p<strong>la</strong>nts from areas with seasonal or erratic rainfall has clear practical b<strong>en</strong>efits for seed banking. The perc<strong>en</strong>tage ofspeci<strong>es</strong> with orthodox seeds (which can be banked succ<strong>es</strong>sfully) is higher in th<strong>es</strong>e areas than in wetter habitats suchas tropical rainfor<strong>es</strong>ts. In addition, the clear seasonality of vegetation proc<strong>es</strong>s<strong>es</strong> in dry<strong>la</strong>nds permits more predictabletiming of seed-collecting activiti<strong>es</strong> than is possible in warm and humid climat<strong>es</strong>. Another advantage is that mostspeci<strong>es</strong> in dry<strong>la</strong>nds are herbs, shrubs or small tre<strong>es</strong> with readily acc<strong>es</strong>sible seeds, making collection easier. Moreimportant than such practical consi<strong>de</strong>rations is the fact that dry<strong>la</strong>nds account for a third of the Earth’s surface,including many of the world’s poor<strong>es</strong>t countri<strong>es</strong>. Although they receive l<strong>es</strong>s public att<strong>en</strong>tion than tropicalrainfor<strong>es</strong>ts, dry<strong>la</strong>nds support one fifth of the world’s human popu<strong>la</strong>tion and sustain a trem<strong>en</strong>dous diversity of p<strong>la</strong>ntlife. Dry<strong>la</strong>nds are among the most threat<strong>en</strong>ed <strong>en</strong>vironm<strong>en</strong>ts on Earth with huge areas being lost every year toprogr<strong>es</strong>sive <strong>de</strong>sertification. This continuing <strong>de</strong>predation reduc<strong>es</strong> the natural diversity of p<strong>la</strong>nts that are a source oflivelihoods to many, <strong>es</strong>pecially in poorer regions.The huge task of collecting the seeds of t<strong>en</strong>s of thousands of speci<strong>es</strong> is based on ext<strong>en</strong>sive internationalcol<strong>la</strong>boration and information sharing. Forty-eight partner institutions from sixte<strong>en</strong> countri<strong>es</strong> are active in theMill<strong>en</strong>nium Seed Bank Project; th<strong>es</strong>e are (in alphabetical or<strong>de</strong>r): Australia, Botswana, Burkina Faso, Chile, China,Jordan, K<strong>en</strong>ya, Lebanon, Madagascar, Ma<strong>la</strong>wi, Mali, Mexico, Namibia, South Africa, Tanzania and the USA. Asubstantial perc<strong>en</strong>tage of the seeds collected is kept in the country of origin if a<strong>de</strong>quate storage faciliti<strong>es</strong> areavai<strong>la</strong>ble locally. Otherwise, half the collected seeds of each speci<strong>es</strong> are set asi<strong>de</strong> and kept at the Mill<strong>en</strong>nium SeedBank until r<strong>es</strong>pective partner countri<strong>es</strong> have their own seed banks. The international collecting programme iscarried out in accordance with national and international <strong>la</strong>w, and is particu<strong>la</strong>rly cognisant of the Conv<strong>en</strong>tion onBiological Diversity agreed at the 1992 Rio <strong>de</strong> Janeiro Earth Summit.The actual seed banking procedure is quite straightforward. On arrival, seeds are cleaned to removeunnec<strong>es</strong>sary fruit parts as well as diseased, inf<strong>es</strong>ted and empty seeds. The next step is to dry the seeds un<strong>de</strong>rconstant conditions (15 per c<strong>en</strong>t re<strong>la</strong>tive humidity at 15º C) for at least four weeks in a <strong>de</strong>dicated dry room. Theyare th<strong>en</strong> ready for storage at minus 20º C. To <strong>en</strong>sure that a collection is viable, a repr<strong>es</strong><strong>en</strong>tative sample is t<strong>es</strong>tedfor germinability usually using petri-dish<strong>es</strong> with water-agar. I<strong>de</strong>ally, collections should have a viability of 75 perc<strong>en</strong>t to warrant minimal g<strong>en</strong>etic change. During the long-term storage of the seeds, germination t<strong>es</strong>ts are carriedout at regu<strong>la</strong>r t<strong>en</strong>-year intervals to monitor the quality of the collections.To help improve the conservation ofseeds, <strong>es</strong>pecially those of difficult-to-store speci<strong>es</strong>, Kew’s Seed Conservation Departm<strong>en</strong>t runs an active r<strong>es</strong>earchprogramme that specialis<strong>es</strong> in fundam<strong>en</strong>tal aspects