Notices for Users of the Albums

1. New Albums and some changes


The latest genera Albums added to the Operation Wildflower Site are the ones on Metalasia, Brabejum and Bauhinia. This means that photos and stories of plants belonging to these genera already on the Site have been moved from the more general Albums called Shrubs and Trees into their own new Albums under Genera. 


There is a genus Album in every case where enough material has been accumulated to warrant a stand-alone grouping of photos and stories. There are now more than 160 such Albums on genera of South African plants. The biggest ones (most photos) belong to the genera Crassula, Euphorbia, Pelargonium and Aloe. Keep watching, more will be added! If there is no genus Album yet on the plant you are looking for, check under Types or the Search Box.


In order to access all items on a plant of interest, the Search Box should be used, entering the botanical name of the plant. Most photos and stories on a particular plant are likely to be posted under Genera, (or if there are only few of them, in the conglomerate categories under Types). Habitat, Regions or Parks and Gardens may also contain some material on a species searched for, showing in the list generated when using the Search Box. The latest Parks and Gardens Album is the one on the Quiver Tree Forest.


2. Want to talk about an Album Item?


There is a new way of communicating with the Editor of this Site regarding any of the Album Items.
Comments, questions, corrections, information and suggestions can be put to the Editor by using the following email address: This email address is being protected from spambots. You need JavaScript enabled to view it..


Please ensure that the Album Item concerned is clearly identified. Type its exact title as well as the Album Name in the Subject Line of your email. Please also state your name.


Similarly, communication regarding the functioning or technical aspects of the Site can be directed to the Webmaster at: This email address is being protected from spambots. You need JavaScript enabled to view it..




Looking at a Flower

Looking at an inanimate object is different from looking at a living one.  When you see a rock it may be beautiful as a flower, but it is only an object and there is no looking back at you.  The flower is recognized by the viewer as a fellow living entity; or it can be and should be.  The significance of this recognition is limited or enhanced by the capacity of the viewer.  The bee does not expect the colourful stone to have produced any pollen during the night for it to harvest.  It knows where to find food.  The dog looks at the sunflower by the back door differently than at its bowl of food, even though it might jump up any minute to bite the flower.   But that is more likely to happen in the case of a young dog.  The action is related to energy that must be expended, rather than to any logical intent.

What happens in the mind when one living entity recognizes another and this becomes mutual, is communication.  The eye that is taking in a work of art triggers admiration and appreciation in the viewer and may cause inspirational lifting of the spirit, although any communication taking place is with the artist, not the work, as in reading his or her letter or message left for speaking to the viewer through the work.

Looking at the flower or animal is then representing a form of I-You relationship (in the Martin Buber sense), not an I-It relationship.  Recognizing life thus in the act of observation is a form of greeting, a reaching out across the species divide to a fellow citizen of the earth.   Valuing what is observed is the basis for constructive coexistence, for maintaining harmonious biological diversity and all those related good things.  Such communion may give cause to the experience of a lifting to a spiritual I-Thou level, when and if such needs might arise.

But something else happens when looking at the flower or the world.  There is a moment of undefined, poorly understood and risky intake; openness to what is out there that through the act of observation may grow, modify or even harm the viewer.  It is called living, risk-taking behaviour from which the living is not spared!  Silent, attentive surveillance of the environment is acceptance of the fact that the viewer may be forever and significantly changed by what is being taken on board.  This openness seldom yields such spectacular results, but it might.  We just could at any moment suddenly really see!


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