograph also published in News Junkie Post on September 26,2016 to illustrate my article, "'Clinton vs Trump: Lesser of Two Evils or the Devil You Know".
newsjunkiepost.com/2016/09/26/clinton-vs-trump-lesser-of-...
Photograph also published on January 8, 2022 { link below }
southseattleemerald.com/2022/01/08/opinion-fundamentalism...
Justin Morales "On Location"
March 20th, 2016
New York City
© 2016 LEROE24FOTOS.COM
ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
Recent published in Ski Journal 10/2:
Ascending the SE couloir (55-60°, 1900m) of Chatyn-Tau (4310m), prior to making the first ski descent.
Skier: Trevor Hunt (www.coaststeepskier.com)
Svaneti/Georgia, Caucasus. May 2013.
Contax T3, Heliopan yellow filter, Ilford Delta 100 (in FX-39).
Scanned and re-woked using a Nikon Coolscan LS 8000ED.
--------------------------
Create a published Souvenirpixels post before posting to Flickr
Some rocks along the way of my hike and a beautiful sky in the background.
Commercial stock photo licences and fine art prints can be purchased directly from my website.
For non-commercial use under creative commons licence please link back to my website (NOT FLICKR) @ www.souvenirpixels.com/photo-blog/the-sky-rocks