Palacký University Olomouc Reviewed by: Faculty of Education Department of Art Education doc. PhDr. Michal Miovský, Ph.D. The publication is the outcome of the Useful Symbiosis project, which was supported by the Palacký University Olomouc. Project’s Principal Researchers: Mgr. Petra Šobáňová, PhD., Mgr. Tereza Hrubá, Ph.D. Mgr. Lucie Tikalová Project’s Registration No. : IGA_PdF_2014009 USEFUL SYMBIOSIS: SCIENCE, TECHNOLOGY, ART & ART EDUCATION Petra Šobáňová et al. First Edition © Jan Andres, Olga Badalíková, Štěpánka Bieleszová, David Black, Hilary A. Braysmith, Pavel Forman, Leigh Anne Howard, Tereza Hrubá, Jiří Chmelík, Jana Jiroutová, David Medek, Robert Millard-Mendez, Štefan Novosad, Nancy Raen-Mendez, Anna Ronovská, Hana Stehlíková Babyrádová, Petra Šobáňová, Lucie Tikalová © Palacký University Olomouc, 2015 Authors of Photographs: © Jan Jakůbek, František Krejčí, Viktor Sýkora, Petra Šobáňová, Jan Žemlička, Eva Žváčková, doplnit ISBN 978-80-244-4853-4 Czech Texts Translated by: Jana Jiroutová, M.Phil. English Translations Proof-read by: Colm Hall Unauthorized use of the work is a breach of copyright and may be subject to civil, administrative or criminal liability. Olomouc 2015 Table of Contents technology and art 15. painting in some of the contemporary relations preface 16. photography in the role of a progressive and communicative medium introduction 16.1 communicative nature of photography the theoretical context of the symbiosis of art, science and technology topic 16.2 the virtual nature of a photograph 1. science and art as a path to knowledge 16.3 emotions and the power of a photographic image 2. scientific approach – its specifics and limits 16.4 visual literacy 2.1 rational and sceptic ants 16.5 photographic literacy 2.2 the issue of the truth 16.6 we change our tools and then our tools change us 2.3 science – islands in chaos 16.7 the misinterpretation of the natural view of the world and outsmarting 2.4 the issue of objectivity of apparatus 2.5 the deconstruction of science 16.8 solutions for working with photography in the process of education 2.6 the fundamental... 17. from pioneers to digital wizards: the metamorphosis of art under the influence of new media 2.7 science today 17.1 introduction 3. the art – of self-interpretation of a human being 17.2 the pioneers of new media 3.1 when is art and what does it do? 17.3 the advent of computers 3.2 fine arts 17.4 recording techniques and their application in action-oriented art 3.3 uniqueness perceptible through the senses 17.5 the further use of video and the beginnings of animation 3.4 mainly the fundamental... 17.6 other manifestations at the end of the 20th century 3.5 art as imitation 17.7 the cluttered present - the spirit of new media creativity 3.6 second nature 18. 3d technology and its application in sculpture and architecture 3.7 (art)science makes art 19. visualisation of body movement 3.8 art today introduction between art and science 19.1 Theoretical knowledge of movement 4. when art makes science and science art 19.2 history of movement visualisation 5. science and its applications in art, art in science 19.3 movement visualisation and computer art 6. when art and science become one useful symbiosis in the context of education 7. visualised combinatorics 20. unifying the numerous into one (on the integration of art, education, and science) 8. new paradigms of exact sciences in the contemporary visual expression 20.1 the creative mind and natural world 9. from budding scientist to blossoming artist: science as muse 20.2 science penetrating art (or art penetrating science?) – personality analogy 10. mycological musings and the meaning of crowds of a scientist and artist 11. c. d. friedrich’s ruine eldena im riesengebirge: a fatherland united by science and 20.3 a creative artistic educator in the role of the carrier of knowledge art12. john james audubon’s new spirit of inquiry: a dual legacy for art and science 21. ants, the queen, and little ants – an educational project for pre-school children the american woodsman 22. a tree in the midst of trees – an educational project for school children audubon and natural history illustration 23. the possibilities of contemporary photography in the process of experience educati- realist and romantic on for adults 13. the impact of social sciences on art 24. visual and art education at technology oriented universities 14. art in the prism of contemporary psychology, education and sociology conclusion 4 5 summary bibliography 6 7 Preface I enthused over the flow of the texts, in the background of which the recent project of Pavel Forman and Tereza Hrubá was prominent. I myself embarked The relationship between art and science is very delicate. Equally difficult on similar projects in my own field of study. I was thrilled to see a