of seed storage, longevity and germination.The UK Programme of the Mill<strong>en</strong>nium Seed Bank Project has already collected seeds from over 96 perc<strong>en</strong>t of the UK’s native higher p<strong>la</strong>nts. This is the first time that any country has un<strong>de</strong>rpinned the conservationof its flora in this way. Seed collections of wild speci<strong>es</strong> are held for long periods to provi<strong>de</strong> “start-up” stocks thatwill <strong>en</strong>able future g<strong>en</strong>er-ations to adapt to change. Safe in seed banks, speci<strong>es</strong> relevant for human well-being arepr<strong>es</strong>erved ev<strong>en</strong> if they become extinct in the wild. More importantly, seeds will be avail-able to help with therecovery of damaged ecosystems. Seed banks are also of value today. Perhaps reflecting the early signs ofmankind’s adaptation to the chang<strong>es</strong> it is bringing about in ecosystems, significant use of the Mill<strong>en</strong>nium SeedBank’s collections is already being ma<strong>de</strong>. Over the past five years, nearly 3,000 collections have be<strong>en</strong> ma<strong>de</strong>avai<strong>la</strong>ble to thirty-eight countri<strong>es</strong>. Collections are distributed un<strong>de</strong>r terms which secure the rights of the countryof origin to any <strong>en</strong>suing b<strong>en</strong>efits, and have be<strong>en</strong> requ<strong>es</strong>ted to support work in all sev<strong>en</strong> areas of humansustainability: agriculture, the atmosphere (in connection with carbon dioxi<strong>de</strong> levels and climate change),biodiversity, chemicals, <strong>en</strong>ergy, health, and water.Seed Banks are a highly cost-effective way to pr<strong>es</strong>erve the g<strong>en</strong>etic variation within and betwe<strong>en</strong> individualp<strong>la</strong>nt speci<strong>es</strong>. Seeds occupy little space and require little att<strong>en</strong>tion for consi<strong>de</strong>rable periods of time. The total costof the Mill<strong>en</strong>nium Seed Bank Project is £72 million, including the construction costs of the Wellcome TrustMill<strong>en</strong>nium Building, which hous<strong>es</strong> the Mill<strong>en</strong>nium Seed Bank. At first g<strong>la</strong>nce, this seems to be a lot of moneybut not if we make an effort to grasp the magnitu<strong>de</strong> of the chall<strong>en</strong>ge humans face. We know from the fossilrecord that life on Earth has already experi<strong>en</strong>ced five big mass extinctions ev<strong>en</strong>ts. After each disaster it tookbetwe<strong>en</strong> four and tw<strong>en</strong>ty million years for global biodiversity to “bounce back” to pre-extinction levels. As acomparison, mo<strong>de</strong>rn humans have existed for no longer than about 200,000 years. This means that for everyspeci<strong>es</strong> – p<strong>la</strong>nt or animal – we drive towards extinction, we would have to wait millions of years for it to berep<strong>la</strong>ced by natural evolution. By that time, humans them-selv<strong>es</strong> would have evolved into a differ<strong>en</strong>t speci<strong>es</strong> – ifthey had not long become extinct.Each person’s livelihood ultimately <strong>de</strong>p<strong>en</strong>ds on healthy, functioning ecosystems, and for their exist<strong>en</strong>cebiodiversity is key. With human-caused extinction cris<strong>es</strong> set to become ever more frequ<strong>en</strong>t in the near future, wemust act now and take precautionary measur<strong>es</strong>, such as seed banking, if there is to be any chance of short-termrecovery for our <strong>en</strong>viron-m<strong>en</strong>t in the future. The consequ<strong>en</strong>c<strong>es</strong> of doing nothing are simply unthinkable.AN ARCHITECTURAL BLUEPRINTROB KESSELERFrom buds to blobsThe re<strong>la</strong>tionship betwe<strong>en</strong> the p<strong>la</strong>nt world and architecture is as old as the first rudim<strong>en</strong>tary dwellings thathumans constructed as they emerged from their cav<strong>es</strong>; habitation out of vegetation. To call their structur<strong>es</strong>primitive, grossly un<strong>de</strong>rvalu<strong>es</strong> their un<strong>de</strong>rstanding of the functional value of the material they used to creat<strong>es</strong>imple structur<strong>es</strong>, an un<strong>de</strong>rstanding based on observation and