Quote of the day

"Science cannot solve the ultimate mystery of nature. And that is because, in the last analysis, we ourselves are a part of the mystery that we are trying to solve." -Max Planck

Flower Petal Nest

Osmia avosetta (Solitary Bee)

The discovery of a bee that builds tiny, multi-coloured nests out of flower petals. 

The female O. avosetta digs shallow tunnels in the ground consisting of one or two chambers, each of which it then covers with flower petals glued together with mud. It then places larval food in each chamber and seals it with soil and by folding the petals over. The cell hardens to form protection for the larva against predation and weather. This behavior was first observed in 2009, by two research groups working separately in the mountains of Turkey and Iran.  Jerome Rozen, curator in the Division of Invertebrate Zoology at the American Museum of Natural History discovered their nest-building habits while in the field in Turkey. On the same day, another team that was studying the bees in Iran made exactly the same discovery. Both teams co-published their findings.

Stinky Plant of the Day

Edithcolea grandis (Persian carpet flower) 

This stunning bisexual flower is borne from a decumbent succulent stem; the stem is often eaten as a vegetable in Ethiopia and Somalia. Native to northeastern Africa, it is also found in very localized areas of Kenya, Tanzania and Yemen. Edithcolea grandis is the only representative of its genus. Its natural distribution is becoming more restricted and it should be considered a candidate for protection wherever it grows naturally. It emits an odor that is described as "carrion" or "fetid" -- meant to mimic rotting meat in order to attract pollinating flies.

Commonly called Persian carpet flower for its color and pattern, it is occasionally cultivated as an ornamental in desert gardens worldwide. However, it has gained a reputation as a particularly difficult plant to keep because of its very specific growing needs and will often succumb to rot before producing one of its tantalizing blooms.

Fungi 

Laricifomes officinalis (Agarikon)

Laricifomes officinalis is a wood-decay fungus in the order Polyporales. It causes brown heart rot on conifers, and is found in Europe, Asia, and North America, as well as Morocco. It is commonly known as agarikon, as well as the quinine conk due to its extremely bitter taste.  DNA analysis supports L. officinalis as being distinct from the genus Fomitopsis.  "The decay is common only in a few old-growth stands. The conks were once collected extensively for production of medicinal quinine. These distinctive conks can be large, as much as two feel\t long, hoof-shaped or columnar. They are soft, yellow-white when young, soon becoming white and chalky throughout. The decay is brown, cubically cracked, with thick white felts in large cracks. The taste of both conks and felts is bitter and distinct for this species. A single conk usually indicates complete cull. Infected trees can be habitat for snag-nesting species.

Medicinal Use

Laricifomes officinalis was used by the Ancient Greeks to treat consumption (tuberculosis) according to the writings of Pedanius Dioscorides in 65 AD and by some indigenous people to treat small pox.  

Interestingly, the medicinal properties are believed to have been discovered independently by the isolated Indigenous People of North America. In North America, these fungi were referred to as “bread of ghosts” or “tree biscuits,” references to the spiritual powers of the mushroom and its hanging fruiting bodies. The mushroom was an important resource for Shamans, who would apply agarikon powder to cure ailments thought to be caused by supernatural forces.

Conservation

Wild Agarikon is only found in old-growth forests, and grows on conifers, particularly Douglas-fir (Pseudotsuga) and larch (Larix). Conservation of wild populations of L. officinalis is a concern due to loss of ancient forest habitat. Because it is difficult to maintain long-term genetic integrity of laboratory-grown strains, it is necessary to preserve the mushroom in the wild.

In Culture

These fungi were not only utilized for their medicinal properties, but were also valued as spiritual and supernatural objects. The large fruiting body structures were often carved to represent various spiritual figures and spirit catchers, as assumed by the large orifices in the mouth and stomach. These carved figures were often hung from the ceiling of special dance houses of the Shaman to protect the people during rituals. Because of the key role Laricifomes officinalis played in the life of the Shaman, it was only natural that the mystical fungi should accompany him in the afterlife. The sporophores were carved as jewelry, painted or sometimes coated in a protective substance and placed at the head of the shaman’s grave site, to serve as his “grave guardians”. These grave guardians not only protected the shaman’s burial site, but also warned people of the area that the site was occupied by spirits and should never be approached.

