radionica i

Hrabrom znati`eljniku koji uzima u ruke ovu moju bilje`nicu i pristupa AVANTURI, ne bi li u{ao u nju, ho}e li?

Bilje`nica je to jedne stare pasionirane u~iteljice koja se cijeli `ivot bavila/bavi vizualno{}u, umjetno{}u i odgojem.

To a brave inquisitive person who takes my notebook into his/her hands and approaches the ADVENTURE; will he/she enter it, or not?

This is a notebook of a passionate old teacher who has been occupied with visuality, art and education all her life.

PRIRODA JE NEPRESTANA PP RR EE OO BB RR AA ZZ BB AA 3NATURE IS A CONTINUOUS TT RR AA NN SS FF OO RR MM AA TT II OO NN

Pogledali smo gospinu jagodicu, bila je konkavno-konveksna masa za nekoliko dana probrazila se u splet linijskoistanjenih masa

We looked at a Chinese lantern and it was a concave-convex mass after a few days it transformed itself into a linear mass structure

POÊLA I NAÊLA OORRIIGGIINNSS AANNDD PPRRIINNCCIIPPLLEESS

PREOBRAZBA JE IREVERZIBILNA u vremenu THE TRANSFORMATION IS IRREVERSIBLE with time

ZBIJENA MASA

MONOLITHIC MASS

KONKAVNO-KONVEKSNA MASA

CONCAVE-CONVEX MASS

REVERZIBILNA U POGLEDU I DODIRU/sabijena u ISTODOBNOST

THE MAIN SENSORY CONTENT OF VULAS’ SCULPTURE IS TRANSFORMATION

UMJETNOST JE OSJETILNI SAMOODGOJ ÔVJEÂNSTVA ART IS THE SENSORY SELF EDUCATION OF MANKIND

REVERSIBLE IN GLANCE AND TOUCH/pressed into SIMULTANEITY

PREOBRAZBA

TRANSFORMATION

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PP OO VV RR [[ II NN AA(RAZLIÎTE PROMJENE U INTENZITETU SVJETLOSTI) jest svaka naspramnost doìvljava se vidom i dodirom(dodirna) PLOHA jest neutralizirani odnos mase i prostora

SS UU RR FF AA CC EE(VARIOUS CHANGES IN LIGHT INTENSITY)

is everything opposed, visual and tangible

(tangible) PLANE is a neutralized relation between mass and space

“Naše razli~ite opaàjne mogu}nosti, kao što su vid, sluh, dodir i miris su rezultat osobitih razmjernih redukcija jednog te istogširokog spektra vibracijskih frekvencija. Naš vizualni opaàj se razlikuje od dodirnog, jer ìvci mre`nice nisu podešeni na isti raspon frekvencija kao ìvci usa|eni u našu koù.”

“Our different perceptual faculties such as sight, hearing, touch and smell are a result of various proportional reductions of one vast spectrum of vibratory frequencies. Our visual sense differs from our sense of touch only because

the nerves of the retina are not tuned to the same range of frequencies as are the nerves embedded in our skin.” (Lawlor)

VIZUALNO-TAKTILNI SVIJET KAO KONTINUIRANA PREOBRAZBA ODNOSA MASE I PROSTORA

THE VISUAL-TANGIBLE WORLD AS A CONTINUOUS TRANSFORMATION OF THE MASS-SPACE RELATION

FOTOGRAFIJA

PHOTOGRAPH

FOTOGRAM

PHOTOGRAMtransmitsreducesamplifies

prenosireducirapoja~ava

GLAVNI OSJETILNI SADR@AJ VULASOVOG KIPA JE PREOBRAZBA

Structure of the ActivityIn the first workshop the workshop leader brings ineach participant: waits for them at the entrance,shakes hands with them, asks them where theycome from, why they are attending the workshopwith what motivaton etc. and introduces him/her-self.1. a) The participants are invited to choose anobject from the table. They will keep it till the end ofthe workshop. b) A short discourse follows: thestudents talk to the participants about the reasonsfor their choice, why they have chosen the particu-lar object (gourd, dry leave, toilet paper, pebbleetc.)2. The workshop leader takes over the discourseand leads it in three directions: a) of becoming aware of the various possibilities ofthe mass and space relationship and naming the“pure cases” (monolithic mass, concave-convexmass, penetrated mass, highly penetrated mass,planar mass, linear mass etc); b) of intersensoryexperience, inviting the participants to pick up theobject in their hands, to look at it, to smell it, maybeto taste it (apple), to listen to what they have in theirhands (touch, shake); c) of instructing about thecharacteristics and roles of the media as transmit-ters, reductors and amplifiers. d) Colour slides ofsome objects present on the table or in somebody’shands (pebble, gourd, dry leaves) are projected andwe try to become aware of the difference betweenthe originals, the colour slides, the black and whitephotographs and photograms which are on thewalls. We listen to an audio cassette with reproduc-tions of sounds created by touching the objects.Questions are posed: what do we hear, where is theorigin of the sound, how is it created (short talk).3. Again the projections of the whole series fromthe leaf to the pebble, are shown, participantsrepeat and establish the concepts of the relationshipbetween mass and space and become aware of lit-eral perception and therefore are deepened andwidened in their shematic perception (function,meaning), too.4. The participants become aware of transforma-tions. The game is guided by the students. Theystart from the participant who has chosen the rollof toilet paper. The task is to become aware of ahighly penetrated mass with a rough textural sur-face and that when we begin to unroll it, it showsitself as a planar mass. Till that time the text isspoken by the workshop leader holding the roll inhis/her hands. After that a student takes the roll,tightly wrapping one participant with the paper, get-ting a mildly rough surface of the concave-convexmass of his/her body. One student then quickly

Studentica pokazuje kako se probu{ena masapretvara u plo{no istanjenu/A student-instructordemonstrates how a highly penetrated mass trans-forms into a planar one.

Igra s plo{no istanjenom masom/A game with aplanar mass

Svatko drì u ruci ne{to obi~no/Everybody hassomething ordinary in his hands

Tuma~i se konkavno-konveksna masa/The con-cave-convex mass is explained

Smotuljak plo{no istanjene mase daje zbijenumasu/A planar mass bundle results in a monolithicone

Vulasova se Skulptura doìvljava dodirom/Vulas’sSculpture is experienced by touching

Folijom se “skida” otisak Vulasovog kipa/A“print” of Vulas’s sculpture is taken with foil

Na sjeni kipa se prati obris/The outline is followedon the shadow of the sculpture

Prva izvedba radionica: 1992.-93.

P o ~ e l a i n a ~ e l a je naziv prvih radionica. Kao {to i naziv kazuje, te se radionice bave likovnimpo~elima kao {to su linija, ploha, boja, masa i prostor, i na~elima: simetrijama, omjerima i razmjerima,temeljnim sintakti~kim pravilima odnosa koje susre}emo u prirodi i po kojima su oblikovana sva djela(ne samo likovna).Bit ovih radionica (kao {to }e to biti i u radionicama koje slijede) nije samo u izboru sadràja nego iu metodama kojima se ti sadràji isku{avaju, prenose u razli~ite svakodnevnosti ili pak u drugemedije, radi ve}e u~inkovitosti u osvje{tavanju vlastitog opaàja i radi stjecanja kompetencije uodnosu na promatranje/doìvljaj umjetni~kog djela.Ku{anje/mirisanje/slu{anje/kretanje/crtanje/mjerenje/ra~unanje/glumljenje/bojanje, uz gledanje idodirivanje, trebaju pridonijeti intenziviranju vi|enja, rastu razlikovne mo}i, ali i tome da se, uzosvje{tavanje specifi~nosti vida, doìvi i njegova povezanost sa svim drugim osjetilnim podru~jima,te povezanost ~ovjekove osjetilne/-umjetni~ke djelatnosti i prirode.Tijekom rada, u svim radionicama, sudionici dobivaju fotokopirane materijale na kojima rade i kojezadràvaju slaù}i ih u mape.

U p r v o j radionici namjera je mnogoosjetilno istraìvati svijet i osvje{tavati svoj doìvljaj;osvje{tavati razlike izme|u shematskog i doslovnog opaàja; osvje{tavati kontinuirane preobrazbeodnosa mase i prostora i imenovati ih od zbijene do istanjene mase; osvje{tavati razli~ite osobinerazli~itih medija; osvje{tavati medije kao “poja~ala”, “prenositelje”, “reduktore”; osvje{tavati mno-goosjetilnost doìvljaja kipa.

Ambijent: U sredini prostorije je stol, okolo su stolice u polukru`nom rasporedu, malo odmaknuti.Projektor je s jedne uè strane, projicira se na nasuprotni zid. Na stolu su razmje{teni razni svako-dnevni, ali ipak pomno odabrani predmeti s karakteristi~nim odnosima mase i prostora. Na zidu sucrno-bijele fotografije, fotogrami, fotokopije fotograma nekih predmeta koji se nalaze na stolu (tikva,suhi list, oblutak). Pored ostalog prisutni su i jedan originalni kip i plodovi “gospine jagodice”.Prire|ene su alumi-nijske folije i tekst/crte` o vizualno-taktilnim pojmovima.Vrijeme: oko 120 min (trajanje svake radionice).