experim<strong>en</strong>tation: the way columnar stem formshave great supporting properti<strong>es</strong> or the ribbed, radiating surfac<strong>es</strong> of palm leav<strong>es</strong> make i<strong>de</strong>al roof coverings,providing sha<strong>de</strong> and channelling water away from the c<strong>en</strong>tre. In this way the early buil<strong>de</strong>rs emu<strong>la</strong>ted p<strong>la</strong>ntproperti<strong>es</strong> and characteristics in their constructions <strong>es</strong>tablishing a link betwe<strong>en</strong> p<strong>la</strong>nts and form, creating anarchitectural preced<strong>en</strong>t that is as relevant today as it was th<strong>en</strong>.The transition from primitive dwellings to templ<strong>es</strong> of culture and commerce has se<strong>en</strong> much appropriationand many adaptations of botanical form and <strong>de</strong>coration. The Corinthian capital that preoccupied Vitruvius (c.70-25 BC) with its appar<strong>en</strong>t origins in the Acanthus p<strong>la</strong>nt proved so popu<strong>la</strong>r that it has survived for over two and ahalf mill<strong>en</strong>nia. This passion for aerial inflor<strong>es</strong>c<strong>en</strong>ce was brought to a logical conclusion on top of the pil<strong>la</strong>rs withinOxford University Museum, where Irish stonemasons un<strong>de</strong>r the tute<strong>la</strong>ge of John Ruskin (1819-1900), carveddirectly from specim<strong>en</strong>s from the University Botanic Gard<strong>en</strong>s. Each capitol repr<strong>es</strong><strong>en</strong>ted a differ<strong>en</strong>t p<strong>la</strong>nt so thatthe architectural <strong>de</strong>coration shifted from a purely ornam<strong>en</strong>tal embellishm<strong>en</strong>t to one where the whole buildingcould be read as a work of botanical refer<strong>en</strong>ce.Writing in 1922 on the re<strong>la</strong>tionship betwe<strong>en</strong> sci<strong>en</strong>ce and architecture, William Lethaby, architect and firstprincipal of the C<strong>en</strong>tral School of Arts & Crafts in London poignantly anticipated the dynamic chang<strong>es</strong> that wereto take p<strong>la</strong>ce in architectural <strong>de</strong>sign during the tw<strong>en</strong>tieth c<strong>en</strong>tury. Emerging from an era in which Ruskiniani<strong>de</strong>als and the naturalistic forms of the Arts and Crafts Movem<strong>en</strong>t had mutated into the more organically opul<strong>en</strong>tArt Nouveau, the architecture of the transitional post-war era became subject to the twin influ<strong>en</strong>c<strong>es</strong> ofConstructivism and Expr<strong>es</strong>sionism that subsequ<strong>en</strong>tly <strong>de</strong>fined the territory for Mo<strong>de</strong>rnism. Drawing upon thepot<strong>en</strong>tial for constructing in new materials, reinforced concrete, steel and g<strong>la</strong>ss, <strong>en</strong>gineers <strong>en</strong>abled architects torealise visionary forms that marked a radical shift in style, scale and theoretical un<strong>de</strong>rstanding in the vital rolearchitecture p<strong>la</strong>ys in how we live and work. Simple housing projects, new factori<strong>es</strong> and exhibition pavilions alloffered opportuniti<strong>es</strong> for architects to re<strong>de</strong>fine urban topographi<strong>es</strong>.With the onset of Mo<strong>de</strong>rnism with its reductive a<strong>es</strong>thetic and purity of function there appeared to be littleroom for what was se<strong>en</strong> as superfluous ornam<strong>en</strong>t. Ironically the infamous comm<strong>en</strong>tary on “ornam<strong>en</strong>t as crime”by the Austrian architect Adolph Loos, (1870-1993), had its roots in the hon<strong>es</strong>ty of <strong>la</strong>bour and craftsmanship thathad be<strong>en</strong> so clearly <strong>es</strong>poused by William Morris (1834-96) and the Arts and Crafts Movem<strong>en</strong>t. This was to provea lean time for botanical refer<strong>en</strong>ce within architecture, but as in all things, styl<strong>es</strong> change, new technologi<strong>es</strong> evolveand fr<strong>es</strong>h opportuniti<strong>es</strong> pr<strong>es</strong><strong>en</strong>t themselv<strong>es</strong>. It was through a structural experim<strong>en</strong>tation using principl<strong>es</strong> ofgeometry and mathematics that pioneered a shift away from the p<strong>la</strong>nar geometry of