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Kazimir Malevich "Supremus no 56" (1916)



Kazimir Malevich "Supremus No56" 

Kimmo Huosionmaa

In this painting is important the way, how to see those lines, what Malevich has been drawn on this painting, and find the combination what makes the structure in the painting. Sometimes I have thought that how Malevich created those paintings, and how he told that they were the things, what people would want to buy. In fact, there are many things, what makes this kind of paintings very interesting, and one of them is, that there are many things, what has been left to the audience.

And one thing is, how the artist convicts that there is something except sharp and also carefully thought combination of lines and other geometrical structures. But when we are looking the abstract paintings, there would be the things, what limits our imagination. One of them is the combination of our experiences about the instruments, what are used in scientific laboratories around the world.

The thing in "Supremus no 56" is that the painting can portrait the laser, the microscope or very special tool, what shoots viruses in the cell. That system was created in the 1980's for genetic engineers, and its purpose is to shoot cells inside other cells, what makes possible to connect those cells. In the beginning, that system used the gunpowder, but then the engineers started to create ion cannon, what would shoot ionized DNA molecule straight in the nucleus of the cell. The ion cannon would also give the ability to control the power of the punch, what this system gives to the target.

That allows creating more living cells because targets would survive about the genome transfer. The thing in the ion technology is that the same systems, what shoots DNA in the other cells, would be used for creating nanomachines and nanotechnical microchips. Those microchips can consist the transistors, what size are three atoms. As I wrote before. That technology would revolutionize the microchip production and allows to make smaller microchips than ever before.

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