Dv kultury
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Dv ě kultury. anotace. Zde se zm íníme o knize C.P. Snowa, reakcích na ni, jakož i o názoru, bohužel dosti rozšířeném, že umění a věda jsou v jakémsi rozporu, že humanitní a přírodovědná vzdělanost mají málo společného, či dokonce že matematické vědy nejsou nic pro skutečného intelektuála.

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Dv kultury

Dvě kultury


Anotace

anotace

  • Zde se zmíníme o knize C.P. Snowa, reakcích na ni, jakož i o názoru, bohužel dosti rozšířeném, že umění a věda jsou v jakémsi rozporu, že humanitní a přírodovědná vzdělanost mají málo společného, či dokonce že matematické vědy nejsou nic pro skutečného intelektuála.


Charles percy snow baron snow cbe 15 october 1905 1 july 1980

Charles Percy Snow, Baron Snow,CBE (15 October1905 - 1 July1980)

A good many times I have been present at gatherings of people who, by the standards of the traditional culture, are thought highly educated and who have with considerable gusto been expressing their incredulity at the illiteracy of scientists. Once or twice I have been provoked and have asked the company how many of them could describe the Second Law of Thermodynamics, law of entropy. The response was cold: it was also negative. Yet I was asking something which is about the scientific equivalent of: 'Have you read a work of Shakespeare's?'


C p snow

C.P. Snow

  • Author of books:Death under Sail (1932, novel)Strangers and Brothers (1940-70, novels, 11 vols.)The Two Cultures and the Scientific Revolution (1959, nonfiction)Second Look (1964, nonfiction)Public Affairs (1971, essays)In Their Wisdom (1974, novel)Trollope: His Life and Art (1975, biography)Coat of Varnish (1979, novel)Realists: Eight Portraits (1979, criticism)


Kr sa matematiky a matematika kr sna

Krása matematiky a matematika krásna

All nature is just just Art unknown to thee

All Chance, Direction, which you canst not see

All Discord, Harmony not understood…

Alexander Pope


Anotace1

anotace

  • Nejprve se pokusíme vysvětlit na příkladu zlatého řezu jakou krásu vidí matematik v jeho teorii. Pak ukážeme, jak koncept zlatého řezu ovlivňoval výtvarné umění, zmíníme se o úsilí renesančních mistrů pochopit matematické zákonitosti perspektivy. Uvidíme, že matematické zákonitosti lze vysledovat i v moderním umění.

  • Trochu naťukneme i téma „matematika a hudba“ (nedoděláno)


Zlat ez

Zlatý řez

φ= a/b = ½(1+5)

Fibonacciho posloupnost: 1,1,2,3,5,8,13….


Dv kultury

Luca Pacioli

Divina Proportione (1509)


Fr a kt ly

Fraktály

Sierpinského trojúhelník

Von Kochova sněhová vločka


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Mandelbrotova množina

Jackson Pollock


Albrecht d rer a um n perspektivy

Albrecht Dürer a umění perspektivy


Symetrie ve fyzice

Symetrie ve fyzice

  • Teorie grup

  • CPT teorem

  • Lorenzovská invariance

  • Supersymetrie

Symetrie je něco, co hraje podstatnou roli v estetickém vnímání.

Zajímavé symetrie vykazují však i základní fyzikální zákony a jejich existence je jedním ze zdrojů estetického nadšení fyziků nad krásou základních fyzikálních teorií.

Souvisí naše vnímání krásna s základními symetriemi zákonů, vládnoucích světu?

Je to možná trochu diskuse typu zda byla dříve slepice než vejce či obráceně, ale rozhodně to stoji za povšimnutí.