Many of these grave guardian artifacts, collected by explorers and archeologists in the late nineteenth century, were originally believed to be made of wood. It was only recently, when investigating wood deterioration in these “wooden” artifacts, scientists realized the grave guardians were in fact a fungus. Fruiting bodies of L. officinalisare perennial: Each year (or so) a new layer of spore-producing tubes grows at the bottom of the conk. In the past, these the tube layers had apparently been mistaken for the annual growth rings of a tree. Microscopic examination of the hymenial layers revealed the fungal origins of the grave guardians. These artifacts can now be found in the collections of several North American museums. As for the great Laricifomes officinalis, although once common throughout most temperate regions of the world, it is now believed extinct in most of Europe and Asia. However, it can still be found deep within the old-growth forests of Washington, Oregon and British Columbia in the Pacific Northwest, and modern-day mycophiles continue to stress the importance of this valuable and historic polypore.

References

Stamets P. 2006. Antiviral activity from medicinal mushrooms. U.S. Patent 2006/0171958 A1, filed March 22, 2006.

Grzywnowicz K. 2001. Medicinal mushrooms in Polish folk medicine. Internation Journal of Medicinal Mushrooms.

Blanchette R.A., Compton B.D., Turner N.J., Gilbertson R.L. 1992. Nineteenth century shaman grave guardians are carved Fomitopsis officinalis sporophores.

Hagle, Gibson, Tunnock; A Field Guide to Diseases & Insect Pests of Northern & Central Rocky Mountain Conifers 2003

Plant of the day  

Larrea tridentata (Creosote Bush, Chaparral)

Larrea tridentata, of the Zygophyllacceae family, commonly known as Chaparral or Creosote Bush, is a common inhabitant of the deserts of the Southwestern U.S. and Mexico. 

Description The Creosote bush is normally chest or head high. Creosote leaves are small and curled (Moore, 1989, p.27) with a yellow-green color, and have a "greasy-leathery" texture (Tilford, 1997, P.44). "the bark is reddish brown toward the base of the plant and progressively lighter (to almost white) on the smaller limbs. The flowers are minute and yellow; they eventually develop into oddly fuzzy, seed-bearing capsules" (Tilford, 1997, p.44).