Struktura doga|anjaU prvu radionicu voditelj uvodi svakog sudionika: do~eka ga na vratima, s njim se rukuje, pita ga tkoje i odakle dolazi i sam se predstavlja.1. a) Sudionici se pozivaju da izaberu jedan predmet sa stola, koji ostaje kod njih do kraja radionice. b) Slijedi kratki razgovor, koji sa sudionicima vode studenti o tome za{to su birali ba{ taj predmet(tikvu, suhi list, toalet papir, oblutak, itd.).2. Voditelj preuzima razgovor i vodi ga u tri smjera: a) u smjeru osvje{tavanja razli~itih mogu}nostimase i prostora i imenovanja “~istih slu~ajeva” (zbijena masa, konkavno-konveksna masa, penetriranamasa, visoko penetrirana masa, plo{no istanjena masa, linijski istanjena masa itd); b) u smjeru mno-goosjetilnog doìvljavanja pozivaju}i sudionike da izabrani predmet uzmu u ruke, da gledaju, damiri{u, eventualno ku{aju (jabuka), slu{aju to {to drè u rukama (dodir, tresak); c) u smjeru upozore-nja na osobine i uloge medija kao prenositelja, reduktora, poja~ala. d) Potom se projiciraju kolordijapozitivi nekoliko primjera predmeta prisutnih na stolu odnosno u ne~ijoj ruci (oblutak, tikva, suhilist) i osvje{tavaju se razlike izme|u originala, kolor dijapozitiva, crno-bijelih fotografija i fotogramakoji se nalaze na zidu. Potom se slu{aju snimljeni zvukovi dodirivanja predmeta. Pita se: {to se ~uje,gdje je porijeklo zvuka, kako se postigao zvuk (kratki razgovor).3. Ponovo projekcija cijelog niza - od lista do oblutka - uz ponavljanje i utvr|ivanje pojmova odnosamase i prostora radi osvje{tavanja doslovnog opaàja, ~ime se produbljuje, pro{iruje i shematski opaàj(namjena, zna~enje).

First perfomance of workshops: 1992.-93.

Origins and Principles is the name of the first seriesof workshops. As the name expresses, the contentsof the workshops are visual art origins, such as line,plane, colour, mass and space and principles suchas symmetries, ratios and proportions, the basicsyntactic rules of the relationships we find in natureand according to which all works and not only art-works are made. The essence of these workshops isnot only in the choice of contents, but also in themethods by which these contents are investigated,transferred to various everyday occurrences or toother media on account of a greater effectiveness inbecoming aware of one’s own perception and onaccount of gaining competition in relation to observ-ing/experiencing works of art. Tasting/smelling/hear-ing/moving/drawing/-measuring/computing/-acting/colouring, besides looking and touchingshould contribute not only to the intensification ofvision, to the growth of a discriminative ability, butalso to the specific character of visual experienceand its link to all other sensory fields and the link ofthe human sensory/artistic activities with nature. Inall workshops the participants receive photocopiedmaterials to work on and they keep them together infolders.

The intention of the f i r s t workshop is toexplore the world with all the senses, to becomeaware of one’s own experience, the differencesbetween shematic and literal perception and thecontinual transformation in the mass/space relation-ship and to name the stages from monolithic massto linear mass; the different characteristics of differ-ent mediums, the media as various “amplifiers”,“transmitters”, “reductors”; and to gain an aware-ness of the intersensory experience of a sculpture.

Ambience: In the middle of the room there is atable, all around it there are, at some distance fromeach other, chairs in a semicircle. The projector isin front of one of the shorter walls and the projec-tion takes place on the opposite wall. On the tablethere are various different, ordinary, and yet careful-ly chosen objects with a characteristic relationshipof mass and space. On the wall there are black andwhite photographs, photograms, photocopies ofphotograms made of some of the objects which arepresent (gourd, dry leaves, pebbles). The originalsculpture is present. Some aluminium sheets and atext/drawing about visual-tactile concepts are pre-pared. Time: about 120 minutes (which is the aver-age duration of every workshop).

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6. A student with a prepared aluminium sheet “takes”a printed mould of the surface of Vulas’s sculpture.He talks about the differences between the sculptureand the “printed” mould of the planar mass.7. a) The sculpture is put onto a base in the middleof the table. Light is projected on to it. The task is tobecome aware of the span between the planar massof the “mould” and the “absolute” plane - shadow.b) The participants are invited to draw the outline ofthe projected shadow, in order to arrive at the con-cept of the linear. c) They draw another outline, nowwith their left hands, not looking at the drawing itself.They become aware of the return once again to tan-gible experience.8. At the end a series of slides are projected, inten-tionally taken of ordinary objects. The paradigms ofall the visual-tangible concepts are intended to“open” the possibility of looking in another way atthe common world which is the utmost intention ofthe workshop.9. The participants receive a photocopied text/draw-ing of the visual-tangible concepts.

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4. Osvje{tavanje preobrazbi. Igru vode studenti. Polaze od osobe koja je izabrala smotuljak toaletpapira. Osvje{tava se da se radi o visoko penetriranoj masi hrapave teksturalne povr{ine i da se, kadapo~nemo odmotavati, pokaè plo{no istanjena masa. Do tog trenutka govori voditelj, drè}i u rucismotuljak. Predaje ga studentu-instruktoru koji ~vrsto omota sudionika i dobiva blago hrapavooplo{je konkavno-konveksne mase njegova tijela. Sada jedan student-instruktor brzo odmota/oslobo-di uvijenog i smotuljak baci nekome, traè}i da taj, nakon {to se omota, traku baci dalje sljede}em iopet tako sve dok se smotuljak ne potro{i. Osvje{tava se uporaba mogu}nosti plo{no istanjene maseda uznemiri, oìvi, komponira veliki prostor. Nakon “gotove kompozicije”, u ~ije su stvaranje biliuklju~eni svi sudionici, jedan student-instuktor poziva na vra}anje postupka i kona~no dobiva cijelismotuljak. Drè}i ga u ruci, bilo on, bilo voditelj, upozorava da se dobila zbijena masa.5. a)Voditelj uzima u ruke Skulpturu Š. Vulasa, 1973., drvo, 23 cm, vlasni{tvo autora (do tada je bilaskrivena) i tuma~i je, pokazuju}i da je komponirana od zbijenih masa hrapavog/plo{nog oplo{ja. Kipdaje sudionicima u ruke da ga opipaju, da ga svi osjete u svojim rukama. Nakon toga kip je opet urukama voditelja koji tuma~i preobrazbu zbijenosti u konkavno-konveksnu masu kao glavno osjetilnodoga|anje kipa, kao glavni osjetilni sadràj djela. Upozoruje da se malo~as poku{alo ne{to sli~no –transformirati visoko penetriranu masu u plo{no istanjenu i kona~no u zbijenu. Za razliku odVulasove Skulpture radilo se ne previ{e spretno i s tro{nim materijalom. b) Voditelj tuma~i vizualnupreobrazbu jednog cvijeta – ploda kojeg drì u rukama (“gospina jagodica”) od konkavno-konveksnemase do spleta linijsko istanjenih masa. Upozorava se na sli~nosti prirode i djela upravo na razinipreobrazbe odnosa mase i prostora.6. Pripremljenom folijom student “skida” otisak oplo{ja Vulasove Skulpture i vodi razgovor o razliciizme|u kipa i otiska-kalupa plo{no istanjene mase.7. a) Kip se postavlja na postolje u sredinu stola. Na njega se projicira snop svjetlosti. Osvje{tava seraspon od plo{no istanjene mase otiska do “apsolutne” plohe – sjene. b) Sudionici se pozivaju da nacrtaju obris projicirane sjene i tako se stiè do linijskog. c) Crta se jo{jedan obris, sada lijevom rukom a da se pritom ne gleda u crte` koji nastaje. Upozorava se da smo seopet vratili taktilnom doìvljaju.8. Na kraju se projicira slijed dijapozitiva, osobito i namjerno snimljenih svakodnevnih stvari. Te para-digme svih vizualno-taktilnih pojmova namjeravaju sudionicima “otvoriti” mogu}nost druga~ijeggledanja uobi~ajenog svijeta {to je krajnja namjera radionice.9. Svi sudionici dobivaju fotokopirani tekst/crte` o vizualno-taktilnim pojmovima.

unrolls it - liberates the wrapped person andthrows the roll to someone, asking him to roll theband around himself and then to throw it to some-one else again and so on, while the roll lasts. Thetask is to become aware of the possibility of a pla-nar mass to disturb, to enliven, to compose a greatspace. After the “composition”, created by all theparticipants has been finished, a student invites theparticipants to reverse the procedure and hold theroll again. With it in his/her hand he/she tells themabout the monolithic mass.5. a) The workshop leader takes Š. Vulas’sSculpture, 1973., wood, heights: 23 cm, theauthor's collection, in his/her hands Š(till thatmoment it was hidden) and explains it showing thatit is composed of monolithic masses with rough-planar surfaces. He/she gives it to all the partici-pants who touch it and feel it. After that the work-shop leader takes the sculpture back into his/herhands and explains it as a transformation from amonolithic mass into a concave-convex mass, asthe main sensory content of this art work. He/shereminds the participants that they have just triedsomething similar, transforming a penetrated massinto a planar and finally into a monolithic mass.Different from Vulas’s sculpture we worked not soskilfully and used waste material (paper). b) After that the workshop leader explains the visualtransformation of a flower to a fruit he/she has inhis/her hand a Chinese lantern from concave-con-vex mass into an interwoven linear mass. He/shetalks about the similarities between nature and awork of art on the level of transformation of themass - space relationship.

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PLOHA (TO^KA) LINIJAPLANE (POINT) LINE

LINIJA PLOHALINE PLANE

TRAG ZAUSTAVLJENE KRETNJETHE TRACE OF A MOVEMENT BROUGHT TO A HALT

TRAG KRETNJE PO PODLOZITHE TRACE OF A HANDMOVEMENT

VVIINNCCEENNTT VVAANN GGOOGGHH::

SSEEOOSSKKAA UULLIICCAA UU LLEESSSSAAIINNTTEESS--MMAARRIIEESS--DDEE--LLAAMMEERR//VVIILLLLAAGGEE SSTTRREEEETT IINNLLEESS SSAAIINNTTEESS-- MMAARRIIEESS--DDEELLAA MMEERR,, 11888888..,, OOLLOOVVKKAA,,

PPEERROO//PPEENNCCIILL,, PPEENN,, 2244,,55 XX

3311,,88 CCMM,, MMUUSSEEUUMM OOFF

MMOODDEERRNN AARRTT,, NNEEWW YYOORRKK


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boje

teksture

rubove

nagibe

likove

razmake

skok pogledagaze jump

ODGOJ PA@NJE/INTUICIJEEDUCATION OF ATTENTION/INTUITION

ISTA KONSTELACIJA U BESKRAJTHE SAME CONSTELLATION INTO INFINITY

DOGAÐANJE DOSLOVNOG OPA@AJA U RAZLI^ITIM SREDINAMA (MEDIJIMA)THE OCCURRENCE OF LITERAL PERCEPTION IN VARIOUS SURROUNDINGS (MEDIUMS)