Mo<strong>de</strong>rnism led by thevisionary <strong>en</strong>gineer-architect-<strong>de</strong>signer, Buckminster Fuller (1895-1983). His geo<strong>de</strong>sic dom<strong>es</strong> and the gridshellstructur<strong>es</strong> of <strong>la</strong>ter architects like Frei Otto (1925-) echo the spirit of the age of space explo-ration and movearchitecture into a global dim<strong>en</strong>sion. Their forms and structur<strong>es</strong> have parallels within the very building blocks ofnature, qu<strong>es</strong>tioning how we want to live in the future. Their optimistic belief in technology was rewar<strong>de</strong>d asemerg<strong>en</strong>t computer sci<strong>en</strong>c<strong>es</strong> evolved to the ext<strong>en</strong>t where complex bio-morphic forms could be conceived andvisu-alised, calcu<strong>la</strong>ted and constructed. The pace of this change has be<strong>en</strong> swift, as has the g<strong>en</strong>eration of diversityof new forms and the <strong>la</strong>nguag<strong>es</strong> to <strong>de</strong>scribe them: blobitechture, biological baroque, biotechnic, technorganic,biomorphism, organicism, bio-metaphor, organicity, evolutionary algorithms, quasi g<strong>en</strong>etic coding schem<strong>es</strong>.The re<strong>la</strong>tionship to natural form is evolving beyond its superficial tra<strong>de</strong>mark of swelling asymmetric forms,beyond what the biologist D’Arcy Thompson <strong>de</strong>scribed as “form as a diagram of forc<strong>es</strong>”, in his influ<strong>en</strong>tial book OnGrowth and Form (1917). Advanc<strong>es</strong> in un<strong>de</strong>rstanding within the fields of bio-mechanics and botanical sci<strong>en</strong>c<strong>es</strong>coupled with the rapid <strong>de</strong>velopm<strong>en</strong>t of r<strong>es</strong>ponsive materials and computer simu<strong>la</strong>tions <strong>en</strong>able architects to evolvebuildings as total living <strong>en</strong>titi<strong>es</strong>. Like their botanical and animal counterparts buildings are becoming more r<strong>es</strong>ponsiveto climatic conditions, and as the <strong>de</strong>velopm<strong>en</strong>t of self-healing properti<strong>es</strong> in materials becom<strong>es</strong> a real possibility there<strong>la</strong>tionship betwe<strong>en</strong> archi-tecture and the p<strong>la</strong>nt world is evolving to a position of emu<strong>la</strong>tion rather than imitation.Wherever the new technologi<strong>es</strong> take us, on examining th<strong>es</strong>e minute seed structur<strong>es</strong> with their astoundingdiversity of form, complex articu<strong>la</strong>ted surfac<strong>es</strong> and t<strong>en</strong>sile membran<strong>es</strong> it is a clear remin<strong>de</strong>r that nature continu<strong>es</strong>to provi<strong>de</strong> us with inspirational exampl<strong>es</strong> that chall<strong>en</strong>ge our own creativity.286 Semil<strong>la</strong>s – La <strong>vida</strong> <strong>en</strong> cápsu<strong>la</strong>s <strong>de</strong> <strong>tiempo</strong>
PHYTOPIAROB KESSELERThe urge to portray and un<strong>de</strong>rstand the flowers and p<strong>la</strong>nts that surround us has a long and glorious history. Theyhave become powerful symbols that carry many m<strong>es</strong>sag<strong>es</strong>, markers with which we retain contact with the naturalworld; it is hard to imagine a part of our liv<strong>es</strong> that they do not touch upon. As the systematic study of p<strong>la</strong>nts hasevolved, so too have attitu<strong>de</strong>s to picturing p<strong>la</strong>nts, which in their own way have propagated a complex andcolourful g<strong>en</strong>us of criticism, full of contradictory opinions and attitu<strong>de</strong>s that reflect diverg<strong>en</strong>t attitu<strong>de</strong>s withinthe r<strong>es</strong>pective fields of art and sci<strong>en</strong>ce:In the art world illustration is a dirty word. It sugg<strong>es</strong>ts s<strong>la</strong>vish copying. It’s se<strong>en</strong> as belonging to the world of functionality.And we all know art is at its b<strong>es</strong>t wh<strong>en</strong> it transc<strong>en</strong>ds functionality – wh<strong>en</strong> in short it is usel<strong>es</strong>s. 13Botanical illustrations have very little to do with art, but belong rather to the realm of the sci<strong>en</strong>c<strong>es</strong>. A<strong>es</strong>thetic consi<strong>de</strong>rationsare wholly inappropriate, and beauty is a pleasant but wholly irrelevant, si<strong>de</strong> effect. 