Relativita a kubismus

Relativita a kubismus


Dv kultury

  • Art Mirrors Physics Mirrors Art

  • Einstein, Picasso: Space, Time, and the Beauty That Causes Havoc

  • Arthur I. Miller

  • Basic Books (Perseus), New York, 2001. $30.00 (357 pp.). ISBN 0-465-01859-X

  • Reviewed by Stephen G. BrushLes Demoiselles d'Avignon:Arthur Miller addresses an important question: What was the connection, if any, between the simultaneous appearance of modern physics and modern art at the beginning of the 20th century? He has chosen to answer it by investigating in parallel biographies the pioneering works of the leaders of the two fields, Albert Einstein and Pablo Picasso. His brilliant book, Einstein, Picasso, offers the best explanation I have seen for the apparently independent discoveries of cubism and relativity as parts of a larger cultural transformation. He sees both as being focused on the nature of space and on the relation between perception and reality.

  • The suggestion that some connection exists between cubism and relativity, both of which appeared around 1905, is not new. But it has been made mostly by art critics who saw it as a simple causal connection: Einstein's theory influenced Picasso's painting. This idea failed for lack of plausible evidence. Miller sees the connection as being less direct: both Einstein and Picasso were influenced by the same European culture, in which speculations about four-dimensional geometry and practical problems of synchronizing clocks were widely discussed.

  • The French mathematician Henri Poincaré provided inspiration for both Einstein and Picasso. Einstein read Poincaré's Science and Hypothesis (French edition 1902, German translation 1904) and discussed it with his friends in Bern. He might also have read Poincaré's 1898 article on the measurement of time, in which the synchronization of clocks was discussed--a topic of professional interest to Einstein as a patent examiner. Picasso learned about Science and Hypothesis indirectly through Maurice Princet, an insurance actuary who explained the new geometry to Picasso and his friends in Paris. At that time there was considerable popular fascination with the idea of a fourth spatial dimension, thought by some to be the home of spirits, conceived by others as an "astral plane" where one can see all sides of an object at once. The British novelist H. G. Wells caused a sensation with his book The Time Machine (1895, French translation in a popular magazine 1898-99), where the fourth dimension was time, not space.


Dv kultury

Picasso actually incorporated the fourth dimension into his creations before Einstein did. Miller discusses in great detail the history of a single painting, Les Demoiselles d'Avignon--completed and first exhibited in 1907, now in the Museum of Modern Art in New York City. It is generally considered a seminal painting, which led directly to what is now called "modern art." In its final form, "the painting represents five prostitutes in a bordello. Although in close proximity, they do not interact with each other, only with the viewer--the client." From left to right we see: "a partially clothed demoiselle . . . with an Egyptian-Gauguinesque face, whose seemingly disembodied arm is pulling open a curtain; then there are two more attractive demoiselles of Iberian-Oceanic likeness . . . The standing demoiselle on the far right is also parting a curtain, while the squatting demoiselle is in a grotesquely impossible posture, with her back facing the picture plane and her head turned 180 degrees as if on a swivel . . . [with] a face that is shockingly hideous in comparison to the others" (page 89). The "plot" of the painting is the increasing geometrization of the figures as one goes from left to right, ending up with a four-dimensional view of the squatting whore.

In striking contrast to Marcel Duchamp's Nude Descending a Staircase (1912) where the figures represent successive points in time, seen as coexisting in the fourth dimension, Picasso's painting culminates with a superimposed set of three-dimensional projections of an object in four spatial dimensions. One is seeing the object simultaneously from (a sampling of) all possible perspectives rather than from only one as in classical painting.

Einstein did not appreciate the value of four-dimensional geometry in 1905 but came to it only later, with the help of Hermann Minkowski and Marcel Grossmann. Poincaré's influence was significant here but not so crucial; in fact Einstein rejected the "conventionalist" philosophy that led the Frenchman to the view that no uniquely determined geometry governs the world--you may choose whichever one is most convenient. Poincaré even proposed a "principle of relativity" but failed to grasp the consequences that Einstein drew from it.

Miller's point is that both Einstein and Picasso discarded the empiricist view--"what you see is what you get"--in favor of the realist-intellectualist view--thinking, not seeing, leads to the truth. The purpose of science is not to provide the most economical representation of the facts (as Ernst Mach claimed), and the purpose of art is not to provide the most accurate representation of what we can see (Why compete with photography?). The purpose of both science and art is to discover the reality that lies hidden behind the appearances.