One of the reasons for the Cresote's great success is the presence a highly toxic substance produced at its root that prevents other plants from growing nearby. Rainfall washes away the toxin allowing other plants to grow. Once the water drains off, the toxin is reproduced and the foreign plants are destroyed (Pyle, June 12, 1999). This ability ensures that the Creosote does not have to compete with other plant life for vital nutrients. At the end of the last Ice Age, about 11,000 years ago,  as the climate became warmer and drier, the junipers who used to inhabit the lower regions of the Southwest retreated to the nearby mountains, and creosote appeared on the scene.  During this period this hardy invader shrub rapidly colonized  after unknown long distance carriers (possibly migrating plovers) brought the seeds north from Argentina.  Even hardy creosote would not have been able to come directly north across the wet tropical forest of Central America. Today creosote, Larrea tridentata, is a dominant or co-dominant member of most plant communities in the Mohave, Sonoran, and Chihuahuan Deserts. Ancient Growth Rings Ancient King Clone creosote circle This hardy drought tolerant perennial may be the oldest living plant in North America.   Jonathan DuHamel explains: "The branches of the plant will live several centuries and die out, but the root crown produces new branches in a ring around the original plant. With time, this ring expands outward as old branches die and new branches take their place, and eventually become separate bushes which are clones of the original seed. If the prevailing wind is especially strong, only the clones downwind of the parent plant will survive, forming a line of plants instead of an expanding ring." These mysterious looking growth rings then become mounded up with sand in the center. "In a few areas of the Mojave Desert clonal creosote rings have been found that are several yards in diameter. Near Lucerne Valley, “King Clone” has an average diameter of 45 feet! Using radiocarbon dating and known growth rates of creosote, scientists have estimated the age of “King Clone” as 11,700 years. Some of these common residents have been here continuously since the last ice age."  Harold DeLisle, PhD. Creosote Ecological Associations - Volatile Leaves In just these few thousand years, creosote has adapted to the different desert environments, added more chromosomes and evolved associations with more than 60 species of insects, including 22 species of bees that feed only on its flowers. These bees can lay in larval form near the shrubs also waiting for the rain to bring them to life. Desert creosote bushes provide shelter and shade for crickets, grasshoppers and other desert insects. Larger animals, including desert tortoises, kangaroo rats, lizards and desert fox make their beds under the creosote bush or take refuge from predators and hot daytime temperatures in the plant's shade. While the creosote bush is inedible to most browsing animals, some small mammals such as the black-tailed jackrabbit consume the seeds and some species of rats eat the twigs. Creosote that is used for wood preservation is a petroleum product distilled from tar. This is NOT to be confused with the aromatic desert shrub with the same name. The wild desert shrub has a strong, but pleasing smell. The stems and evergreen leaves of this plant contain a sticky resin that smells like (but doesn't actually contain) the wood preservative creosote. This resin screens the leaves against ultraviolet radiation, reduces water loss, and poisons or repels microbes and most plant-eating animals. Waxy coating on creosote leaves prevents water loss and protects the plant from being eaten by most mammals and insects. During drought, the wax covered leaves shrivel but do not die. When rains do come, the shallow, wide spread roots quickly take in water from the surrounding soil. The wrinkled leaves quickly rehydrate and turn bright green. Yellow flowers bloom followed by fuzzy little seeds. "Rain volatilizes that waxy coating which then produces a distinct, camphor-like odor which some desert dwellers call the smell of rain. You can often experience the odor by cupping some leaves in your hands and blowing on them. There is enough moisture in your breath to volatilize the wax. " (Jonathan DuHamel). Medicinal Uses The Creosote bush serves many medicinal purposes: cure of fever, influenza, colds, upset stomach, gas gout, arthritis, sinusitis, anemia, and fungus infections (CRC Ethnobotany, June 12, 1999). Creosote also has antimicrobial properties, making it a useful first aid. It is also beneficial in the treatment of allergies, autoimmunity diseases, and Premenstrual Syndrome (Moore, 1989, p.29). Creosote serves as an analgesic, antidiarrheal , diuretic, and emetic. When used as a tea, the leaves and small twigs must be gathered, washed, and dried in the sun. The useable parts must then be ground into a powder and stored in a glass container because of the oils produced. Creosote can be used on the skin as a tincture or salve, and can be taken internally as a tea or capsule (Moore, 1989, p.26). Although there are such a variety of medicinal purposes the Creosote serves, use of this plant is controversial to some. According to research "chemical constituents in Creosote bush may inhibit the growth of cancerous cells, but other studies have shown exactly the opposite" (Tilford, 1997, p.44). Another reason for the controversial use of Creosote bush is because of its "potential toxic effect on the liver" (Chevallier, 1996, p.224). Non-Medicinal Uses In addition to medicinal purposes, the Creosote bush is used as livestock feed, firewood, and roofing material for adobe houses (Mabry, 1977, p.252). It can be used to prevent rancidity of vegetable oils, as a mild sunscreen or massage oil. It also serves as a disinfectant for homes, an insecticide, as fish poison and fuel (Hocking, 1997, p.431). References Chevallier. Encyclopedia of Medicinal Plants. Dorling Kindersley, London, 1997. Mabry. The New Age Herbalist. Gaia Books Ltd., London, 1988. Moore. Medicinal Plants of the Desert and Canyon West. Museum of New Mexico Press, Santa Fe, NM., 1989. Pyle, June 12, 1999. CRC Ethnobotany, June 12, 1999. Tilford, 1997.