14Apart from doing a great disservice to the artists involved th<strong>es</strong>e two statem<strong>en</strong>ts also seem to imply that thework only has validity within the immediate community for which it was created. In reality, the fabulous diversityof botanical art has be<strong>en</strong> r<strong>es</strong>ponsible for creating, inspiring and informing new audi<strong>en</strong>c<strong>es</strong>, reflecting the i<strong>de</strong>alsand aspirations of the societi<strong>es</strong> in which it was created. What th<strong>es</strong>e comm<strong>en</strong>ts <strong>de</strong>monstrate is that every disciplinehas its taboos and agreed mo<strong>de</strong>s of operation beyond which cons<strong>en</strong>sus sugg<strong>es</strong>ts we do not tread, ev<strong>en</strong> within anart world where pri<strong>de</strong> is tak<strong>en</strong> in subverting the rul<strong>es</strong>.The <strong>la</strong>nguag<strong>es</strong> <strong>en</strong>g<strong>en</strong><strong>de</strong>red by contemporary art and nature are complex and cyclical. However, whilst it isnow recognised that our experi<strong>en</strong>ce of nature is culturally mediated it is important not to lose sight of the objectof that mediation. Discourse on the nature of nature can be erosive, like a photocopy of a photocopy ; it can<strong>de</strong>g<strong>en</strong>erate to the point where the image is there but the <strong>de</strong>tail has gone. The differ<strong>en</strong>ce betwe<strong>en</strong> seeing whatyou eat and eating what you see is an important distinction. The human instinct to distinguish betwe<strong>en</strong> the edibleand the poisonous, an <strong>en</strong>emy and one’s prey is an instinctive evolutionary tool <strong>es</strong>s<strong>en</strong>tial for survival. However,the curr<strong>en</strong>t pace of life, speed of change and diversity of the objects and imag<strong>es</strong> that pass before our ey<strong>es</strong> hasevolved into overwhelming visual miasma, requiring us to become a<strong>de</strong>pt at instantly id<strong>en</strong>tifying, assimi<strong>la</strong>ting andcataloguing them. Have we now become expert at recognition at the exp<strong>en</strong>se of a more perceptive un<strong>de</strong>rstandingand appreciation that aris<strong>es</strong> from a conc<strong>en</strong>trated examination of any giv<strong>en</strong> subject? Has societyabrogated that r<strong>es</strong>ponsibility to ‘experts’ with their rational taxonomic and g<strong>en</strong>etic systems of id<strong>en</strong>tification andc<strong>la</strong>ssification?Take for example a common meadow buttercup (Ranunculus acris), easily recognisable across a field. Theexpert will tell us that the family to which it belongs (Ranuncu<strong>la</strong>ceae) is a primitive flowering p<strong>la</strong>nt not easily<strong>de</strong>fined in evolutionary terms, with over thirty differ<strong>en</strong>t wild varieti<strong>es</strong> in the United Kingdom, including notonly buttercups but also spearwort, hellebore, water-crowfoot, pasqueflower, wood anemone, columbine andtraveller’s-joy. The non-specialist in contrast, whilst its <strong>de</strong>scriptive name might revive childhood memori<strong>es</strong> ofholding a flower up un<strong>de</strong>r the chin to <strong>de</strong>tect a fondn<strong>es</strong>s for butter, might neverthel<strong>es</strong>s be hard pr<strong>es</strong>sed to say howmany petals it has.In the creation of this book many hours have be<strong>en</strong> sp<strong>en</strong>t examining the complexiti<strong>es</strong> of very small seeds,highly magnified on a scanning electron microscope (SEM). With such a tool the diversity of form and structuralcomplexity of seeds is staggering; that such <strong>de</strong>tail exists on such a minute scale is difficult to compreh<strong>en</strong>d andone can only marvel at the technology that mak<strong>es</strong> this possible. Returning to examine the p<strong>la</strong>nts and flowersfrom which the seeds had be<strong>en</strong> collected nec<strong>es</strong>sitat<strong>es</strong> a more conc<strong>en</strong>trated inspection and in so doing one is ma<strong>de</strong>aware of the sophistication and power of our own in-built optical technologi<strong>es</strong>. The differ<strong>en</strong>ce