VV.. VVAANN GGOOGGHH:: PPUUTT SS^̂EEMMPPRREESSOOMM//RROOAADDWWIITTHH CCYYPPRREESSSSEESS,, 11889900..,, UULLJJEE//OOIILL,, 9922 XX 7733 CCMM,, OOTTTTEERRLLOO

AA.. GGAAUUDDII:: KKAAPPEELLAA GGÜÜEELL//CCHHAAPPEELLLL GGÜÜEELL,,11990088..--1155..,, KKAAMMEENN,, OOPPEEKKAA//SSTTOONNEE,, BBRRIICCKK,,

BBAARRCCEELLOONNAA

KAKO GG LL EE DD AA MM OOHOW WE LLOOOOKK

colours

textures

edges

slopes

shapes

gaps

fiksacija pogledagaze fixation

[TO VV II DD II MM OO (DOSLOVNO)WHAT WE SSEEEE (LITERALLY)

HH.. MMOOOORREE:: LLEE@@EE]]AA FFIIGGUURRAA//RREECCLLIINNIINNGG FFIIGGUURREE,,

11995577..,, BBRROONNCCAA//BBRROONNZZEE,, 229900 CCMM,, ZZÜÜRRIICCHH

The discourse is about what we see. The participantsbecome aware of the vision of the linear strokes andthe dots (points). We try to reconstruct the move-ments by which they were created. Instructions aregiven about the different modes of achieving ambiguitybetween the plane and the line (some points/dots areelongated, some lines are shortened). A whole of thedrawing is projected and the participants are instruct-ed about the large number of similar transformations.The intention is just to see that such subtleties can benoticed only after a long observation; that only longobservation brings about another kind of vision/look-ing; that the work of art is an awareness/materialisa-tion of literal perception and that a constant transfor-mation means that from the totality caught superficial-ly we go to a deeper level, to become more sensitiveof the changes, to discriminate better and that thework of art with its many layers and richness guidesus in that process.5. We variate the same idea: the occurrence of literalperception in different mediums. a) V. van Gogh The Road with a Cypress, 1890., oil,92 x 73 cm, Otterlo. First we analyse the detail: linearstrokes and dots are recognised on the impasto sur-face. After that the detail is found in the whole of thepainting. b) A detail of H. Moore’s Reclining Figure isshown, 1957, bronze, 290 cm, Zürich. The dotlike andlinelike cuts are analysed. Then the whole of thesculpture is shown. c) In a similar way we analyse adetail of an architectural work (A. Gaudi: SantaColoma de Cervello (Chapell Güel), 1908.-15,Barcelona). The “dots” this time are heaps of stonesof different shapes and the “lines” are bricks put inrows. Again we project the complete/work.6. A very big enlargement of Van Gogh’s drawing TheStone Bench and Ivy, 1889, pencil, pen, 62,5 x 47 cm,Amsterdam, Rijksmuseum Van Gogh is projected. Anyparticipant who has explored this drawing can probablyrecognise it. The same alteration of the curvature oflines as on the macrolevel is recognised. We talk aboutthe “third dimension” of the linear sequences. Besidesthe length and the rather small width there is an end-less repetition of the same constellation, the so called“depth”, the fractal (in the later workshops it appearsas “selfreferalness” of the shapes or as “reflec-taphors”).7. In the end the workshop leader says that the wholeexploration may seem senseless to someone whodoes not want to give up the shematic level but at thesame time he/she expresses hope that all the partici-pants have imperceptibly slipped from this level to adeeper and more universal one and opened a path forthemselves to the medium/and to the artistic.

U d r u g o j radionici namjera je istraìvati i osvijestiti proces gledanja; osvijestiti odnos doslovnogopaàja i formalnih elemenata umjetni~kih djela; pratiti preobrazbu jednog formalnog elementa udrugi (linije u plohu i obratno) u doga|anju djela; osvijestiti slojevitost umjetni~kog djela; osvijestitidjelo kao preobrazbu gledanja.

Ambijent: Stolice su razmje{tene uz jednu {iru stranu prostorije. Stolova nema. Projektor je, kaouvijek, uz jednu uù stranu. Zid druge, {ire strane prekriven je fotokopijama velikih pove}anjaraznih, ipak prete`no modernih crteà (3 x broj sudionika). Tako|er su pripremljene i fotokopijecjelina crteà.

Struktura doga|anja1. Sudionici dobivaju fotokopije cjeline crteà (ima ih toliko koliko i sudionika). Pozivaju se da traè,odnosno prona|u detalje sa “svojih” crteà i da ih, na fotokopiji cjeline, ozna~e/zaokruè olovkom.Studenti-instruktori prilaze sudionicima i postavljaju im ova ili sli~na pitanja: Kako ste uspjeli na}i?Što je razlog da ste tako brzo na{li? Koji je bio prvi detalj koji ste uo~ili/na{li? Koji bi vi detaljpove}ali i izvukli i za{to? S onima, koji ne nalaze brzo, studenti-instruktori posebno rade.Usmjeravaju njihovu pozornost na neke me|usobno sli~ne ili razli~ite elemente, na neke zgusnutosti irazrije|enosti, na usmjerenja, na oblike itd. Tako im pomaù da osvijeste kako odista gledaju i {toodista vide.2. Nakon {to su svi identificirali detalje, voditelj postavlja pitanje: {to ste radili, na koji ste na~inpronalazili? U kratkom se razgovoru osvje{tava da su se nekim pojedincima nametali shematskiaspekti i da su im olak{avali identifikaciju. Voditelj obja{njava da tematski elementi u biti oteàvajupravo vi|enje i vrednuje dugo traènje. Upozoruje se na preobrazbu crteà u pogledu koji dugo iintenzivno traì.3. Projicira se mikrosnimak fovee (moè i crte` oka). Tuma~i se {to je proces fiksiranja i defiksiranja.Nakon toga se projicira fotografija lica na kojem je ozna~ena putanja oka. Tuma~i se i osvje{tava {to sezbivalo tijekom traènja detalja i za{to se transformirao crte`. Na{ je pogled uvijek privu~en promjenom,uvijek ve}om privla~no{}u i, ako smo ne~im posebno potaknuti, traènje }e biti intenzivnije i tako brojfiksacija ve}i, ~ime se na{a “slika svijeta” neprestano mijenja (u trenutku kada se na{ao detalj, preobraz-ba vi|enog postala je o~ita, svjesno doìvljena). Inertnost, zadovoljavanje shemom (zna~enjem) pred-stavlja veliku opasnost u istraìvanju i konstituiranju svijeta. Upravo radi toga su detalji, koji su se zbogtematske odre|enosti naizgled lak{e pronalazili, zapravo oteàvali zbiljsko, doslovno vi|enje crteà,odnosno njegovu adekvatniju rekonstrukciju pogledom.4. a) Voditelj projicira detalje V. Van Goghova crteà Seoska ulica u Les Saintes-Maries-de-la Mer,l888., olovka, pero, New York, Museum of Modern Art. Razgovor se vodi o tome {to vidimo.Osvje{tava se vi|enje linijskih poteza i mrlja (to~aka). Poku{ava se rekonstruirati kretnja koja ih jeproizvela. Upozoruje se na raznolike na~ine postizanja dvosmislenosti izme|u plohe i linije (neke suto~ke/mrlje izduène, neke su linije skra}ene, zdepaste). b) Projicira se cjelina crteà i upozoruje se namno{tvo sli~nih preobrazbi. Upravo se time èli posti}i svijest da se takve tanahnosti primje}uju tekdugotrajnim promatranjem, da tek dugotrajno promatranje dovodi do druga~ijeg vi|enja/gledanja,da je umjetni~ko djelo osvje{tavanje/ostvarenje doslovnog vi|enja i da je stalna preobrazba u kretanjuod povr{no uhva}ene cjeline do sve dublje razine, da postaju}i sve osjetljiviji na promjene bolje raz-abiremo i da nas u tome, svojom slojevito{}u i bogatstvom, vodi umjetni~ko djelo.5. Ista se ideja sada varira doga|anjem doslovnog opaàja u razli~itim sredinama-medijima. a) V.VanGogh Put s ~empresom, 1890., ulje, 92 x 73 cm, Otterlo. Prvo se analizira detalj: prepoznaju semrlje i linijski potezi u pastoznoj slikarskoj povr{ini, a nakon toga se na cjelini pronalazi detalj. b)Potom se pokazuje detalj H. Mooreove Leè}e figure, 1957., bronca, 290 cm, Zürich. Analiziraju semrljasti i linijski urezi. Opet slijedi pokazivanje cjeline. c) Na sli~an se na~in analizira i detalj arhitek-tonskog djela A. Gaudija Santa Coloma de Cervello (Kapela Güel), 1908.-1915., Barcelona. “Mrlje”su ovoga puta hrpe raznoobli~nog kamenja a “linije” u redove sloène opeke. Slijedi ponovnoprikazivanje cjeline.6. Projicira se vrlo veliko pove}anje V.Van Goghova crteà Kut vrta sa stablom i klupom, l889., olovka,pero, 62,5 x 47 cm, Amsterdam, Rijksmuseum Van Gogh. Sudionik koji je istraìvao taj crte` vjerojat-no ga prepoznaje. Prepoznaje se isto izmje-njivanje zakrivljenosti u linijama kao i na makrorazini.Govori se o “tre}oj dimenziji” linijskih sekvenci, pored duljine i neznatne {irine postoji ponavljanje istekonstelacije u beskraj tzv. “dubina” - fraktal (u kasnijim radionicama “dubina” - fraktal se imenujekao “samoodnosnost” oblika ili “reflektafor”).7. Na kraju ove radionice voditelj govori da se cijelo istraìvanje moè ~initi besmisle-nim onome tkone odustaje od shematske razine, ali izraàva nadu da su svi neprimjetno kliznuli s te razine nadublju i univerzalniju i otvorili sebi put u medijsko/umjetni~ko.

11The intention of the s e c o n d workshop is toexplore and become aware of the process of looking; tobecome aware of the relationship of literal perceptionand the formal elements of art work; to follow the trans-formation of one formal element into another in theoccurrence of the art work (for instance a line into aplane /dot/ and vice versa); to become aware of themany layers of an artwork; to become aware of a workof art as a transformation of looking.