This reality must, of course, conform to the highest aesthetic standards. Thus, as Einstein pointed out at the beginning of his 1905 relativity paper, the basic defect of classical electromagnetic theory is that it fails to give a symmetrical description of electromagnetic induction, one that is independent of the frame of reference of the observer.

In addition to giving detailed accounts of Einstein's discovery of relativity and Picasso's creation of Demoiselles, Miller provides fascinating biographies of both men. Both were isolated from most human concerns by their preoccupation with discovery; for instance, both attracted women whom they felt free to discard at will. Picasso had more lovers than Einstein did, but it was Einstein who "had the kind of male beauty that, especially at the beginning of the century, caused such havoc." (This anonymous quote, on page 50, provides part of the subtitle for the book.)

I strongly recommend this book to anyone interested in physics or art: It enhances a reader's understanding of the connection between art and science. It also underscores the breadth and pervasiveness of an epoch's intellectual ferment.

Stephen G. Brush is a historian of science at the University of Maryland, and is coauthor with Gerald Holton of Physics, the Human Adventure: From Copernicus to Einstein and Beyond (Rutgers U. Press, 2001). He thanks Elizabeth Alley for information about art history.


Dv kultury

Marcel Duchamp, Nahá žena sestupující ze schodů (1912)

Světočára ženy sestupující ze schodů


Tvrt dimenze

Čtvrtá dimenze

  • 1884 Edwin Abbot. Lidé v dvourozměrném Plošsku11

  • . Pár let předtím, než vyšla Abbotova knížka, vzrušoval Londýn soud se známým psychotronikem Henrym Sladem, který byl nakonec shledán vinným z podvodu. Když prohlašoval, že má kontakt se čtvrtou dimenzí, do které umí vysílat předměty, zastávali se ho i někteří vědci13, 14

  • V roce 1877 se provádělo několik kontrolovaných pokusů, které měly testovat Sladeovu schopnost vysílat do čtvrté dimenze předměty a naopak je odtamtud přijímat:

  • měly se bez narušení propojit dva pevné dřevěné kroužky;

  • pravotočivá šnečí skořápka se měla změnit v levotočivou;

  • na uzavřené smyčce z provázku se měl udělat uzel;

  • do uzavřeného zapečetěného kontejneru se vložil provázek s pravotočivým; uzlem; bez porušení pečeti se měl rozvázat a znovu zavázat jako levotočivý;

  • ze zapečetěné láhve se měl odstranit obsah.


Dv kultury

Zajímavý anglický matematik Charles Hinton pracoval na americkém patentním úřadě ve Washingtonu v době, kdy Einstein pracoval na patentním úřadě ve Švýcarsku. Jeho pokrokový otec James byl chirurgem18 a charizmatickým náboženským filozofem, hlásajícím volnou lásku a otevřenou polygamii; to nebylo zrovna to nejpřijatelnější pro viktoriánskou Anglii. Zdálo se však, že mladého Charlese mnohem více než polygamie zajímají polygony. Po skončení studií v Rugby a Oxfordu se stal učitelem matematiky na cheltenhamské dívčí škole a uppinghamské škole.

Svou první esej Co je to čtvrtá dimenze vydal v roce 1880.

Pak se však jeho život zdramatizoval. Zjevně se řídil otcovským naučením, neboť byl v roce 1885 uvězněn pro bigamii. Oženil se s Mary Booleovou, vdovou po jednom ze zakladatelů matematické logiky a teorie množin Georgii Booleovi, pak si ale vzal ještě Maude Weldonovou!

Významným Hintonovým příspěvkem ke studiu vyšších dimenzí byla série jednoduchých obrázků umožňujících získat určitou představu o tom, jak by vypadaly čtyřrozměrné objekty. Vycházel z toho, že v knihách jsou vyobrazeny třírozměrné objekty vždy dvourozměrně. Podobně bychom můžeme zobrazit dvou- či třírozměrně objekty čtyřrozměrné.


