Manfred
Friedrich
Volume
36 Number 3 (2003) pages 200 - 206
A R T I S T ' S A R T I C L E
Polarization Microscopy
as an Art Tool: Border Crossing
between Art and Nature
ABSTRACT
Until recently, polarisation 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 and then discusses 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.
CONTENT
HISTORICAL REVIEW
THEORETICAL AND TECHNICAL BACKGROUND
Normal and Polarised Light
Interference Colors
Polarization Microscopy
Substances
PHOTOMICROGRAPHY
THE ARTIST, THE WORK AND THE RECIPIENT
THOUGHTS ABOUT THE PICTURES
ARTIST OR NO ARTIST
Examples
of different color design
Fig.1,
Picture in moderate color
Fig.
2, Etching-like picture
Color
Plate B No.1,
Picture in intense color
Color
Plate B No.2,
Picture in pastel hues
Color
Plate B No.3,
Picture in mainly monochromatic color
Color
Plate B No.4,
Picture in darkfield illumination