Ambience: Chairs are placed in rows along one of thelonger walls. There are no tables. The projector is, asalways, beside one of the shorter sides of the room.The opposite wall is covered with photocopies of great-ly enlarged details of different, but mostly modern draw-ings (3 x the number of participants). Photocopies ofthe whole drawings are prepared too (as many as thereare participants).

Structure of the Activity1. The participants receive the photocopies of thewholes. (as many drawings as participants) They areinvited to find the details of “their” drawings and tomark them on the photocopy of the whole. The stu-dents/instructors approach the participants and putthese questions or similar ones: How did you succeedin finding the details? What is the reason you foundthem so quickly? Which detail did you notice first?Which detail would you isolate and enlarge yourself andwhy? The students/instructors work with the partici-pants who are slower than the others. They direct themto pay attention to similar or different elements, to theaccumulations and the spreadings, to the directions, tothe shapes etc. In this way they help them to becomeaware of how they really look and what they, the partici-pants, really see.2. Later, when the details are all identified, the work-shop leader asks: What were you doing? In what waywere you discovering? In a brief discourse the partici-pants become aware of the dominance in some casesof the shematic aspects and that the discoveries wereseemingly easier because of that. The workshop leaderon the other hand explains: the thematic elements reallymake real literally vision of the drawing more difficult.Attention is drawn to the transformation of the drawingin the gaze searching long and intensively.3. A microphotograph of a fovea is projected (or per-haps a drawing of the whole eye). We explain theprocess of fixation and defixation. After that a photo-graph of a face is shown which is observed, and themovements of the gaze are marked on it as dots andlines. The explanation continues and makes the partici-pants aware of what had happened during theexploratory process when they had tried to find thedetails and why it meant transforming the drawing itself.Our gaze is always attracted by change, meaning by agreater attraction and if we are more encouraged bysomething, the search will be intensified and so thenumber of fixations larger, and so our “world image”changes all the time. (At the moment the detail is foundthe transformation of the thing seen becomes evident,consciously experienced.) A great danger in exploringand constituting the world is inertia, a satisfaction withthe scheme (the meaning). That is the reason why thedetails which were seemingly easier to find, the figura-tive ones, really make the real, literal vision of the draw-ing and its more adequate reconstruction by the gazemore difficult.4. a) The workshop leader projects the details of VanGogh’s Village Street in Les Saintes-Maries-de-la-Mer,1888, pencil, pen, New York, Museum of Modern Art.

10

II//22 POÊLA I NAÊLA OORRIIGGIINNSS AANNDD PPRRIINNCCIIPPLLEESS POÊLA I NAÊLA OORRIIGGIINNSS AANNDD PPRRIINNCCIIPPLLEESS

Studenti dijele fotokopije crteà/The students-instructors distribute photocopies of the drawings

Traè se detalji/A search for details

Traè se detalji/A search for details Na|eni se detalj ucrtava u cjelinu crteà/The discovered detail is drawn onto the drawing asa whole.

Studentica tuma~i/A student-instructor explains Studentice intenzivno rade s jednimsudionikom/The students-instructors working hardwith a participant

Pitamo se: kako smo pronalazili/We ask our-selves: how did we find out?

Tuma~imo na projekcijama prijelaz linij-skih imrljastih oblika u drugi medij/We explain thetransposition of linear and spot-like shapes intoanother medium

1°

2,6 cm

Polje pogleda:Visual field:

Polje razaznatljivosti: FS + MSThe field of discrimination: FS +MS

okomiti kutvertical angle +

vodoravni kuthorizontal angle

Polje razaznatljivosti: FS + MSThe field of discrimination: FS + MS


ÔVJEK JE U INTERAKCIJI SA SLIKOM MAN IS IN INTERACTION WITH THE PICTURE

ULAZI U NJU, O[TRO VIDI DVA POTEZA, LAKO PRELAZI NA SLJEDE]A DVA ZBOG SRODNOSTI, PREDAJE SE ILUZIJI NERAZLIKOVANJA [TO JE LIK [TO POZADINA, [TO PROMATRANO, [TO PROMATRA^ I [TO PROMATRANJE.

HE ENTERS IT, SHARPLY SEES TWO STROKES, EASILY GOES ON TO THE SEQUENCES BECAUSE OF THE SIMILARITY, CHERISHES THE ILLUSIONOF THE INTERFUSION OF THE FIGURE AND THE BACKGROUND, OF THE OBSERVED, THE OBSERVER AND THE OBSERVATION.

GG.. BBRRAAQQUUEE::

PPOORRTTUUGGAALLAACC//PPOORRTTUUGGUUEESSEE,,

11991111..,, UULLJJEE//OOIILL,,

111177 xx 8811 CCMM,, BBAASSEELL//BBAASSLLEE

1312

1’


1° fovealna slika1° foveal image1’ minimum separabile

ôvjek, da bi sagledao neki predmet spontano se zaustavlja na tri razli~ite udaljenosti od njega. Na udaljenosti triput ve}oj od promatranog predmeta vidi ga podokomitim kutom od 18°, a u polje pogleda osim predmeta ulazi i okoli{. Na udaljenosti dvaput ve}oj od visine predmeta polje pogleda je u okomici ispunjeno samimpredmetom, predmet se vidi pod najlagodnijim, tzv. fiziolo{kim kutom od 27°. Pribliàvanjem do udaljenosti koja odgovara visini predmeta, sagledavanje visine bez pomicanja glave izaziva napetost (kut od 45°).

In order to view an object thoroughly, man spontaneously stops at three different distances from it. At a distance three times bigger than the objectobserved he can see it under a vertical angle of 18° and the surrounding area also enters the field of sight. At a distance twice as big as the

height of the object, the field of sight is , in the vertical line, filled with the object itself, the object can be seen at the most comfortable angle, the so-called physiological one of 27°. By approaching the distance which corresponds to the height of the object (an angle

of 45°), watching the object without moving the head may cause tenseness.

ÔVJEK JE POVLA[TENI PROMATRA^

MMIICCHHEELLAANNGGEELLOO

BBUUOONNAARROOTTTTII:: SSVVOODDSSIIKKSSTTIINNSSKKEE KKAAPPEELLEE//VVAAUULLTT OOFF TTHHEE SSIISSTTIINNEE CCHHAAPPEELL,,

11550088..--1122.. FFRREESSKKAA//FFRREESSCCOO,,

1133,,44 XX 4400,,2233 MM,,

VVAATTIIKKAANN//VVAATTIICCAANN

SAGLEDAVA S JEDNOG MJESTA BEZ POMI-CANJA GLAVE KOMPOZICIJU U CJELINI I SDETALJIMA.PREDAJE SE ILUZIJI DA JE KOZMI^KA DRAMAPO NJEGOVOJ MJERI.

HE APPREHENDS FROM ONE PLACE, WITHOUT MOVING HIS HEAD, THE WHOLE

COMPOSITION AS WELL AS THE DETAILS.HE CHERISHES THE ILLUSION THAT THE

COSMIC DRAMA IS ACCORDING TO HIS SCALE.

MAN IS A PRIVILEGED OBSERVER

KAKO SS AA GG LL EE DD AA VV AA MM OO HOW WE AA PP PP RR EE HH EE NN DD

1°

1°4-5’

(MAERTENS)

the horizontal one is 26° 40’, FI 7.7 cm and MS 1.3mm; if the vertical angle is 18° then the horizontal is18°, FI 12 cm and the MS 2 mm). d) When thecomputing has been mastered the participants areinvited to choose one of the presented posters andto work individually. The students/instructors arebeside the participants, helping them with questionsand instructions. After the exercise has been fin-ished the workshop leader reads out the correctanswers so that the participants may check theirresults.2. The workshop leader projects the slides ofMichelangelo’s Sistine Chapell vault in the Vatican(1508.-12, 40.23 x 13.4 x 17 m), J. van Eyck’s Adoration of the Mystic Lamb thecentral part of the Gent altarpiece (1425.-29, 242.3x 137,7 cm) and G. Braque’s Portuguese (1911,117 x 81.5 cm), Basle. He/she gives some informa-tion about the measures and about the angles,about FI, MS and follows the interpretation of thethree works of art as three different possibilities ofrelationship to apprehension and discrimination. Thefirst one is classical apprehension: articulation ofthe work of art according to easy focusing, distinc-tion and apprehension (Michelangelo); the secondone is a work of art as designed for an ideal divinegaze: the distinction of details which would inapprehension of the whole be hidden to the ordinarygaze (J. Van Eyck) and the third one is a work of artin interaction with the viewer: the invitation to par-ticipate in the work of art, to become a part of it, tobe included in it. (C. Braque)3. At the end the participants receive a photocopyof Buæan’s poster with the task to interpret theposter on the basis of the data and the experiencegained, as homework.

U t r e } o j radionici namjera je istraìti i osvijestiti mogu}nost sagledavanja cjeline, mogu}nostrazabiranja i fokusiranja detalja: istraìti odnos izme|u mikro i makro detalja i cjeline djela; upoznatise s djelima kao razli~itim cjelo}ama.

Ambijent: Isti kao u drugoj radionici s jedinom razlikom da su na duljem, sudionicima nasuprotnomzidu sada plakati (B. Bu}an @ar-ptica, Petru{ka, I. Picelj MUO i Z. Bourek Hamlet). Projektor jesudionicima iza le|a. Pripremljene su fotokopije, logari-tamske tablice, metar.