Dv kultury

Marc Chagall

Time is a river

Heart beat of

a lover:

non-standard clock

Standard clocks:

Uniform motion

Vibrations of a string

Pendulum


Kr sa gotick katedr ly

Krása gotické katedrály


Dv kultury

fiála

Vnější

opěrný

systém


Dv kultury

Kompenzuje

horizontální tlaky

Nevnímat!!


Kulturn vlivy newtona ve v ku rozumu

Kulturní vlivy Newtona ve věku rozumu


Anotace2

anotace

  • Zde si povšimneme, jak matematika a newtonianismus ovlivňoval ve věku rozumu filosofii, jazykovědu i umění. Je věcí názoru, zda vždy kladně a můžeme uvítat či zatracovat romantickou reakci, která následovala. Ale nemůžeme popřít tento vliv, i záporná reakce je vnímání, ne lhostejnost.


Dv kultury

James Thomson (1700-1748)

A Poem Sacred to the Memory of Sir Isaac Newton

1Shall the great soul of Newton quit this earth,

              2To mingle with his stars; and every muse,

              3Astonish'd into silence, shun the weight

              4Of honours due to his illustrious name?

              5But what can man?--Even now the sons of light,

              6In strains high-warbled to seraphic lyre,

              7Hail his arrival on the coast of bliss.

              8Yet am not I deterr'd, though high the theme,

              9And sung to harps of angels, for with you,

            10Ethereal flames! ambitious, I aspire

            11In Nature's general symphony to join.

            12     And what new wonders can ye show your guest!

            13Who, while on this dim spot, where mortals toil

            14Clouded in dust, from motion's simple laws,

            15Could trace the secret hand of Providence,

            16Wide-working through this universal frame.

            17     Have ye not listen'd while he bound the suns

            18And planets to their spheres! th' unequal task

            19Of humankind till then. Oft had they roll'd

            20O'er erring man the year, and oft disgrac'd

            21The pride of schools, before their course was known

            22Full in its causes and effects to him,

            23All-piercing sage! who sat not down and dream'd

            24Romantic schemes, defended by the din

            25Of specious words, and tyranny of names;

            26But, bidding his amazing mind attend,

            27And with heroic patience years on years

            28Deep-searching, saw at last the system dawn,

            29And shine, of all his race, on him alone.

            30     What were his raptures then! how pure! how strong!

            31And what the triumphs of old Greece and Rome,

            32By his diminish'd, but the pride of boys

            33In some small fray victorious! when instead

            34Of shatter'd parcels of this earth usurp'd

            35By violence unmanly, and sore deeds

            36Of cruelty and blood, Nature herself

            37Stood all subdu'd by him, and open laid

            38Her every latent glory to his view.

            39     All intellectual eye, our solar-round

40First gazing through, he by the blended power

            41Of gravitation and projection saw

            42The whole in silent harmony revolve.

            43From unassisted vision hid, the moons

            44To cheer remoter planets numerous pour'd,

            45By him in all their mingled tracts were seen.

            46He also fix'd the wandering Queen of Night,

            47Whether she wanes into a scanty orb,

            48Or, waxing broad, with her pale shadowy light,

            49In a soft deluge overflows the sky.

            50Her every motion clear-discerning, he

            51Adjusted to the mutual main, and taught

            52Why now the mighty mass of water swells

            53Resistless, heaving on the broken rocks,

            54And the full river turning; till again

            55The tide revertive, unattracted, leaves

            56A yellow waste of idle sands behind.

            57     Then breaking hence, he took his ardent flight

            58Through the blue infinite; and every star,

            59Which the clear concave of a winter's night

            60Pours on the eye, or astronomic tube,

            61Far-stretching, snatches from the dark abyss,

            62Or such as farther in successive skies

            63To fancy shine alone, at his approach

            64Blaz'd into suns, the living centre each

            65Of an harmonious system: all combin'd,


Dv kultury

            66And rul'd unerring by that single power,

            67Which draws the stone projected to the ground.

