John Hunter

The watercolours of Captain John Hunter (1737–1821) form one of the earliest European records of Australian birds, and one of the first collections of drawings made during the European settlement of the country.

(Source: darksilenceinsuburbia, via piquenique39)


Maltese Cross, Mussel and Ladybird (1561 - 1562; illumination added 1591 - 1596) by Joris Hoefnagel (1542 - 1600).

The J. Paul Getty Museum 

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The ancient Egyptians discovered that regular polygons can be increased while still maintaining the ratio of their sides by the addition of a strictly constructed area (which was later named the “gnomon” by the Greeks); the Egyptians assigned the concept of the ratio-retaining expansion of a rectangular area to the god Osiris, who was, therefore, often shown in ancient Egyptian frescoes seated on a square throne (square= kingship again) in which the original square and its L-shaped gnomon are clearly delineated, but the geometrical construction used to create the gnomon is not shown. It is, in fact, the absense of the attendent arcs and extension lines used in the creation of geometric forms that has led art historians and iconographers such a merry chase through history. It often takes the eye of a geomterician to spot the tell-tale signs of construction.

One of the best-known pieces of detective work in this regard was the discovery by Jay Hambidge, an art historian at Yale University during the 1920s, that the spirals on the Ionic column capitals of ancient Greek temples were laid out by the so-called “whirling rectangle” method for creation of a logarithmic spiral. He realized this by examining numerous Ionic capitals in art museums until he located some in which the holes made by the placement of compass points had not been obliterated over time. (One of these capitals was an unfinished, broken piece, dug up from a rubbish heap near a temple — it had apparently been damaged during manufacture and was discarded; its burial preserved it from the elements, and the marks of the geometeric layout were remarkably clear upon it.) No “sacred meaning” for the log spiral form of the Ionic column capital has been determined from Greek writings, but the use of other log spirals in Greek temple architecture (for instance in floor-block proportions and their placement in relation to overall floor area) indicates that Greek architects, unlike the Romans who came after them, deliberately constructed their temples according to “whirling rectangle” geometeric ratios.

(Source: infinantlove33, via proofmathisbeautiful)


The physics of beauty requires math. The sunflower has spirals of 21, 34, 55, 89, and - in very large sunflowers - 144 seeds. Each number is the sum of the two preceding numbers. This pattern seems to be everywhere: in pine needles and mollusk shells, in parrot beaks and spiral galaxies. After the fourteenth number, every number divided by the next highest number results in a sum that is the length-to-width ratio of what we call the golden mean, the basis for the Egyptian pyramids and the Greek Parthenon, for much of our art and even our music. In our own spiral-shaped inner ear’s cochlea, musical notes vibrate at a similar ratio.

The patterns of beauty repeat themselves, over and over. Yet the physics of beauty is enhanced by a self, a unique, self-organizing system. Scientists now know that a single flower is more responsive, more individual, than they had ever dreamed. Plants react to the world. Plants have ways of seeing, touching, tasting, smelling, and hearing.

Rooted in soil, a flower is always on the move. Sunflowers are famous for turning toward the sun, east in the morning, west in the afternoon. Light-sensitive cells in the stem “see” sunlight, and the stem’s growth orients the flower. Certain cells in a plant see the red end of the spectrum. Other cells see blue and green. Plants even see wavelengths we cannot see, such as ultraviolet.

Most plants respond to touch. The Venus’s-flytrap snaps shut. Stroking the tendril of a climbing pea will cause it to coil. Brushed by the wind, a seedling will thicken and shorten its growth. Touching a plant in various ways, at various times, can cause it to close its leaf pores, delay flower reproduction, increase metabolism, or produce more chlorophyll.

Plants are touchy-feely. They taste the world around them. Sunflowers use their roots to “taste” the surrounding soil as they search for nutrients. The roots of a sunflower can reach down eight feet, nibbling, evaluating, growing toward the best sources of food. The leaves of some plants can taste a caterpillar’s saliva. They “sniff” the compounds sent out by nearby damaged plants. Research suggests that some seeds taste or smell smoke, which triggers germination.

The right sound wave may also trigger germination. Sunflowers, like pea plants, seem to increase their growth when they hear sounds similar to but louder than the human speaking voice.

In other ways, flowers and pollinators find each other through sound. A tropical vine, pollinated by bats, uses a concave petal to reflect the bat’s sonar signal. The bat calls to the flower. The flower responds.

Sharman Apt Russell | Anatomy of A Rose: Exploring the Secret Life of Flowers [x]

(via proofmathisbeautiful)



When we think of bee nests, we often think of a giant hive, buzzing with social activity, worker bees and honey. But scientists recently discovered a rare, solitary type of bee that makes tiny nests by plastering together flower petals.

Each nest is a multicolored, textured little cocoon — a papier-mache husk surrounding a single egg, protecting it while it develops into an adult bee. (NPR)

(via mizisham)


inlovewithgeosciences:Silver, Ag Locality: Colorado, USA


Isabel Moseley

In this work, Orographic, Isabel Moseley imagines clouds that develop in response to the Earth’s topography. Many of Moseley’s pieces work with subjects that are unexplainable or perhaps even invisible; such as weather conditions, the chemical make up of certain materials or even natural occurrences such as sunrise and sunset. In this work, Moseley interprets the makeup of clouds in the language of topography. An unusual combo with beautiful results! To check out more of her work, click here. 

- Lee Jones

(Source: )


“xx Mantis xx” by Mustafa Öztürk :)

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