Struktura doga|anja1. a) Voditelj odre|uje tri udaljenosti od Bu}anova plakata koje se ozna~avaju na podu (1, 2, 3 x visi-na plakata). Poziva se jedan sudionik da sjedne ispred i da isku{a prvu mogu}nost (okomiti kut od45°). Verbaliziraju se iskustva. Drugu mogu}nost od 27° isku{avaju svi koji sjede u prvom i drugomredu, a tre}u oni koji sjede u tre}em i ~etvrtom. Razgovara se o iskustvima. b) Voditelj obja{njava pojmove: fovealna slika (FS) - podru~jeo{trog vida = 1° i minimum separabile (MS) - najmanja razabirljivost 1’ (MS). Studenti-instruktorimjere Bu}anov plakat i pokazuju s koje se udaljenosti koji detalj poklapa bilo s FS, bilo s MS.c) Sudionici su bili upozoreni da donesu logari-tamske tablice i metar. Voditelj obja{njava {to }e

zapravo raditi. Dijeli se fotokopirani materijal na kojem se nalaze formule za izra~unavanje veli~inevodoravnog kuta (tg α = x - pola {irine/a - udaljenost), fovealne slike (FS = h/okomiti kut) i mini-mum separabilea (MS = h/okomiti kut x 60) i pokazuje primjenu na Bu}anov plakat (veli~inaplakata: 210 x 200 cm (ako je okomiti kut 45°, onda je vodoravni kut 51°, FS 4,6 cm a MS O,7mm; ako je okomiti kut 27° onda je vodoravni 26° 40’, FS 7,7 cm a MS 1,3 mm; ako je okomiti 18°,onda je i vodoravni 18°, FS 12 cm a MS 2 mm). d) Kada su ra~unski postupci svladani pozivaju sesudionici da izaberu bilo Piceljev, bilo Bourekov plakat i da samostalno izra~unaju vrijednosti.Studenti-instruktori su pored sudionika, pomaù im pitanjima i uputama. Nakon zavr{enog radavoditelj kaè to~ne podatke da bi sudionici mogli provjeriti svoje rezultate.2. Voditelj projicira snimak Michelangelova svoda Sikstinske kapele u Vatikanu (1508.-1512., 40,23x 13,4 x 17 m), J. Van Eyckovu sliku Oboàvanje misti~nog janjeta, sredi{nji dio Gentskog oltara(1425.-1429., 242,3 x 137,7 cm) i G. Braqueova Portugalca (1911., 117 x 81,5 cm), Basel. Daju sepodaci o veli~inama, kutovima, FS, MS i voditelj interpretira sva tri djela kao tri razli~ite mogu}nostiodnosa prema sagledavanju i razabiranju: klasi~na sagledljivost - razrada djela u odnosu na lagodnofokusiranje, razabiranje i sagledavanje (Michelangelo); djelo namijenjeno idealnom Bo`jem pogledu:razabiranje pojedinosti koje bi pri sagledavanju cjeline bili skriveni obi~nom pogledu (J. Van Eyck) idjelo u interakciji s gledateljem: poziv da gledatelj postane sastavni dio djela (G. Braque).3. Na kraju svaki sudionik dobiva fotokopiju Bu}anova plakata i zadaje se doma}a za-da}a da sepoku{a interpretirati plakat na temelju podataka i iskustava koja su ste~ena.

15The intention of the t h i r d workshop is toexplore and to become aware of the possibilities toapprehend a whole, to discriminate and focus onthe details; to explore the relationship between themicro- and macro details and the whole of the workof art; to become acquainted with works of art asdifferent wholes.

Ambience: The same as in the second workshopwith only one difference; there are posters (B.Buæan The Firebird, Petruschka, I. Picelj MUO andZ. Bourek Hamlet) on the wall opposite the partici-pants. The projector is behind the participants.There are photocopies prepared.

Structure of the Activity1. a) The workshop leader indicates three distancesfrom Buæan’s poster which are marked on the floor(1, 2, 3 x the poster’s height). One participant isinvited to sit in front of the poster and explore thefirst possibility (the vertical angle is 45°). The expe-rience is verbalized. All the participants sitting in thefirst and second rows explore the second possibili-ty, that of 27°, and the third one is examined bythose sitting in the third and fourth rows. They talkabout the experience. b) The workshop leaderexplains the concepts: foveal image – field of sharpvision = 1° (FI) and minimum separabile – thesmallest distinction of 1’ (MS). The students mea-sure Buæan’s poster and demonstrate the distancesfrom which the details correspond with either the FIor MS. c) The participants are asked to bring logarithmictables and rulers. The workshop leader explainswhat they will do. They get pieces of paper with for-mulas for computing the horizontal angle [(tg α = x(half of the width)/a (distance)]; foveal image (FI =h/the vertical angle) and minimum separabile (MS= h/vertical angle x 60) and the workshop leaderexplains the application to Buæan’s poster the sizeof which is 210 x 200 cm. (If the vertical angle is45° then the horizontal one is 51°, the FI 4.6 cmand the MS 0.7 mm; if the vertical angle is 27° then

14


Tuma~i se pojam sagledavanja/The concept ofapprehension is explained

Sudionik isku{ava napeto sagledavanjeBu}anovog plakata/A participant explores a tenseapprehension of Buæan’s poster

Student mjeri, sudionik istraùje/A student-instructor measures, a participant explores

Mjere se Piceljevi plakati/Picelj’s posters are mea-sured

Mjere se Piceljevi plakati/Picelj’s posters are mea-sured

Izra~unavaju se kutevi, fovealne slike, minimumseparabile/Angles, foveal images, minimum separa-bile are computed

Ra~una se i provjerava zajedni~ki/We computeand check together

Ra~una se i provjerava zajedni~ki/We computeand check together

17


Komunikacijska struktura dijela prvog kataThe communication structure of a part of the 1st floorKp – kupaonica, bathroomSp – spavanje, bedroomBr1 – boravak1, livingroom1Br2 – boravak2, livingroom2T – terasa, terraceBl – blagovanje, diningroomP1 – predvorje1, hall1P2 – predvorje2, hall2G – garderoba, cloakroomR – rampa, ramp

PROSTOR SE STUPNJEVANO, ARTIKULIRANO VODI VAN UNUTRA VAN

THE SPACE IS ARTICULATED AND GRADUALLY GUIDED OUT IN OUT

LLEE CCOORRBBUUSSIIEERR::VVIILLLLAA SSAAVVOOYY,,11992299..,, PPOOIISSSSYY

PROSTOR KRU@I

SPACE CIRCULATES

PROSTOR KRU@ISPACE CIRCULATES

Kp

WC

G Sp

Br2RP1

P2Bl

Br1T

16


SVE KOMUNIKACIJSKE STRUKTURE SE USPOSTAVLJAJU I DOVODE U PITANJE PONAVLJANJEM

ALL COMMUNICATION STRUCTURES ARE STATED AND QUESTIONED BY REPETITION

KK OO MM UU NN II KK AA CC II JJ SS KK AA SS TT RR UU KK TT UU RR AA CC OO MM MM UU NN II CC AA TT II OO NN SS TT RR UU CC TT UU RR EE

CENTRISTI^KA STRUKTURA U JEZGRI

posredna vezaindirect connection

CENTRISTIC STRUCTURE IN NUCLEUS

MJESTOPLACE

vezaconnection

neposredna vezadirect connection

posredno mjestoindirect place

INTERAKCIJOM

INTERACTION

in question by circulation

HIERARCHICAL STRUCTURE,

suspended towards the perifery by

AA.. PPAALLLLAADDIIOO:: VVIILLLLAA RROOTTOONNDDAA,,11555500..,, VVIICCEENNZZAA

dovedena u pitanje kru`enjem

HIJERARHIJSKOM STRUKTUROM,

ukinuta prema periferiji

that “decisive” moment the “kinglike person” fallsfrom the chair (pedestal) and a circle is established– a circle of equally valued persons in communica-tion (the bell rings: the mini-play ends). b) When allthe participants sit down again, the workshopleader explains the content of the mini-play. Threemain possibilities of communication were actedout: the centristic, hierarchical and the interactiveones, which are all built into architectural works.2. a) A simple example of centristic space and acorresponding graph are projected. A studentexplains how the graphs are made and the task isset to all the participants to draw graphs of theirflats (in the former workshop they were asked todraw plans of their flats at home and bring themwith them). Some of the participants’ graphs areprojected (a centristic, a hierarchical and an inter-active example). b) Further projections of theplans. Different architectural examples throughouthistory with corresponding graphs are shown, andexplained as communication structures. A mono-centristic (a hut), a bicentristic (a Roman house),a hierarhical (a baroque castle) and an ambigualcombination, playing with all structures (A.Palladio: Villa Rotonda) are shown.3. The plan and graph of Le Corbusier’s Villa Savoyare projected. The interactive structure is explainedand the richness and complexity of the architecturalwork with a large number (about 30) slides. A largenumber of photographs are used to enable theexperiencing of the gradual articulation of an inter-active communicative structure and the relationshipbetween outer and inner space.4. In the end the participants are given the plans ofthree different F.L. Wright’s houses with the samegraph to analyse and interpret them at home.

U ~ e t v r t o j radionici namjera je osvijestiti razli~ite mogu}nosti komunikacije; svladati crtanjegrafova; osvje{tavati, da su arhitektonske strukture zapravo razli~ite komunikacijske strukture koje,putem boravka i kretanja u arhitektonskim prostorima, naj~e{}e posve nesvjesno utje~u na ~ovjeka;spoznati da je gra|enje jedna od najutje-cajnijih ljudskih djelatnosti – prostor, koji nas okruùje, svo-jom se komunikacijskom strukturom utiskuje u nas putem svih osjetila.

Ambijent: Nema stolova, stolice su razmje{tene u dva polukruga, projektor je uz uì zid. Potrebni suzvonce i fotokopije tlocrta.