betwe<strong>en</strong> lookingand seeing is thrown into sharp focus.The creation of imag<strong>es</strong> for this book was conceived to revive the spirit of looking. The macro photographyof the original flowers brings them into hyper realistic focus to <strong>en</strong>courage the rea<strong>de</strong>r to look again at the familiarflower, whether a roadsi<strong>de</strong> weed or florist’s bouquet. Un<strong>de</strong>r the SEM the technology works its magic but pr<strong>es</strong><strong>en</strong>tsus with a b<strong>la</strong>ck and white image, which is subsequ<strong>en</strong>tly coloured. This oft<strong>en</strong> provok<strong>es</strong> the qu<strong>es</strong>tion, “Is this thereal colour of the seed?”, to which the answer is no. And so how is the colour chos<strong>en</strong> and why?Without going too <strong>de</strong>eply into the philosophical conundrum of what is colour, it is worth rememberingthat wh<strong>en</strong> we look at a flower we do not see it in the same way as an insect. Flowers have evolved complexstrategi<strong>es</strong> to <strong>en</strong>sure they attract the appropriate pollinators, through smell, morphological imitation, colourcoding, and patterning. Most insects have greater s<strong>en</strong>sitivity to colours at the blue <strong>en</strong>d of the spectrum and areable to <strong>de</strong>tect ultra-violet colours, revealing patterns that direct the insect to the poll<strong>en</strong> bearing parts of the flowerlike an aircraft gui<strong>de</strong>d to a safe <strong>la</strong>nding by runway lights at night.Working together as an artist and sci<strong>en</strong>tist with the same shared fascination for seeds, as for the p<strong>la</strong>nts fromwhich we collected them, we too employed diverse strategi<strong>es</strong> to <strong>en</strong>sure that our subject attracts as many “visitors”as possible. Un<strong>de</strong>r normal conditions sci<strong>en</strong>tific r<strong>es</strong>earch is r<strong>es</strong>tricted to a very focussed methodological approach,but in this case we selected our sampl<strong>es</strong> with the expr<strong>es</strong>s purpose of revealing extremiti<strong>es</strong> of form. Since biodiversityis so vital within our ecosystems for the continued longevity of human exist<strong>en</strong>ce we believe that it isimportant to celebrate this diversity. The selected specim<strong>en</strong>s were composed and photographed to reveal theirmorphological characteristics with an intimate and aw<strong>es</strong>ome c<strong>la</strong>rity. To th<strong>es</strong>e grey imag<strong>es</strong> colour has be<strong>en</strong> ad<strong>de</strong>d,a chromatic interfer<strong>en</strong>ce oft<strong>en</strong> inspired by the hu<strong>es</strong> of the original flower, a subtle bl<strong>en</strong>ding reminisc<strong>en</strong>t of handtintedphotogravur<strong>es</strong>, l<strong>en</strong>ding the imag<strong>es</strong> a mysterious otherworldlin<strong>es</strong>s that transforms a spectator from one whojust looks to one who se<strong>es</strong> and wants to know more. The colour gui<strong>de</strong>s the eye and moist<strong>en</strong>s <strong>en</strong>quiry to stimu<strong>la</strong>tewhat Mark Gisborn refers to as “imagination of r<strong>es</strong>emb<strong>la</strong>nce” 15 through a total fusion of contemporary sci<strong>en</strong>tificand artistic practice. In so doing we hope to revive the importance of col<strong>la</strong>boration betwe<strong>en</strong> artists and botanicalsci<strong>en</strong>tists, an importance that was succinctly highlighted by Dr. T.J.Diffey in his <strong>es</strong>say, “Natural beauty withoutmetaphysics”: 16For art to continue this traditional task of making nature a<strong>es</strong>thetically acc<strong>es</strong>sible to a wi<strong>de</strong>r public, at least three thingsare nec<strong>es</strong>sary: first, nature requir<strong>es</strong> mediation to an audi<strong>en</strong>ce because that audi<strong>en</strong>ce cannot appreciate it unai<strong>de</strong>d; secondly,the art which mediat<strong>es</strong> nature must not be rel<strong>en</strong>tl<strong>es</strong>sly formal and abstract in its int<strong>en</strong>tions; thirdly, nature must beavai<strong>la</strong>ble to the artist as a subject to study.English texts 287
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R O B K E S S E L E R Y W O L F G A
