In his magnum opus on light, projections, and astronomy, Ars Magna Lucis Et Umbrae (“the Great Art of Light and Shadows,” polymath Jesuit scholar and inventor Athanasius Kircher (1601-1680) describes several spaces of his invention lying between an optical device and an architectural interior through a series of engravings. One among them is a camera obscura (dark room) whose size of an actual, inhabitable room, could enable one artist to stay inside. The room is described as a portable device, a sort of sedan-chair, which could be placed in every setting.
Let’s begin by imagining that any quote I include in this article is being spoken to you in an unemotional voice like that of a fully functioning mechanised Robot.
Back in 2009, Peter Garrett, the then Australian Minister of Environment, Heritage and the Arts (and incidentally the lead singer of rock band Midnight Oil), acknowledged the concerns of the scientific community when he added the thrombolites of Lake Clifton in Western Australia to the list of critically endangered communities.