Struktura doga|anja1. a) Voditelj najavljuje da }e se baviti komunikacijom i da }e se u tu svrhu izvesti dramolet. Kraj svako-ga ~ina voditelj najavljuje zvoncem. Jedan student-instruktor stane u sredinu praznog prostora i u raz-govoru s voditeljem pokaè, izjavljuje ili odglumi da je on/ona najatraktivnija osoba na svijetu i da svihrle da bi s njim/njom komunicirali. Ra{irenih ruku prima “oboàvatelje”. Kako, naravno, ima samodvije ruke oboàvatelji (svi sudio-nici) ga/ju hvataju gdje god stignu. (Zvoncem se najavljuje kraj prvog ~ina i po~etak drugog.) Sadavoditelj ili sam “glumac” izjavljuje da je nastupio dramati~an trenutak, njemu, oboàvanom, sinulo jerje{enje, naime, on vi{e ne moè podnositi teret oboàvanja i zato mora ne{to poduzeti. Stane na stolac ipoziva sve svoje oboàvatelje da se organizi-raju u odnosu na njegove ruke u dva reda. Voditeljobja{njava o~iglednu ~injenicu: koliko su osobe dalje od oboàvanog toliko je me|u njima vi{e posredni-ka i toliko su te osobe “nesretnije”. Tada se zvoncem najavljuje drugi dramati~ni moment i po~etaktre}ega ~ina: nesretnima je ne{to sinulo, oni koji su najdalje od èljene osobe okre}u se jedno premadrugom i hvataju se za ruke. U tom “presudnom” trenutku sa stolice (pijedestala) pada ”kraljevskaosoba” i uspostavlja se krug – kolo jednakovrijednih u komunikaciji (zvonce: dramolet je gotov). b) Kada su svi ponovo sjeli na svoja mjesta voditelj tuma~i {to je bio sadràj dramoleta. Odigrale su setri glavne mogu}nosti komunikacije koje se ugra|uju u arhitektonska ostvarenja: centristi~ka, hijerar-hijska i interakcijska.2. a) Voditelj sada projicira jednostavni primjer centristi~kog prostora i graf koji mu odgovara. Jedanstudent-instruktor tuma~i kako se crtaju grafovi i sada je zadatak da svaki sudionik nacrta grafsvoga stana. (U prethodnoj su radionici bili upozoreni da kod ku}e nacrtaju tlocrt stana.) Projicirajuse po jedan centristi~ki, hijerarhijski i interakcijski primjer grafova stanova sudionika i vodi se raz-govor o njima. b) Nastavlja se sa projekcijama tlocrta razli~itih arhitektonskih ostvarenja tijekompovijesti i njima odgovaraju}ih grafova i tuma~e se kao komunikacijske strukture. Pokazuje se jedno-centri~na (koliba), dvocentri~na (rimska ku}a), hijerarhijska (barokni dvorac) i dvosmislena kombi-nacija, igra sa svim strukturama (A. Palladio Villa Rotonda).3. Projicira se graf i tlocrt Le Corbusierove Ville Savoy. Tuma~i se interakcijska struk-tura, pokazujese bogatstvo i sloènost arhitektonskog ostvarenja velikim brojem (oko 30) dijapozitiva. Veliki broj snimaka sluì tome da se doìvi stupnjevano artikulirani vid interak-cijske komunikacije i odnosa unutarnjeg i vanjskog prostora.4. Na kraju svi sudionici dobivaju tlocrte triju razli~itih ku}a F. L. Wrighta s istim grafom, radi ana-liziranja i interpretacije.

19The intention of the f o u r t h workshop is tobecome aware of the different posssibilities of com-munication; to master the drawing, the graphs; tobecome aware of architectural structures as differ-ent communication structures, which by stayingand moving in architectural spaces, most oftenunconsciously influence people; to know that build-ing is one of the most influential human activities –the space around us with its communication struc-ture is impressed on us by all our senses.

Ambience: There are no desks in the room, thechairs are in two semicircles with the projector onthe narrow side.

Structure of the Activity1. a) The workshop leader announces: the subjectis communication and we intend to perform a mini-play. The workshop leader will announce the end ofeach act by ringing a bell. A student stands in themiddle of the empty room and talking to the work-shop leader he/she shows, says or acts thathe/she is the most attractive person in the worldand that everyone rushes to communicate withhim/her. With extended arms he/she accepts the“admirers”. Because he/she has naturally got onlytwo arms the admirers (all the participants) try totouch him/her where they can. (Ringing the bellannounces the end of the first act and the begin-ning of the second one.) Now the workshop leaderor the “actor” him/herself declares: a dramaticmoment has come: to him/her, to the admired onethe solution has come to mind, and that is that,he/she is not willing to bear the burden of admira-tion any more and has to do something about it.He/she stands on a chair and invites all his admir-ers to organise themselves according to his/herarms, into two rows. The workshop leader explainsthe evident facts: the farther the persons are fromthe admired one the more mediators there arebetween them and the more “unhappy” they are.The bell announces the second dramatic momentand the beginning of the third act. Something hasoccured to the “unhappy”, admirers those who areat the farthest distance from the desired personturn to each other and hold each other’s hands. At

18


Po~etak dramoleta: “najprivla~nija osoba svijeta”/The beginning of the mini play: “The mostattractive person in the world”

Svi èle doprijeti do “najprivla~nije osobe”: krajprvog ~ina/All wishing to approach “the mostattractive person”: End of Act One

Drugi ~in: najprivla~nijoj osobi je sinulorje{enje/The Second Act: A solution came to themost attractive person

“Najnesretnijima u lancu” je ne{to sinulo: krajdrugog ~ina/A flash of an idea in the mind of theunhappiest persons in the chain: End of Act Two

Voditelj spaja ruke “najnesretnijih”, svi su ukrugu jednaki: kraj tre}eg ~ina/The workshopleader connects the hands of “the unhappiest ones”,all in the circle are equal: End of Act Three

Tuma~i se smisao dramoleta/The sense of themini play is explained

Studenti pomaù crtati graf vlastitog stana/Thestudents-instructors help to draw graphs of the par-ticipants’ apartments

Voditelj pomaè/tuma~i/The workshop leaderhelps and explains

21


RR EE AA LL NN AA RR EE KK OO NN SS TT RR UU KK CC II JJ AA P. PICASSOVOG CRTE@A (H.G. Clousot Tajna Picasso)AA RR EE AA LL RR EE CC OO NN SS TT RR UU CC TT II OO NN OO FF P. PICASSO’S DRAWING (H. G. Clousot: Le mystère Picasso)

20


II DD EE AA LL NN AA RR EE KK OO NN SS TT RR UU KK CC II JJ AA CRTE@A P. KLEEA: ECCE, 1940., olovka, 29,5 x 21 cm, Bern, Zbirka F. KleeAA NN II DD EE AA LL RR EE CC OO NN SS TT RR UU CC TT II OO NN OF P. KLEE’S DRAWING: ECCE, 1940, pencil, 29,5 x 21 cm, Bern, Coll. F. Klee

LL II NN II JJ AA JE NAGLA I KONTINUIRANA PROMJENA

RAVNA LINIJASTRAIGHT LINE

JEDNAKA KRIVULJAEQUAL CURVE

TT HH EE LL II NN EE IS A SUDDEN AND CONTINUOUS CHANGE

NEJEDNAKA KRIVULJAUNEQUAL CURVE

PLOHE TROKUTASTOG OBLIKATRIANGULAR PLANES

(RAWSON)

UGLATA KRIVULJAANGLE CURVE

(rhythm); g) they establish the connections betweenthe elementary signs; h) they use the coordinate sys-tem to explore the change of positions; i) they followthe line from left to right and vice versa; j) theyobserve the line in relation to the environment.2. a) An ideal reconstruction of P. Klee’s drawingEcce: the workshop leader projects the drawingwith one line, then with two etc. At every change ofcomplexity he/she asks about the characteristics ofthe added line, but also about the changes due tothe interaction of the lines. The participants becomeaware of the drawing as an articulation of move-ment (line) and as a discovering of light (plane).They become aware of the selfreferal character ofthe shapes in the drawing (the shapes reflect theinitial shape always in a new different variation).They become aware of the many layers of thedrawing-art work. b) Projection of the final slide.After a sequence of abstract (more and more com-plex) drawings a figurative one suddenly appears.The occurrence is astonishing and is meant to pointout that every drawing, every piece of art work is inessence abstract and is only on the superficial leveloften thematically recognisable – figurative. c) Theparticipants receive photocopies of P. Klee’s draw-ing Ecce.3. A real reconstruction of P. Picasso’s drawing (asequence from H.G. Clousot’s film Le MystèrePicasso) follows. Picasso’s drawing from the firststroke to the complete artwork is shown recordedon film.

U p e t o j radionici namjera je istraìvati liniju kao elementarni znak i kao tok (razli~ita sintakti~kapravila), kao individualni govor svakog medija i svakog umjetnika (trag kretanja ruke); osvijestitimogu}e vi{esmisleno ~itanje toka, u~estalost i karakter promjene usmjerenja, mogu}nost vi{esmislenog~itanja u odnosu na okoli{; istraìti razli~ite poloàje linija i ritam; doìvjeti idealnu rekonstrukcijujednog crta~kog djela i uvidjeti apstraktnost svakog, pa i figurativnog djela; uvidjeti samoodnosnostoblika u umjetni~kom djelu; doìvjeti realnu rekonstrukciju jednog crta~kog djela.

Ambijent: Sudionici su podijeljeni u vi{e grupa. Sjede za stolovima i uz njih po jedan student-instruktor. Broj grupa odgovara broju linija na koji se razlaè crte`. Prire|ene su fotokopije izdvojenihlinija i cijelog crteà. Potreban je projektor i video.

Struktura doga|anja1. Svaka grupa dobiva fotokopiju jedne linije, jedne linijske sekvence, tada jo{ sudio-nicima neznanogcrteà P. Kleea Ecce (1940., olovka, 29,5 x 21 cm, Bern, Zbirka F. Klee). Sudionici pod vodstvom studenata-instruktora isku{avaju razli~ite metode istraìvanja linije:a) precrtavaju preko pausa; b) crtaju slobodno desnom rukom; c) desnom rukom, ali bez gledanja vlastitog crteà; d) slobodno lijevom rukom; e) ra{~lanjuju na elementarne znakove; f) prate izmjenjivanje promjene usmjerenja (ritam); g)ustanovljuju veze elementarnih znakova; h) uz pomo} koordinatnog sustava istraùju promjenepoloàja; i) prate liniju s lijeva u desno i obratno; j) promatraju liniju u odnosu na okoli{.2. a) Idealna rekonstrukcija Kleeova crteà Ecce: voditelj projicira crte` s jednom linijom, nakon togas dvije itd. Kod svake promjene/ uslo`njavanja pita o osobinama pridodane linije, ali i o nastalimpromjenama uslijed me|uodnosa linija. Osvje{tava se crte` kao artikulacija kretanja (linija) i kaootkrivanje svjetlosti (ploha). Osvje{tava se samoodnosnost oblika u crteù (oblici zrcale po~etni oblikuvijek iznova u sve druga~ijim i druga~ijim ina~icama). Osvje{tava se slojevitost crteà – umjetni~kogdjela. b) Projicira se zavr{ni snimak. Nakon slijeda apstraktnih (sve sloènijih) crteà naglo sepojavljuje figurativni crte`. Doga|aj je iznena|uju}i i sluì osvje{tavanju da je svaki crte`, svako djelou biti apstraktno i da je tek na povr{noj razini ~esto tematski prepo-znatljivo – figurativno. c) Sudionici dobivaju fotokopiju Kleeova crteà Ecce.3. Slijedi realna rekonstrukcija crteà P. Picassa (sekvenca iz filma H. G. Clousota Tajna Picasso).Filmski je, naime, zabiljeèno Picassovo crtanje od prvog poteza do gotovog crteà.