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S E M I L L A SL A V I DA E N C Á
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Erica cinerea (Ericaceae) - brezo;
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Thamnosma africanum (Rutaceae); rec
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INTRODUCCIÓNAntirrhinum coulterian
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LA VIDA EN CÁPSULAS DE TIEMPORO B
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Esta nueva pasión sentó las bases
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20 Semillas - La vida en cápsulas
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22 Semillas - La vida en cápsulas
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Semillas - La vida en cápsulas de
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nadar libremente hasta encontrar un
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Cuando los machos son micro y las h
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página anterior arriba: Archaeospe
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Semillas desnudasLos óvulos de las
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(Ginkgoaceae), propio orden (Ginkgo
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Cuando mega realmente significa meg
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página anterior: Pinus lambertiana
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página anterior: Drimys winteri (W
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vino dado por la combinación de mi
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las plantas en 1664 y en 1672 publi
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especialmente aquellas que oliendo
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página anterior: Angraecum sesquip
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La sorprendente vida sexual de las
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Melocactus zehntneri (Cactaceae) -
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el otro baja hacia la célula centr
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62 Semillas - La vida en cápsulas
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angiospermas en dos grupos, las dic
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Una gran variedad de embriones de d
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sus hojas. Estos embriones almacena
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70 Semillas - La vida en cápsulas
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los aspectos de su apariencia, pero
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abajo: Punica granatum (Lythraceae)
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Una breve introducción a la clasif
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abajo: secciones transversales de u
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página anterior: Scutellaria orien
- Page 87 and 88:
página anterior: Ochna natalitia (
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agutí logra perforar un agujero de
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La dispersión de frutos y semillas
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predestinadas a fracasar en su empe
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Centrolobium microchaete (Fabaceae)
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96 Semillas - La vida en cápsulas
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Semillas de espuela de caballero (R
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La dispersión de frutos y semillas
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página anterior: Darlingtonia cali
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página anterior: Clematis tangutic
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izquierda: Blepharis mitrata (Acant
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abajo: Arenaria franklinii (Caryoph
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116 Semillas - La vida en cápsulas
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118 Semillas - La vida en cápsulas
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página anterior: Cistanche tubulos
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La dispersión de frutos y semillas
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específicos requerimientos de germ
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La dispersión de frutos y semillas