            68     O unprofuse magnificence divine!

            69O wisdom truly perfect! thus to call

            70From a few causes such a scheme of things,

            71Effects so various, beautiful, and great,

            72An universe complete! and O belov'd

            73Of Heaven! whose well-purg'd penetrative eye,

            74The mystic veil transpiercing, inly scann'd

            75The rising, moving, wide-establish'd frame.

  76     He, first of men, with awful wing pursu'd

            77The comet through the long elliptic curve,

            78As round innumerous worlds he wound his way,

            79Till, to the forehead of our evening sky

            80Return'd, the blazing wonder glares anew,

            81And o'er the trembling nations shakes dismay.

            82     The heavens are all his own, from the wild rule

            83Of whirling vortices and circling spheres

            84To their first great simplicity restor'd.

            85The schools astonish'd stood; but found it vain

            86To keep at odds with demonstration strong,

            87And, unawaken'd, dream beneath the blaze

            88Of truth. At once their pleasing visions fled,

            89With the gay shadows of the morning mix'd,

            90When Newton rose, our philosophic sun!

91Th' aërial flow of sound was known to him,

            92From whence it first in wavy circles breaks,

            93Till the touch'd organ takes the message in.

            94Nor could the darting beam of speed immense

            95Escape his swift pursuit and measuring eye.

            96Ev'n Light itself, which every thing displays,

            97Shone undiscover'd, till his brighter mind

            98Untwisted all the shining robe of day;

            99And, from the whitening undistinguish'd blaze,

          100Collecting every ray into his kind,

101To the charm'd eye educ'd the gorgeous train

          102Of parent colours. First the flaming red

          103Sprung vivid forth; the tawny orange next;

          104And next delicious yellow; by whose side

          105Fell the kind beams of all-refreshing green.

          106Then the pure blue, that swells autumnal skies

          107Ethereal played; and then, of sadder hue,

          108Emerg'd the deepen'd indigo, as when

          109The heavy-skirted evening droops with frost;

          110While the last gleamings of refracted light

          111Died in the fainting violet away.

          112These, when the clouds distil the rosy shower,

          113Shine out distinct adown the wat'ry bow;

          114While o'er our heads the dewy vision bends

          115Delightful, melting on the fields beneath.

          116Myriads of mingling dyes from these result,

          117And myriads still remain--infinite source

          118Of beauty, ever flushing, ever new.

          119     Did ever poet image aught so fair,

          120Dreaming in whisp'ring groves by the hoarse brook?

          121Or prophet, to whose rapture heaven descends?

          122Ev'n now the setting sun and shifting clouds,

          123Seen, Greenwich, from thy lovely heights, declare

          124How just, how beauteous the refractive law.

          125     The noiseless tide of time, all bearing down

          126To vast eternity's unbounded sea,

          127Where the green islands of the happy shine,

          128He stemm'd alone; and, to the source (involv'd

          129Deep in primeval gloom) ascending, rais'd

          130His lights at equal distances, to guide

          131Historian wilder'd on his darksome way.

          132     But who can number up his labours? who

          133His high discoveries sing? When but a few

          134Of the deep-studying race can stretch their minds

          135To what he knew--in fancy's lighter thought

          136How shall the muse then grasp the mighty theme?

          137     What wonder thence that his devotion swell'd

          138Responsive to his knowledge? For could he,

          139Whose piercing mental eye diffusive saw

          140The finish'd university of things

          141In all its order, magnitude, and parts,

          142Forbear incessant to adore that Power

          143Who fills, sustains, and actuates the whole?

          144     Say, ye who best can tell, ye happy few,

          145Who saw him in the softest lights of life,

          146All unwithheld, indulging to his friends

          147The vast unborrow'd treasures of his mind,

          148oh, speak the wondrous man! how mild, how calr

          149How greatly humble, how divinely good,

          150How firm establish'd on eternal truth;

          151Fervent in doing well, with every nerve

          152Still pressing on, forgetful of the past,

          153And panting for perfection; far above

          154Those little cares and visionary joys

          155That so perplex the fond impassion'd heart

          156Of ever-cheated, ever-trusting man.

