Mas Subramanian and his team actually wanted to test the magnetic and electric properties of manganese oxide, but instead stumbled upon a previously unknown pigment, YInMn Blue. And it’s precisely this shade of blue that adorns the posters announcing this year’s Ars Electronica #Festival and its “Error – The Art of Imperfection” theme. September 6-10, 2018, the focus will be on #mistakes, #fails, #blunders and deviations from the norm. Whether celebrated as a marvelous source of innovation or scorned as the cause of catastrophic accidents, error is the center of attention this year.
This digital time-lapse video of Candida albicans reproducing and changing shape, taken on a live imaging microscope, fills the room, contaminating the architectural space (and any bodies within it) with animate images of Candida albicans cells. The title of this work “Ereignis, Gelassenheit und Lichtung: A love story installation 2015″
combines terms used by the philosopher Martin Heidegger, whose work redefined understandings of “being-in-the-world.”
I discovered these little creature years ago, but my interest was renewed when watching Star Trek: Discovery. So cute, and I loved the comment that they were considered sentient. Even littles can be sentient.
The Topography of Tears: A Stunning Aerial Tour of the Landscape of Human Emotion Through an Optical Microscope
“Emotions are not just the fuel that powers the psychological mechanism of a reasoning creature, they are parts, highly complex and messy parts, of this creature’s reasoning itself,” philosopher Martha Nussbaum wrote in her incisive treatise on the intelligence of emotions, titled after Proust’s powerful poetic image depicting the emotions as “geologic upheavals of thought.” But much of the messiness of our emotions comes from the inverse: Our thoughts, in a sense, are geologic upheavals of feeling — an immensity of our reasoning is devoted to making sense of, or rationalizing, the emotional patters that underpin our intuitive responses to the world and therefore shape our very reality. Our interior lives unfold across landscapes that seem to belong to an alien world whose terrain is as difficult to map as it is to navigate — a world against which the young Dostoyevsky roiled in a frustrated letter on reason and emotion, and one which Antoine de Saint-Exupéry embraced so lyrically in one of the most memorable lines from The Little Prince: “It is such a secret place, the land of tears.”
The geologic complexity of that secret place is what photographer Rose-Lynn Fisher explores in The Topography of Tears (sic) — a striking series of duotone photographs of tears shed for a kaleidoscope of reasons, dried on glass slides and captured in a hundredfold magnification through a high-resolution optical microscope. What emerges is an enthralling aerial tour of the landscape of human emotion and its the most stirring eruptions — joy, grief, gladness, remorse, hope — reminding us that the terra incognita of our interiority is better trekked with an explorer’s benevolent curiosity about the varied beauty of the landscape than with a conquistador’s forceful intent to control and sublimate.