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La dispersión de frutos y semillas
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Cephalophyllum loreum (Aizoaceae) -
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página anterior: Cerbera manghas (
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página anterior: : habas de mar -
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Frutos explosivos activosLos frutos
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142 Semillas - La vida en cápsulas
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ecta mientras la parte inferior est
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pero un sentido del olfato poco des
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La dispersión de frutos y semillas
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página anterior y arriba: Afzelia
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Polygala arenaria (Polygalaceae) -
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Dispersión por recolectores y alma
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La dispersión de frutos y semillas
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La dispersión de frutos y semillas
- Page 163 and 164:
página anterior: Uncarina spp. (Pe
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Semillas sin ninguna adaptación ob
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Viajar en el tiempo y el espacio 16
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Un año de semillas, siete años de
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página anterior: Nemesia versicolo
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Viajar en el tiempo y el espacio 17
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arriba: Strelitzia reginae (Strelit
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UN PROYECTO ARQUITECTÓNICORO B K E
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página anterior: Cleome sp. (Cappa
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página siguiente: Downland Gridshe
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página siguiente: El Proyecto Edé
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FITOPIARO B K E S S E L E RStellari
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La diferencia entre mirar y ver...
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Trichodesma africanum (Boraginaceae
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página anterior: Crassula pellucid
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Calandrinia eremaea (Portulacaceae)
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Euphorbia peplus (Euphorbiaceae) -
- Page 208 and 209:
Alcea pallida (Malvaceae) - malva p
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Codonocarpus cotinifolius (Gyrostem
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Fitopia 211
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Melocactus neryi (Cactaceae) - melo
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Lophophora williamsii (Cactaceae) -
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Lychnis flos-cuculi (Caryophyllacea
- Page 228:
Silene gallica (Caryophyllaceae) -
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Agrostemma githago (Caryophyllaceae
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234 Semillas - La vida en cápsulas
- Page 238: Stanhopea tigrina (Orchidaceae) - S
- Page 243: Drosera intermedia (Droseraceae) -
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- Page 249 and 250: Hypoxis iridifolia (Hypoxidaceae) -
- Page 251 and 252: Hymenodictyon floribundum (Rubiacea
- Page 254: Loasa chilensis (Loasaceae) - recol
- Page 259 and 260: Floscopa glomerata (Commelinaceae)
- Page 261 and 262: cretácico o cretáceo: periodo de
- Page 263 and 264: sépalo (latín moderno: sepalum, u
- Page 265 and 266: GinkgoaceaeMolluginaceaeAizoaceaeBo
- Page 267 and 268: SEEDS - TIME CAPSULES OF LIFERO B K
- Page 269 and 270: ancestors to the earliest seed plan
- Page 271 and 272: many more tails. In Zamia roezlii,
- Page 273 and 274: (Scrophulariaceae) and mint family
- Page 275 and 276: develop three or more cotyledons, w
- Page 277 and 278: multiple fruits are blackberries (R
- Page 279 and 280: which is located in the thickened s
- Page 281 and 282: clovers (Orthocarpus spp.). Owl’s
- Page 283 and 284: The force of the blast catapults th
- Page 285 and 286: the consistency and flavour of whic
- Page 287: piece of the germinated seed, its o