          157This, Conduitt, from thy rural hours we hope;


Dv kultury

          159Her every sweet in studious ease you walk,

          160The social passions smiling at thy heart

          161That glows with all the recollected sage.

          162     And you, ye hopeless gloomy-minded tribe,

          163You who, unconscious of those nobler flights

          164That reach impatient at immortal life,

          165Against the prime endearing privilege

          166Of being dare contend,--say, can a soul

          167Of such extensive, deep, tremendous powers,

          168Enlarging still, be but a finer breath

          169Of spirits dancing through their tubes awhile,

          170And then for ever lost in vacant air?

          171     But hark! methinks I hear a warning voice,

          172Solemn as when some awful change is come,

          173Sound through the world--" 'Tis done!--the measure's full;

          174And I resign my charge."--Ye mouldering stones

          175That build the towering pyramid, the proud

          176Triumphal arch, the monument effac'd

          177By ruthless ruin, and whate'er supports

          178The worship'd name of hoar antiquity--

          179Down to the dust! What grandeur can ye boast

          180While Newton lifts his column to the skies,

          181Beyond the waste of time. Let no weak drop

          182Be shed for him. The virgin in her bloom

          183Cut off, the joyous youth, and darling child--

          184These are the tombs that claim the tender tear

          185And elegiac song. But Newton calls

          186For other notes of gratulation high,

          187That now he wanders through those endless worlds

          188He here so well descried, and wondering talks,

          189And hymns their Author with his glad compeers.

          190     O Britain's boast! whether with angels thou

          191Sittest in dread discourse, or fellow-blest,

          192Who joy to see the honour of their kind;

          193Or whether, mounted on cherubic wing,

          194Thy swift career is with the whirling orbs,

          195Comparing things with things, in rapture lost,

          196And grateful adoration for that light

          197So plenteous ray'd into thy mind below

          198From Light Himself; oh, look with pity down

          199On humankind, a frail erroneous race!

          200Exalt the spirit of a downward world!

          201O'er thy dejected country chief preside,

          202And be her Genius call'd! her studies raise,

          203Correct her manners, and inspire her youth;

          204For, though deprav'd and sunk, she brought thee forth,

          205And glories in thy name! she points thee out

          206To all her sons, and bids them eye thy star:

          207While, in expectance of the second life,

          208When time shall be no more, thy sacred dust

          209Sleeps with her kings, and dignifies the scene.

Notes

1] First published in June 1727, three months after Newton's death. "The enthusiasm of the early eighteenth century over Newton's discoveries and ideas was intense and widespread, and this poem of Thomson is a representative expression.


Dv kultury

Maurice Quentin de la Tour

Slečna Ferrandová medituje nad Newtonem


Alexander pope 1688 1744

A little Learning is a dang’rous Thing;

Drink deep, or taste not the Pierian Spring:

There shallow Draughts intoxicate the Brain,

And drinking largely sobers us again.

Fir’d at first Sight with what the Muse imparts,

In fearless Youth we tempt the Heights of Arts,

While from the bounded Level of our Mind,

Short Views we take, nor see the lengths behind,

But more advanc’d, behold with strange Surprize

New, distant Scenes of endless Science rise!

Alexander Pope, An Essay on Criticism

Isaacus Newtonus:

Quem Immortalem

Testantur Tempus, Natura, Coelum:

Mortalem

Hoc Marmor Fatetur.

Nature and Nature’s laws lay hid in night

God said, Let Newton be! and all was light.

Alexander Pope( 1688 - 1744 )


Dv kultury

John Dryden

1631-1700

…bringing all things as near the mathematical plaines as they can.

