Polarization Microscopy as an Art Tool:
Border Crossing between Art and Nature
Manfred Friedrich
Volume 36 Number 3 pp. 201-206, 2003
The MIT Press
Until recently, polarization microscopy has been little developed as an art tool. It holds, however, an enormous aesthetic potential. The author first reviews the theoretical and technical background of the polarization microscopy. Then it is discussed how select microscopic structures imaged via polarization microscopy can be represented according to the artist's individual aesthetic choices. The most important of which is color design by interference. The conscious perception of the picture by the observer is discussed on the basis of our present knowledge of cognitive neurosciences. Polarization microscopy leads to a crossing of the boundaries between nature and the forms of non-representational painting.
Fig.1
Picture in moderate color
Fig. 2
Etching-like picture
HISTORICAL REVIEW
THEORETICAL AND TECHNICAL BACKGROUND
Normal and Polarized Light
Interference Colors
Polarization Microscopy
Substances
POTOMICROGRAPHY
THE ARTIST, HIS WORK AND THE RECIPIENT
THOUGHTS ABOUT THE PICTURES
ARTIST OR NO ARTIST
Color Plate No.1
Picture in intense color
Color Plate No.2
Picture in pastel hues
This paper has been nominated for the
Leonardo Award of Excellence, 2004.
Eine Kopie des Artikels oder die deutsche Übersetzung dieses Artikels sind auf Anfrage beim Autor erhältlich.
Color Plate No.3
Picture in mainly monochromatic color
Color Plate No.4
Picture in darkfield illumination
© Fotografien: Manfred Friedrich
© Musik: "Himmel auf Erden" Komposition von Frank Petzold