What if a counter proof makes any proof an illusion?

To consider beauty as a quality of truth has a long history, especially in a scientific context. This work questions how aesthetic impulses and the desire to prove influence the development of theories and hypotheses. It primarily explores these themes through photography, which has a complex history of being both used and misused as evidence. The structure is symmetrical: urban photographs taken from slightly varying angles are followed by images of repro-photographed snow crystals. Text fragments guide potential interpretations, but explicit answers remain elusive. The design invites viewers to engage deeply, encouraging them to scrutinize the subject matter, compare images, and search for evidence independently. It also addresses multiple levels of observation and the observer's role, with an inserted text by Miek Zwamborn that poetically explores these ideas. Questions arise regarding the presence of doubled and tripled crystals in W. A. Bentley's work, challenging his assertion that no two crystals are exactly alike. The text also connects to concepts like supersymmetry, a theory still sought after by scientists, yet lacking experimental evidence. It prompts reflection on whether scientists base rational thinking on aesthetic preferences and examines the relationship between urban photographs and snow crystals, particularly the significance of the altered camera positions.