Microscopische opname van diatomeeën 1887 - 1888

Curator: This gelatin-silver print, titled "Microscopische opname van diatomeeën", by Marinus Pieter Filbri, dates back to 1887-1888. It depicts a microscopic view of diatoms. Editor: My initial impression is one of striking geometric simplicity. The stark contrast and the almost ethereal quality of the floating shapes within the circle give it an unexpectedly modern feel. Curator: It’s fascinating how even in the late 19th century, photography was being utilized not just for portraiture or landscape, but for scientific documentation and, arguably, even artistic exploration. These images allowed for a democratization of scientific knowledge. Editor: Absolutely. Looking at it now, I am wondering about the act of looking itself. Who had access to the microscopic world then? Was this shared widely, or was it limited to certain academic circles? What are the power structures embedded within knowledge? Curator: That's a pertinent question. Science was then—and remains now—an arena of social and political power. And this print allows these single cell algae forms, which of course existed beyond human observation, into the space of visibility and control. Consider the colonial implications as well; who possessed the power and the instruments to view and classify nature at that scale? Editor: Precisely. Also, how these representations then get codified as truth? I can't help but consider the environmental implications. The diatom itself, now viewed in our climate crisis, these photosynthetic organisms play a crucial role in carbon capture. Looking back to look forward, you know? Curator: It also presents a visual metaphor for the hidden beauty and complexity of the natural world, elements we should champion today more than ever before. Editor: It is interesting how even scientific documentation possesses layers of historical and political meanings waiting to be uncovered and challenged. Curator: Indeed. "Microscopische opname van diatomeeën" invites us to delve beneath the surface and think more broadly about visual art as a mode for creating scientific truth.