23The intention of the f i f t h workshop is to explorethe line as an elementary sign and as inflexions (dif-ferent syntactic rules), as individual speech of eachmedium and each artist (the trace of a hand move-ment); to gain awareness of the possible polysemicreading of the inflexions, the frequency and charac-ter of the change of directions, the possibility of apolysemic reading of the line in relation to the envi-ronment; to explore the different positions of the lineand their rhythm; to experience an ideal reconstruc-tion of a drawing and to comprehend the abstractcharacter of each, even figurative art work; to com-prehend the selfreferal character of shapes in apiece of art work; to experience the real reconstruc-tion of a drawing.

Ambience: The participants are divided into severalgroups (two or three of them in a group) They sit attables with one of the students-instructors besidethem. The number of the groups is the same as thenumber of lines in the drawing analysed.Photocopies of the separate lines and of the wholedrawing are prepared. A projector and a video play-er are available for use.

Structure of the Activity1. Every group receives a photocopy of one linearsequence, of P. Klee’s drawing Ecce (1940, pencil,29.5x21 cm, Bern, Collection of P. Klee) then stillunknown to the participants. The participants areguided by the students-instructors to use differentmethods of exploring the line: a) they trace it ontransparent paper; b) they draw it freely with the righthand; c) they draw it with the right hand withoutlooking at their own drawing; d) they draw it with theleft hand; e) they divide it into elementary signs; f) they follow the alteration of the change of direction

22


Istraìvanje linije/Exploring lines Studenti instruiraju u malim grupama/The stu-dents-instructors giving instructions in small groups

Istraùje se poloàj linije u koordinatnom sus-tavu/The position of the line in the coordinate sys-tem is explored

Studenti instruiraju u malim grupama/The stu-dents-instructors giving instructions in small groups

Istraùje se poloàj linije u koordinatnomsustavu/The position of the line in the coordinate system is explored

25

LINIJA PLOHALINE PLANE


RAZLIKA U OMJERIMADIFFERENCE IN RATIOS

LINIJA GENERIRA PLOHU THE LINE GENERATES A PLANE

SUGERIRANA PLOHASUGGESTED PLANE

PLOHA GENERIRA LINIJU THE PLANE GENERATES A LINE

OO.. SSCCHHLLEEMMMMEERR::BBAAUUHHAAUUSS,,ZZNNAAKK//SSIIGGNN,,11992233..

24


SVAKODNEVNO ISKUSTVO: SVJETLOST SLU@I VIÐENJU SVIJETAUMJETNI^KO ISKUSTVO: SVJETLOST U^INITI VIDLJIVOM

EVERYDAY EXPERIENCE: LIGHT SERVES TO SEE THE WORLDAS AN ARTISTIC EXPERIENCE: TO MAKE LIGHT VISIBLE

(VIDNA) PP LL OO HH AA

ZAUSTAVLJENA SVJETLOSTLIGHT HALTED

ZAPRIJE^ENA SVJETLOSTLIGHT OBSTRUCTED

SVJETLOSNA MRLJALIGHT SPOT

SJENASHADOW

AA.. RROODD^̂EENNKKOO//AA.. RROODDCCHHEENNKKOO::MMAAJJAAKKOOVVSSKKII//MMAAYYAAKKOOVVSSKKYY,,11993399..

IMITACIJA SVJETLOSTIIMITATING LIGHT

IMITACIJA SJENEIMITATING SHADOW

rub, obrisedge, outline

(VISUAL) PP LL AA NN EE

the black one in order to intensify their boundary. b)The workshop leader then projects O. Schlemmer’sSign for Bauhaus, 1923. He/she warns the partici-pants that the length and width (the two dimensionsof the plane) are variated and speaks about theeffects which result (plane/line). c) J. Knifer’sMeander is projected (1964, oil, 99.3x135.5 cm,GSU, Zagreb). First the meaning is explained (lifethread, umbilical cord, Ariadna’s thread, Theseus’dance, from life to death and vice versa), afterwardsinstructions are given about the possible shift of theplane by ratios and about the rhythm as the result ofit, about the relation of the figure and the background(the lighter, the greater “the better” shape is regardedas a figure), about the optical illusion (the whiteshape “extends” and looks bigger), about the possi-ble intergration of the figure and the ground, aboutthe optical continuum, the possible ambiguity of thefigure and the background relation.3. The participants receive photocopies either ofRodchenko’s, Schlemmer’s or Knifer’s work andthey are invited to decompose them and then toinvert the cut out white/black planes. The students-instructors participate giving advice and discussing.4. At the end the participants’ works are displayedand compared with the originals (if the participants’works are not interesting enough, it is possible toinclude works from some former workshops). Theintention is to become aware of the author’s finalchoice between the infinite possibilities and tobecome aware that the plane is mostly generatedby the line (outline) but the line as well can be gen-erated by the plane (demonstration with the cutpieces of Schlemmer’s work).

U { e s t o j radionici namjera je doìvjeti plohu kao zaustavljanje svjetlosti (bilo kao svjetlosnemrlje, bilo kao sjene - vizualno generiranje); osvijestiti da je likovno izvedena ploha uvijek imitacijaapsolutne plohe; osvijestiti da u svakodnevnom iskustvu svjetlost sluì da se vidi svijet, a uumjetni~kom se poku{ava svjetlost u~initi vidljivom; isku{avati kompozicijski smisao kontrastnihploha svjetlosti i sjene; uìvljavati se u ritam pokrenute plohe; osvijestiti likovno generiranjeplohe/linije.

Ambijent: Stolci i stolovi su razmje{teni uz dva dulja zida, sredina prostorije je prazna. Projektor jena uobi~ajenom mjestu. Pripremljeni su {kare, crni papir, fotokopije i paus.

Struktura doga|anja1. Studenti-instruktori izvode “kazali{te sjena”. Prvi “glumac” ulazi u jaki snop svjetlosti iz projekto-ra i izvodi razne kretnje. Kada dlanovima “dodiruje” granice (kadar) lijevo-desno, gore-dolje, projek-tor se pomi~e. Po~inje igra izme|u kadra - podloge (svijetle plohe) i “prikaza” - lika (tamne plohe).Kona~no, kada se kadar opet smiri, lik se okre}e u profil i njemu nasuprot pojavljuje se drugi liksu~elice, zatim u kadar ulaze postupno ostali dok se u trenutku svi ne okrenu le|ima projektoru inarasli potpuno ne zaprije~e svjetlost (nastaje potpuno crna ploha koja prekriva cijeli kadar).2. Voditelj u kratkom razgovoru osvje{tava bit plohe i nakon toga projicira: a) Maja-kovskog A.Rod~enka, 1939. Ukazuje na razliku izme|u “apsolutne” plohe (prija{nja igra) i likovne imitacijeplohe. Upu}uje na gledanje crnog oblika, pa bijelog, pa na doga|anja na njihovoj granici. U tu svrhuprekriva dio bijelog oblika, pa crnog, da bi na taj na~in intenzivirao njihovu granicu; b) ZnakBauhausa O. Schlemmera, 1923. Upozoruje na variranje duljine i {irine (dviju dimenzija ploha) iu~inaka koji iz toga proizlaze (ploha/linija); c)Meandar J. Knifera (1964., ulje, 99,3 x 135,5 cm,GSU, Zagreb). Prvo se obja{njava zna~enje (ìvotna nit, pup~ana vrpca, Arijadnina nit, Tezejev ples,iz ìvota u smrt i obrnuto); potom se upozoruje na mogu}u pokrenutost plohe omjerima i na ritamkoji iz toga proizlazi; na odnos lik - podloga: kao lik se ~ita svijetliji, ve}i, “bolji” oblik; na opti~kuvarku: bijeli se oblik na crnom “{iri” i izgleda ve}i; na mogu}u interakciju lika i podloge, na opti~kikontinuitet; na mogu}u dvosmislenost lik - podloga.3. Sudionici dobivaju fotokopiju bilo Rod~enkova, bilo Schlemmerova, bilo Kniferova djela i traì seda dekomponiraju pa invertiraju izrezane crno-bijele plohe. Studenti-instruktori sudjeluju savjetom,razgovorom.4. Na kraju se izlaù radovi sudionika i uspore|uju se s originalnim djelima. (Ukoliko radovi nisudovoljno zanimljivi, mogu se uvrstiti radovi iz nekih prethodnih radionica.) Svrha je osvje{tavanjekona~nog autorova izbora izme|u bezbroj mogu}nosti i osvje{tavanje da se ploha naj~e{}e likovnogenerira linijom (obrisom), ali i obratno, linija se moè generirati iz plohe (demonstracija pomo}urazrezanih dijelova Schlemmerova djela).

27The intention of the s i x t h workshop is to experi-ence the plane as a halting of light (either as a lightspot or as a shadow – visually generating); tobecome aware that a flat surface is an imitation ofthe absolute plane; to become aware that in every-day experience light serves in seeing the world, andin artistic experience to make itself visible; toexplore the compositional meaning of contrastedplanes of light and shadow; to feel the rhythm of a plane set in motion; to become aware of the linegenerating the plane and vice versa.

Ambience: Chairs and desks are lined up along thetwo longer walls; the middle of the room is empty.The projector is in its usual place. Scissors, blackpaper, photocopies, tracing paper are all prepared.

