To consider beauty as a quality of truth has a long history, especially in a scientific context. WHAT IF A COUNTER PROOF MAKES ANY PROOF AN ILLUSION? questions how aesthetical impulses as well as the desire to proove is up until our time influencing the development of theories and hypotheses. It deals with those questions mainly photograph¬ically, as photography has this rich, yet complicated history of being used and abused as evidence. The book is built symmetrically: urban photographies taken with a slighty changing camera angle, are followed by images of repro–photographed snow crystals. A number of text fragments indicate potential directions how to read the book, explicit answers, however, are not given. The book is constructed to drag the viewer into the book, to visually seduce him/her to scrutinize the subject matter, to carefully compare images and to search for potential evidence by him/herself. The book is in that sense as well about the multiple levels of observation and the observer and the inserted text AMALGAM by Miek Zwamborn explores those topics in a very poetic way. Why there are doubled and tripled crystals in W.A. Bentleys book? How is that possible? Does this refute his famous quote there are no two exactly alike? What might that have to do with his eagerness for symmetry? What about supersymmetry, a theory still very popular not only among scientists at CERN, which is despite a lot of effort still without any experi¬mental evidence? Do scientist really built rational thinking upon aesthetical preferences? What are the photographs of urban constellations have to do with it? Why they are taken with this slightly changed camera position and what is the connection to the second part of snow crystals?weiterlesen