Fauna Europaea provides a public web-service with an index of scientific names (including important synonyms) of all extant multicellular European terrestrial and freshwater animals and their geographical distribution at the level of countries and major islands (east of the Urals and excluding the Caucasus region). The Fauna Europaea project comprises about 230,000 taxonomic names, including 130,000 accepted species and 14,000 accepted subspecies, which is much more than the originally projected number of 100,000 species. Fauna Europaea represents a huge effort by more than 400 contributing taxonomic specialists throughout Europe and is a unique (standard) reference suitable for many user communities in science, government, industry, nature conservation and education. The Diptera-Brachycera is one of the 58 Fauna Europaea major taxonomic groups, and data have been compiled by a network of 55 specialists.Within the two-winged insects (Diptera), the Brachycera constitute a monophyletic group, which is generally given rank of suborder. The Brachycera may be classified into the probably paraphyletic 'lower brachyceran grade' and the monophyletic Eremoneura. The latter contains the Empidoidea, the Apystomyioidea with a single Nearctic species, and the Cyclorrhapha, which in turn is divided into the paraphyletic 'aschizan grade' and the monophyletic Schizophora. The latter is traditionally divided into the paraphyletic 'acalyptrate grade' and the monophyletic Calyptratae. Our knowledge of the European fauna of Diptera-Brachycera varies tremendously among families, from the reasonably well known hoverflies (Syrphidae) to the extremely poorly known scuttle flies (Phoridae). There has been a steady growth in our knowledge of European Diptera for the last two centuries, with no apparent slow down, but there is a shift towards a larger fraction of the new species being found among the families of the nematoceran grade (lower Diptera), which due to a larger number of small-sized species may be considered as taxonomically more challenging.Most of Europe is highly industrialised and has a high human population density, and the more fertile habitats are extensively cultivated. This has undoubtedly increased the extinction risk for numerous species of brachyceran flies, yet with the recent re-discovery of Thyreophora cynophila (Panzer), there are no known cases of extinction at a European level. However, few national Red Lists have extensive information on Diptera.For the Diptera-Brachycera, data from 96 families containing 11,751 species are included in this paper.

The erotic triangulation consisting of lover, beloved, lover’s image of beloved is a mechanism that automates a projection of self into a desired subject. The projection is provoked by the partly imaginary but reality inspired reconstruction of the beloved that takes place in the lover. The geometric construction is an attempt to categorize and name the elements we experience as seduction. One thing we can learn from the erotic geometry is that seduction is not exterior to the lover; it is instigated by him and takes place in him. This change in vantage point can be considered a sleight of hands. I choose to see it as an opportunity to consider the erotic ruse as a tool that can draw the observer into the ideas proposed in drawing of a space or drawing of a building, while using the observer’s empathy to generate meaning in a drawing that contain patches of yet indeterminate spaces, unknown programmatic functions and propositional subject matter that is ambiguous. The content of the triangulation (lover, beloved, image) is thus replaced by observer, drawing, and the observer’s projected image of the drawn proposition (this strategy can be described shorter and in terms familiar to the production of drawn exploratory propositions for architecture: fake it till you make it, or, keep drawing even if you have only a vague idea of what it is you are giving form, step back and allow yourself to add meaning to the drawn content with guidance from the detached spectator’s empathy). Caught in desire the lover is intensely present and vividly emphatic to what he desires. Through a number of drawn investigations I explore if a similar engagement between the observer and the imaginary content of the drawn architectural proposal can be a way into sealing or diminishing the gap between representation and realization, thus unloading the pressure from the representational yoke prominent in the production of architecture. Santrauka Straipsnyje nagrinėjamos architektūrinių piešinių prasmės. Meninio tyrimo pagrindu tampa autoriaus grafinėmis priemonėmis sukurti, tačiau fotografijų pavidalu pristatomi kūriniai, balansuojantys tarp piešinio atvaizdo ir paties piešinio. Eksperimentinės kūrybos procesas ir rezultatas yra apmąstomi, kontekstualizuojami ir konceptualiai plėtojami remiantis nevienalyčiais humanitariniais tekstais: Peterio Cook’o, Anne Carson, Rebeccos Solnit, Kester Rattenbury, taip pat Alfredo Hitchcock’s Vertigo filmo analize. Tiriamojo pobūdžio architektūrinius piešinius bandoma interpretuoti pasitelkiant trianguliacijos, kuri įvardijama kaip erotinė, analitinę struktūrą. Geometrinė schema naudojama siekiant apibrėžti reprezentacijos proceso komponentus: architektūrinį piešinį, jo suvokėją ir suvokėjo subjektyvų patyrimą, juos įvardijant kaip mylintįjį, mylimąjį ir mylimojo vaizdinį, ir išsiaiškinti jų sąveikos principus bei galimybes. Atskleidžiama, kad ši trinarė sąveikos struktūra yra dinamiška ir atvira, leidžianti naujai interpretuoti tai, kas vyksta daugiareikšmėje terpėje tarp reprezentacijos (idėjos vaizdavimo) ir architektūrinės realizacijos. Ieškoma galimybių išlaisvinti architektūrinį piešimą iš žanro suvaržymų, jam suteikiant suvokėjo kuriamų vaizdinių projektavimo plokštumos, savotiško geismo generatoriaus, lemiančio aktyvų suvokėjo dalyvavimą kūrybiniame procese, statusą. Daroma išvada, kad kuriančio piešimo naudojimas mažina atotrūkį tarp atvaizdo ir realizacijos, daro jį ne mažiau svarbiu realybės formantu nei realūs architektūriniai objektai.