Emotions are not only the fuel that feeds the psychological mechanism of a thinking being, but also very complex and disordered parts of his own thought,” wrote philosopher Martha Nussbaum in her “own” brief treatise on the intelligence of emotions, which is named after the powerful poetic image of Proust describing emotions as “geological disturbances of thought. “But most of the disorder in our emotions goes in the opposite direction: our thoughts are, in a sense, geological disturbances of the senses – the vast space of our thinking is aimed at understanding or rationalizing the emotional patterns that underlie our intuitive reactions to the world and thus shape our true reality. The book rightfully includes a short essay about the tears of the poetess Ann Lauterbach, who in another wonderful meditation about why we create art, noticed that “the most important task of artists is to find a way to free material from the bright intersection of objects, thus starting a difficult but joyful process of human connection” – the perfect articulation of the heart of the Fischer project. Brain Pickings offers a free Sunday review of the most interesting and inspiring articles of the week dedicated to art, science, philosophy, art, children’s books and other areas of our search for truth, beauty and meaning. In addition, since Brain Pickings is in its “own” fourteenth year and I write mostly about ideas of a timeless nature, I decided every Wednesday to immerse myself in my huge archive and choose one of the thousands of works that deserve reissue and re-evaluation. The fact that there is a fascinating flight through the landscape of human emotions and their most touching manifestations – joy, sadness, euphoria, reminds us that the unknown land of our inner self is best explored with a benevolent researcher’s curiosity for the repeated beauty of the landscape, than with the energetic intention of the conqueror to control and sublimate it. “For tears are intellectual things,” wrote the great subversive poet William Blake in the 19th century, who complained about classical and modern deesis; he thought that they took away the sign of forgiveness from religion, that they gave too much power to one God, and that they made human life unviable in “their” guilty temptations. This flow is perhaps just proof that we cannot put our feelings in one place and our thoughts in another, the unfortunate result of some kind of rationalism that threatens to overwhelm our politeness – our ability to forgive – and turn all ideas into abstractions, rigid and energetic, without division. Tears spontaneously release us into the possibilities of reorientation, reunion, catharsis, and short-circuiting persistent resistance As if each of our tears carried a microcosm of collective human experience like a drop of water in the ocean. Add to the contemplative splendor of “Topography of Tears” the science of why we cry, Mark Rothko of why people cry for “their” art, and William James’ revolutionary theory of body and mind emotions. Based on his first hypnotic microphotographs of bees, Fisher uses the technological tools of science to explore poetic and subtle measurements of universal human behavior that emit endless emotional colors. Tears are intellectual because they are the result of thoughts entering the body’s vessels; they are an excess of secrecy that we associate with emotions; perhaps emotions themselves are simply caused by an excess of thought.