Programové prohlášení pro reformu jazyka

Kdo chce být dobrým básníkem, musí mít filosofickou

a do jisté míry i matematickou hlavu a musí být vzdělán v několika

(přírodních) vědách


Romantick reakce

Romantická reakce

John Keats (1795-1821):

Newton podřízl krk poezii

  • William Blake (1757-1827):

  • Věda je ďábel, jehož velekněžími jsou Newton a Locke

William Blake: Newton


V echny kr sy sv ta

Všechny krásy světa

aneb

vědecký x básnický pohled na svět


Anotace3

anotace

  • Zde chceme konfrontovat „vědecký“ a „umělecký“ pohled na svět. Obraz Newtona od Blakea už neměl tak docela oslavný charakter, vždyť podle Blakea Věda je ďábel, jejímiž velekněžími jsou Newton a Locke a podle Keatse Newton podřízl krk poezii. Po četbě některých rétorických veršů Alexandra Popea jsme možná náchylní dát mu trochu za pravdu. My zde chceme diskutovat s doslova vzatým veršem E. A. Poe Vědo … proč srdce rveš, jímž básník vnímá krásu a ukázat, že poučený pohled na svět neubírá jeho vjemu na emotivní hodnotě. Nechceme samozřejmě tvrdit, že každý vědec má bohatší estetický vjem světa, jen ukázat že poučený pohled nutí více setrvat na detailech a vede k řadě asociací, které mají „uměleckou“ inspirativnost.


W blake africa

W. Blake - Africa

  • Thus the terrible race of Los & Enitharmon

  • gave Laws & Religions to the sons of Har binding them more

  • And more to Earth: closing and restraining:

  • Till a Philosophy of Five Senses was complete

  • Urizen wept & gave it into the hands of Newton & Locke

  • Clouds roll heavy upon the Alps round Rousseau & Voltaire:


Dv kultury

SONNET- TO SCIENCE

by Edgar Allan Poe 1829

Science! true daughter of Old Time thou art!    Who alterest all things with thy peering eyes. Why preyest thou thus upon the poet's heart,    Vulture, whose wings are dull realities? How should he love thee? or how deem thee wise,    Who wouldst not leave him in his wandering To seek for treasure in the jewelled skies,    Albeit he soared with an undaunted wing? Hast thou not dragged Diana from her car?    And driven the Hamadryad from the wood To seek a shelter in some happier star?    Hast thou not torn the Naiad from her flood, The Elfin from the green grass, and from me The summer dream beneath the tamarind tree?

]


Dv kultury

Srovnejme různé pohledy a reakce na Suché skály a Malou Skálu:

Pohled turisty: „Ó, jaká krásná scenérie!“ (a jde dále)

Pohled geologa:Jizera prohlodala vrstvu tvrdých druhohorních křemičitých pískovců, kterou vrásnění otočilo do svislé polohy (má-li turista určité geologické znalosti, vydrží pohled studovat déle a má spustu zajímavých asociací)


Dv kultury

Analogicky před Kapelníkem na Hruboskalsku

Horolezec: hledá očima cestu k vrcholu a „krásná cesta“ pro něj neznamená

jen „obtížné cesta“ (totiž pro horolece, pro kterého skála nené jen tělocvičným nářadím -

a takových je hodně)


Dv kultury

Fyzik: Větrná erose zvětšuje malé perturbace

Vybaví se mu mnohé analogie: víry, vznik galaxií, krystalizační jádra …

Dívá se na útvary mnohem podrobněji a má-li určité výtvarné cítění, je jeho

estetický zážitek hlubší – „prožít“ Braqueův obraz také vyžaduje delší

zastavení a studium detailů.


Dv kultury

Georges Braque

Housle a svíčka


Dv kultury

Twinkle, twinkle, little star,

How I wonder what you are.

Up above the world so high,

Like a diamond in the sky.

Twinkle, twinkle, little star,

How I wonder what you are!

Twinkle Twinkle little star,

I don't wonder what you are;

For by spectroscopic ken,

I know that you're hydrogen;

Twinkle Twinkle little star,

I don't wonder what you are.