Quote of the day

"For me, trees have always been the most penetrating preachers. I revere them when they live in tribes and families, in forests and groves. And even more I revere them when they stand alone. They are like lonely persons. Not like hermits who have stolen away out of some weakness, but like great, solitary men, like Beethoven and Nietzsche. In their highest boughs the world rustles, their roots rest in infinity; but they do not lose themselves there, they struggle with all the force of their lives for one thing only: to fulfill themselves according to their own laws, to build up their own form, to represent themselves. Nothing is holier, nothing is more exemplary than a beautiful, strong tree. When a tree is cut down and reveals its naked death-wound to the sun, one can read its whole history in the luminous, inscribed disk of its trunk: in the rings of its years, its scars, all the struggle, all the suffering, all the sickness, all the happiness and prosperity stand truly written, the narrow years and the luxurious years, the attacks withstood, the storms endured. And every young farmboy knows that the hardest and noblest wood has the narrowest rings, that high on the mountains and in continuing danger the most indestructible, the strongest, the ideal trees grow.

Trees are sanctuaries. Whoever knows how to speak to them, whoever knows how to listen to them, can learn the truth. They do not preach learning and precepts, they preach, undeterred by particulars, the ancient law of life.

A tree says: A kernel is hidden in me, a spark, a thought, I am life from eternal life. The attempt and the risk that the eternal mother took with me is unique, unique the form and veins of my skin, unique the smallest play of leaves in my branches and the smallest scar on my bark. I was made to form and reveal the eternal in my smallest special detail.

A tree says: My strength is trust. I know nothing about my fathers, I know nothing about the thousand children that every year spring out of me. I live out the secret of my seed to the very end, and I care for nothing else. I trust that God is in me. I trust that my labor is holy. Out of this trust I live.

When we are stricken and cannot bear our lives any longer, then a tree has something to say to us: Be still! Be still! Look at me! Life is not easy, life is not difficult. Those are childish thoughts. . . . Home is neither here nor there. Home is within you, or home is nowhere at all.

A longing to wander tears my heart when I hear trees rustling in the wind at evening. If one listens to them silently for a long time, this longing reveals its kernel, its meaning. It is not so much a matter of escaping from one’s suffering, though it may seem to be so. It is a longing for home, for a memory of the mother, for new metaphors for life. It leads home. Every path leads homeward, every step is birth, every step is death, every grave is mother.

So the tree rustles in the evening, when we stand uneasy before our own childish thoughts: Trees have long thoughts, long-breathing and restful, just as they have longer lives than ours. They are wiser than we are, as long as we do not listen to them. But when we have learned how to listen to trees, then the brevity and the quickness and the childlike hastiness of our thoughts achieve an incomparable joy. Whoever has learned how to listen to trees no longer wants to be a tree. He wants to be nothing except what he is. That is home. That is happiness."  -Hermann Hesse

Andrew Zuckerman's FLOWER project

"In various artistic traditions, flowers have figured as ornament, allegory, and vehicles for exploring color, light, and technique. Substituted for the most fundamental themes — death, sex, the spiritual realm — they abound by virtue of their physical beauty and diversity, but also due to their symbolic implications, ritualistic and medicinal applications, and their proximity to decay.

Dispensing with romanticism and narrative associations, Andrew Zuckerman’s Flower is predicated on contemporizing this seemingly exhausted terrain. Culled from an exploration of over 300 species, Zuckerman aims, as always, to translate the essential nature of his subjects and unearth qualities that have previously escaped scrutiny.

With characteristic minimalism, he creates an atmosphere of absolute clarity to reveal each flower on its own terms. In the blank field of pure white light, in exacting definition, they appear alternately alien, comestible, and anatomical. Every aspect is made explicit. What one notices immediately are the astonishing gradations of color and variations of form — some sculptural, others almost viscous — followed by boundless textural nuance.

The images contained within are not still lives, but flowers in a specific time and place, responding to the pull of light, gravity, and water. At close range, they reveal a kind of topography for survival. Zuckerman’s photographs expose the mechanisms beneath the surface — vascular, respiratory, reproductive – the structural imperatives for such arresting physical beauty." -Daily Icon