new epicen- to answer is the question of where the boundary between geniality and insanity tre of authors and colleagues based in the Palacký University in Olomouc, where lies. Actually, not even this one can be precisely and clearly defined. However, I worked for 12 years at the Department of Psychology, dealing with such difficult in my opinion a more difficult question yet is to identify the boundary between questions as cognition and the relationship between art and science. Useful Sym- art and science. A sensible solution is perhaps to abandon the thought of finding biosis is clearly a useful provocation following a broad line of not only a foreign, the answer all together, for the question itself appears to me rather misguided but also a domestic – and certainly original – stream of texts. almost neurotic. Authors of this publication are finding more and more inspiration, just There are certainly a number of reasons for that. As a psychologist inter- as Josef Viewegh fascinated the readership with his Psychologie umělecké litera- ested in psychotherapy since the very beginning of my career, I was confronted tury (Psychology of Artistic Literature) and his older works in the area of suicidol- with the statement which held that psychotherapy is a science but its applica- ogy. My attention was captured immediately with the texts of Petra Šobáňová tion an art. However, I had no problem accepting it and being in agreement with (Science and Art as Paths to Discovering and the following chapters of Scientific it until today. Perhaps the same statement could be applied to the whole of psy- Approach and its Limits) for their comparison of older texts with contemporary chology. A perceptive observer of this immensely rich and beautiful field of study ones often represented by interesting domestic works. This inspired me to go is inclined to arrive at the conclusion that there is no area on which art, beauty back to Kuhn, revisit the positions of Fred N. Kerling and Karl Popper, and search and emotions would not leave their impressions. for their alternatives, or for compatible, though different, positions. It made me Even in the most precise areas of psychology, if such a nomenclature could think of when it was that I gained certainty that both of these entities – qualita- be used to denote e.g. neuropsychology or methodology, we see in practice tive and quantitative (though I am aware of a certainvulgarising notion present that there is an enormous room for clinical ‘feeling’ and intuition as well as ex- in this dichotomous scheme) were an item. Or better still, when it was that I lost periential learning, etc. Mutual interconnection of both approaches – both ways the certainty that there was a certainty in dividing matters into art and science, of perceiving world and its discovery – is very important for our life. One makes and when I lost the certainty that I was on firm ground in science. no sense without the other, and separating them or giving preference to one And then I remembered. In my case, the last pieces of certainty were taken over the other is not very practical. Equally impractical is to try to separate away by Professor Pavel Machotka, who was introduced to (not only) me by my a figure from its background in Gestalt psychology. A figure is visible precisely be- colleague and friend, Professor Ivo Čermák. It was Pavel Machotka who helped cause of its background and vice versa. Boundaries and the unity of both actually me accept the fact that science is rather an uncertain certainty, and who, using constitute a requirement for their correct recognition and perception as a whole. a unique analysis of the relationship between the life and work of Paul Cézanne It was a pleasure to dive into the lines of this book. I was faced with old and (1839-1906), was able to demonstrate the importance of the intersection be- fundamental issues and questions, which cannot be answered once and for all, tween science and art. but on the pages of the book, were subjected to discussions at new levels. These The process of discovering the world is a firm interconnection of these two issues and questions must and will continue to have a provocative impact to- worlds, and marginal topics in particular demonstrate this fact perhaps more con- day, as well as tomorrow and every new generation will have to deal with those vincingly than mainstream ones. Machotka succeeded in uncovering enormous in their own way. In different levels, authors of particular chapters touch on fun- depths in which it is possible to analyse the relationship between the personality damental Gnostic dilemmas, and they search for the connection between science of the author and their work. He moved the horizon of my perception which had and art on different levels and in different applications.