Znanost v umetnosti / umetnost v znanosti : diplomsko delo

Založnik, Mojca (avtor), Bratuša, Mirko (mentor), Tomšič Amon, Bea (komentor)

Glavni namen diplomske naloge je bil raziskati, na kakšen način se znanost in umetnost prekrivata. Človek lahko s čutili zajame samo majhen del aktivnega okolja. Za preostali del se zanaša na kolektivno reprezentacijo našega sveta, ki se prevaja skozi kodirano znanje – medij. Ker kulturne iznajdbe posredne percepcije (jezik, orodja in slike) uporabljata tako znanost kot umetnost, sem obe disciplini primerjala na tej ravni. Preko tega lahko bolje določimo razlike in probleme, ki se pojavijo, ko se ena disciplina začne povezovati z drugo. Glavna razlika med lepo umetnostjo in teoretsko znanostjo je v tem, kako pristopata k realnosti. Prva skuša podobe resničnosti napraviti kar se da razvidne, zato da bi na njihovi osnovi lahko povedala kaj o resničnosti sami. Umetnost pa vzame za osnovo snovnost, avtonomnost podob in s tem tudi njihovo nezmožnost, da bi lahko ustrezno reproducirale resničnost. Ta nasprotja odsevajo tudi v oblikah posredne percepcije. Jezik znanosti velja za objektivnega, saj naj bi bili kot objekti ločeni od sveta in ga tako tudi opisujemo. Po drugi strani pa se domneva, da tudi jezik znanosti ne odseva naše izkušnje, ampak naj bi jo konstruiral. Če pa gledamo svet objektov in subjektov kot pretočen in odvisen od načina, kako ga opišemo, potem za opis objektov uporabljamo metafore. Meje človeške percepcije nad raven normalne zaznave razširjajo tehnični pripomočki – orodja. Tehnologija (v tem primeru tehnike in tehnologije vizualizacije) vpliva na našo zaznavo: lahko jo objektivizira ali pa jo konstruira. Tako znanost kot umetnost konstruirata dvodimenzionalno površino nečesa, kar vidimo kot tri dimenzije. Prav tako naša pričakovanja vplivajo na to, kako gledamo sliko, kar je povezano tudi s statusom znanstvene slike in vlogo umetnosti pri razumevanju oziroma problematiziranju nastanka dvodimenzionalnih površin tako v okviru znanosti kot v okviru umetnosti. Vse tri oblike percepcije uporabljata tako znanost kot umetnost, kar omogoča možnost dialoga; vendar samo pod pogojem, da druga drugo jemljeta resno na metodološki ravni. Po drugi strani pa lahko tako jezik kot orodja in tudi slike nastopajo kot oblike zavajanja ali pa v funkciji konstrukcije naše zaznave.

• Jezik: Slovenski jezik
• Ključne besede: teorija znanosti, teorija umetnosti, posredna zaznava, umetnost, vede, tehnologija, oblike posredne zaznave: jezik, orodja, slike
• Vrsta gradiva: Diplomsko delo
• Tipologija: 2.11 - Diplomsko delo
• Organizacija: PEF - Pedagoška fakulteta
• Kraj izida: Ljubljana
• Založnik: M. Založnik
• Leto izida: 2007
• Št. strani: VIII, 94 str.
• PID: 20.500.12556/RUL-171144
• UDK: 7.01(043.2)
• COBISS.SI-ID: 7215689
• Datum objave v RUL: 11.08.2025

Sekundarni jezik

• Jezik: Angleški jezik
• Naslov: Science in art / art in science : thesis

Izvleček

The main purpose of thesis was to research the way art and science intersect. One can with physical senses define but a small part of the active environment in which one lives. For the rest one relies on collective representations of our world conveyed through codified knowledge – the media. Since art and science both use these cultural inventions of indirect perception (language, tools and pictures) my goal was to compare them on that level. Through that we can better define the differences and problems that occur when one discipline merges with another. The main difference between beautiful arts and theoretical sciences lies in the way they perceive reality. Science is trying to make images of reality as visible as possible. On that basis it can say something about reality. Art takes matter as basis, the autonomy of images and in that way the incapability of images to reproduce reality. These differences are also reflected in terms of indirect perception. The language of science is treated as objective, because as objects we are separated from the world in order to describe it properly. On the other hand it is presumed that scientific language doesn't reflect our experience. It constructs it. If we perceive the world of objects and subjects as unstatic and dependent on the way we describe it, then for describing objects we must use metaphors. Tools are technical accessories which broaden the limits of human perception above the level of normal sensation. Technology (the techniques and technologies of visualizations) influence our perception: they can objectify it or they can construct it. In this way science as well as art construct two- dimensional surface of something we perceive as three-dimensional. In the same way our expectations also influence the way we perceive pictures. That is also connected with the status of scientific images and the role of art in perceiving and issuing the creation of twodimensional surfaces in science as well as in art. All the forms of perception are used in science and in art which enables the dialog between them, but under condition they consider each other seriously on methodological level. On the other hand language, tools and pictures can act as forms of misleading and constructing the view.

• Ključne besede: art, sciences, theory of science, theory of art, technology, indirect perception: language, tools, pictures