I původní dětské říkánce zaznívá touha poznat,

co hvězda skutečně je. Astronomové se nedívají

na hvězdné nebe s menším estetickým vytržením,

než básníci, i když o podstatě hvězd vědí více

A konečně:

Twinkle, twinkle quasi-starBiggest puzzle from afarHow unlike the other onesBrighter than a billion suns.Twinkle, twinkle quasi-starHow I wonder what you are.

G. Gamow


Dv kultury

za skřítky a najády,které podle Poea vypudila věda z hájůdali fyzikové více jek plnohodnotnou náhradu, co se tajuplnosti týče:

  • Černé díry, ze kterých nepřichází žádná informace

  • Zcela nerozlišitelné částice, které umějí procházet neviditellnými tunely stěnou

  • ….


Fyzika jako kr sn um n

Fyzika jako krásné umění


E a poe the philosophy of composition

E.A.Poe: The Philosophy of composition

  • I select "The Raven" as most generally known. It is my design to render it manifest that no one point in its composition is referrible either to accident or intuition — that the work proceeded step by step, to its completion with the precision and rigid consequence of a mathematical problem.


Edgar alan poe havran

Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore,    While I nodded, nearly napping, suddenly there came a tapping, As of some one gently rapping, rapping at my chamber door. "'Tis some visitor," I muttered, "tapping at my chamber door-                  Only this, and nothing more."

Jednou o půlnoci, maje horečku a rozjímaje nad divnými svazky vědy prastaré a záslužné - když jsem klímal v polospaní, ozvalo se znenadání velmi jemné zaťukání na dveře - a pak už ne. "Je to návštěva, či zdání, bylo to tak nezvučné - jednou jen a pak už ne."

Edgar Alan Poe, Havran


Dv kultury

"Prophet," said I, "thing of evil! prophet still if bird or devil! By that heaven that bends above us — by that God we both adore, Tell this soul with sorrow laden, if within the distant Aidenn, It shall clasp a sainted maiden whom the angels name Lenore — Clasp a rare and radiant maiden whom the angels name Lenore."             Quoth the raven — "Nevermore."

"Proroku," dím, "mene tekel, ať jsi pták anebo z pekel, při nebi, jež nad námi je, při Bohu, jenž leká mne, rci té duši, jež žal tají, zdali aspoň jednou v ráji tu, již svatí nazývají Lenora, kdy přivine, jasnou dívku Lenoru, kdy v náruči své přivine" - havran dí: "Už víckrát ne."


I e en matematick ho i fyzik ln ho probl mu vy aduje intuici

I řešení matematického či fyzikálního problému vyžaduje intuici

  • Fyzikální teorie jsou „volným výtvorem lidské mysli“ v tom smyslu, že neexistuje přímočará cesta od empirie k teorii

    • A. Einstein


Volnost ve vyj d en t matu

Volnost ve vyjádření tématu

A HYMN TO VENUS AND CUPID  Sea-born goddess, let me beBy thy son thus graced, and thee,

A.W. Bouguereau

(1825-1905)

Lucas Cranach

(1472-1553)


Dv kultury

James Joyce:Naučil jsem se norsky, abych mohl číst Ibsena v originále. Proč by se moji čtenáři nemohli naučit jazyk můj?

As the lion, in our teargarten remembers the nenuphars of his Nile (shall Ariuz forget Arioun or Boghas the baregams of theMarmarazalles from Marmeniere?) it may be, tots wearsense fulla naggin in twentyg have sigilpostedwhat in our brievingbust,the besieged bedreamt him stil and solely of those lililithsun-deveiled which had undone him, gone for age, and knew notthe watchfultreachers at his wake, and theirs to stay. Fooi, fooi,chamermissies! Zeepyzoepy, larcenlads! Zijnzijn Zijnzijn! It maybe, we moest ons hasten selves te declareer it, that he reglimmed

(Finnegans Wake)

“Three quarks for Muster Mark!

/Sure he hasn't got much of a bark/

And sure any he has it's all

beside the mark.”


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