By Carrol L. Henderson
They bounce they usually float, they flap and so they flutter, they swoop and so they plummet. Solo or en masse, in formation or pas de deux, birds in flight are of their point, their airborne habit as assorted and specified as their plumage. during this e-book, natural world biologist Carrol Henderson, a twenty-year veteran of bird-watching around the world, deals his insights into recognizing and opting for birds in flight.
With a hundred and fifty of Henderson’s beautiful close-up pictures of airborne birds, in addition to diagrams illustrating the foundations of flight and distinctive info according to firsthand study, this e-book is as informative because it is just pleasant to examine. The singular great thing about an iridescent hummingbird pollinating a flower, the majesty of a condor hovering above the Andes, the remarkable spectacle of migrating ducks in Minnesota, black storks in Kenya, or Swainson’s hawks in Bolivia: on your again backyard or some distance afield, this advisor permits you to benefit from the great thing about birds taking wing whereas studying the attention-grabbing technology of the way, accurately, birds fly.
Read or Download Birds in Flight: The Art and Science of How Birds Fly PDF
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Additional resources for Birds in Flight: The Art and Science of How Birds Fly
In '^^ The artists had won not about to relinquish \ iew the war their it freedom to the state. Gosudarstvenny russky muzci: Zhivipis. 406. 17 Background on Soviet Art Realism in the tions arts had been never to was gathering considerable laid, at great cost to know the importance strength. Its founda- themselves, by of their work. men who were The Wanderers and their followers profited from the courage of their elders, but paradoxically they also benefited from the lack of tradition in genre-painting.
But undoubtedly the temper of the times, the revulsion against -^ See, N. G. Chernyshevsky, "The Aesthetic Relation of Art to RealitN " in Selected Pliilosoplucal Essays (Moscow/, 1953, pp. 381. -'' Max Rieser. "Russian Aesthetics Today and Their Historical Background," Journal of Aesthetics and Art Criticism, XXII: 16 1 (Fall, 1963), p. 48. Background on Soviet Art the neurotic miasma which infected the ruHng classes and shook the was the true cause, the raison d'etre of reahsm. It faith of the masses, simpl\- was high time to be reahstic.
Consequently, little recognition was given to the distinctively personal quality of artistic creation, the quality that distinguishes creati\e endeavor from other kinds of eties, particularly human acti\it\-. In other soci- those in the West, fine art serves no ulterior purpose — that is, artistic productions are \ alued in and for themselves. In the Soviet Union, howe\er, art serxes an outside purpose lying beyond — the aggran- the works which themsehes become a means to an end dizement of the proletariat re\olution.