Structure of Activity1. The students-instructors perform a “shadow the-atre”. The first “actor” enters the strong beams oflight from the projector and performs various move-ments. When he/she “touches” the boundaries(frame) with his/her palms left-right, up-down, theprojector is moved. A game goes on between theframe – ground (light plane) and the “representation”– the figure (dark plane). Eventually when the frameis still again, the actor turns and shows his profileand another actor/actress appears opposite him, thenthe others gradually enter the frame till the momentwhen they are all turned with their backs to the pro-jector and their figures grow and totally obstruct thelight (a totally black plane is created which coversthe whole frame).2. The workshop leader in a brief talk makes the par-ticipants aware of the essence of the plane and afterthat projects: a) A. Rodchenko’s Mayakovsky, 1939.He/she demonstrates the dif-ference between the“absolute” plane (the former playing) and variousimitations of the plane. He/she tells them to watchthe black shape, then the white one, again the blackone and the occurrences on their boundary. Becauseof that he/she covers part of the white shape, then

26


Kazali{te sjena: igranje “apsolutne” plohe/Theshadow theatre: playing the “absolute” plane

Kazali{te sjena: istraìvanje granica/The shadowtheatre: exploring the boundaries

Kazali{te sjena: umnaànje sjene/The shadowtheatre: multiplying the shadows

Kazali{te sjena: sjene su nadvladale/The shadowtheatre: the shadows overcome

Izrezuje se Schlemmerov znak Bauhausa/Schlemmer’s sign of the Bauhaus is cut out

Inverzija Rod~enkovog Majakovskog/Rodchenko’s Mayakovsky is inverted

Inverzija Schlemmerovog znaka je gotova: lijepise na zid/Inversion of Schlemmer’s sign is finished:it is put on the wall

Studentica tuma~i promjene dobivene inverzi-jom/A student-instructor explains the changesobtained by inversion

29


HUE SCALE

(the first numerical value in the DIN system)

OO.. HHEERRMMAANN::SSUUZZAANNAA II SSTTAARRCCII//SSUUZZAANNNNAAHH AANNDDTTHHEE EELLDDEERRSS,, 11996699..,, UULLJJEE//OOIILL,, 8811 XX 110033..66,, GGSSUU,, ZZAAGGRREEBB

crvenoljubi~asta→ crvena→ crvenonaran~asta→ naran~asta→ ùtonaran~asta→ ùta→ ùtozelena→ zelena→ plavozelena→ plava→ plavoljubi~asta

purple→ red→ reddishorange→ orange→ yellowishorange→ yellow→ yellowishgreen→ green→ bluishgreen→ blue→ bluishviolet

TONSKA SKALA

(tre}a broj~ana vrijednost u DIN sustavu) najsvjetlija

1; 2; 3; 4; 5

CHROMA SCALE

(the third numerical value in the DIN system) highest value

(the second numerical value in the DIN system) highest chroma

VALERSKA SKALA

(druga broj~ana vrijednost u DIN sustavu) najjarkija

3; 4; 5; 6

KROMATSKA SKALA

(prva broj~ana vrijednost u DIN sustavu)

VALUE SCALE

9:4:4; 9:3:5; 9:1:5; 8:5:4; 8:5:3; 7:5:3;7:3:4; 7:2:4; 6:4:4; 6:3:3; 5:4:5; 4:5:3; 3:5:3; 3:5:2; 2:4:3; 2:3:2; 1:6:1; 1:5:2; 24:5:4; 23:6:4;23:5:3; 22:6:4; 22:5:4; 21:5:5; 21:5:4; 21:5:3; 19:4:4; 19:3:5; 18:4:3; 18:3:2; 17:4:3; 17:3:3; 16:5:4; 16:1:3

28


jarkost (valer)intensity (chroma)

BB OO JJ AA

PROMJENA VALNE DULJINE SVJETLOSTIWAVE LENGTH LIGHT CHANGE

gradiranjegradation

KROMATSKE KVALITETE (VRSTA)OF HUE

gradiranjegradation

SVJETLINE (TON)OF LIGHTNESS (VALUE)

gradiranjegradation

ÎSTO]E/JARKOSTI/ZASI]ENOSTI (VALER)OF PURITY/INTENSITY/SATURATION (CHROMA)

svijetlocrvenolight red

jarkocrvenointense red

blijedocrvenopale red

tamnocrvenodark red

kromatska kvaliteta (vrsta)hue

svjetlina (ton)lightness (value)

3D

CC OO LL OO UU RR II DD EE NN TT II FF II KK AA CC II JJ AA BB OO JJ AA UU TT RR II DD II MM EE NN ZZ II JJ EE

CC OO LL OO UU RR II DD EE NN TT II FF II CC AA TT II OO NN II NN TT HH RR EE EE DD II MM EE NN SS II OO NN SS

the painting and it is compared. If we are satisfiedand decide we have guessed the colour, we writethe data, for instance hue (tone): 1; chroma (satu-ration): 4; value (darkness): 5. Naturally if in thefirst attempt we did not find the exact colour wesearch further, we take another chip and we com-pare (the chips after using them are put carefullyback into their places). 3. After the previous instructions the workshopleader divides the participants into twelve groupsand instructs each group to work with one colour.Yellow is the first colour. The “waiting” partici-pants receive a reproduction of Herman’s painting,and compare it with the original and make notesabout the alterations. After the first group has fin-ished the exploration of the painting is instructedto approach the group of students who are waitingto mix the oil paints and the other group of opticalmixers to try to examine what they obtained andthe second group starts working on the painting(the yellow-orange colour) etc.3. In this way, step by step, all the paints aremixed, the colours are examined by speed mixingtoo and a gamut (scale) is prepared.4. The occurrence is interwoven with the workshopleader’s remarks either in front of the painting, infront the chips or at the mixing table.5. The participants are informed that the preparedscale will be used in a further workshop.6. Besides the colour reproductions of Herman’spainting the participants receive photocopies of apage where the DIN system, and the three-dimen-sionality of the colours are explained.

Namjera u s e d m o j radionici je ste}i iskustvo o bogatstvu boja u jednoj slici; ste}i iskustvo otrodimenzionalnom karakteru boje, o odre|ivanju boje uzorcima, o dobivanju boje “speed”mije{anjem i mije{anjem tvari (uljene boje); ste}i iskustvo o promjenljivosti boja u okoli{u, o nesig-urnosti opaàja i o kratko}i pam}enja boje.

Ambijent: Dvorana Galerije suvremene umjetnosti u Zagrebu. U prostoriji su stolice za sudionike,stalak na kojem je Hermanova slika Suzana i starci i dva ve}a stola. Na jednom su razmje{teni DIN6164 uzorci boja po redu, od 1 do 25. Drugi stol je za studente-instruktore s pripremljenim uljenimbojama, kistovima, razrezanim kartonima i aparatom za “speed” mije{anje boja.

Struktura doga|anja1. Voditelj drì kratko uvodno predavanje o boji: {to su primarne boje, {to sekundarne i tercijarne.Tuma~i tri dimenzije boja: kromatsku kvalitetu, svjetlinu (ton), jarkost (intenzitet). Upozoruje narazli~itu terminologiju. Obja{njava {to je DIN sustav, {to se u tom sustavu podrazumijeva pod tonom,tamno}om i saturacijom. Pokazuje kako se ~itaju uzorci i daje upute kako }e se koristiti u identifikaci-ji boja na Hermanovoj slici.2. Svi su sudionici bili upozoreni da donesu “masku” (bijeli ili sivi karton~i} s otvorom 1 x 1 cm). Voditelj daje po~etne upute i uz pomo} maske, pokazuje postupak ~itanja boje. Maska semaksimalno, ali pritom ne dodiruju}i sliku, pribliì èljenom dijelu da bi se pojedine boje izdvojile odutjecaja drugih boja, i tada se uzima uzorak (pa`ljivo, ne dodiruju}i obojenu povr{inu da ne bi ostaliotisci), prinosi se izdvojenoj boji na slici i uspore|uje. Ukoliko smo zadovoljni i odlu~imo da smopogodili boju, zapisujemo podatke, npr. kromatska kvaliteta (ton): 1, jarkost (saturacija): 4, svjetlina(tamno}a): 5, i idemo dalje u traganje i identificiranje. Naravno, ukoliko u prvom poku{aju nismoprona{li odgovaraju}u boju, traìmo dalje, uzimamo drugi uzorak i uspore|ujemo (pritom uzorkepa`ljivo vra}amo na mjesta). 3. Nakon uputa voditelj raspore|uje sudionike u dvanaest grupa, svaka se bavi jednom bojom.Po~inje se od ùte. Ostali, “nezaposleni”, dobivaju reprodukciju Hermanove slike, razgledavaju origi-nal i uspore|uju ga s reprodukcijom te biljeè odstupanja. Kada je prva grupa zavr{ila istraìvanjepred slikom, prilazi grupi studenata koja mije{a uljene boje i grupi koja mije{a boje aparatom za“speed” mije{anje da bi isku{ali dobiveno i na slici radi druga grupa (ùtonaran~asta boja) itd.4. Tako se postupno tvarno mije{aju sve boje, provjeravaju se i opti~ki putem aparata za “speed”mije{anje i prire|uje se skala.5. U doga|anja se upli}e razgovor s voditeljem, bilo pred slikom, bilo pred uzorcima, ili pri mije{ajuboja.6. Upozorava se da }e se skala koristiti u daljnjim istraìvanjima slike.7. Osim reprodukcije Hermanove slike sudionici dobivaju i fotokopirani materijal s obja{njenjem DINsustava i trodimenzionalnosti boje.

31The intention of the s e v e n t h workshop is toexperience the richness of colours in a painting, thethree-dimensionality of colour, and colour identifica-tion using colour chips; to get colour by optic“speed” mixing and by paint mixing (oil paint); togain experience of the modifications of the coloursin the environment, of the uncertainty of colour per-ception and of the shortness of memory of colour.

Ambience: A room in the GSU (Gallery ofContemporary Art) in Zagreb. Chairs for the partici-pants are prepared in the room, as well as an easelwith O. Herman’s painting Suzannah and the Eldersand two large tables. On one of them the DIN 6164set of colour chips are placed in rows numberedfrom 1 to 25. Another table is for the students-instructors, oil paints, brushes, prepared pieces ofcardboard, and an apparatus for the speed mixingof colours.

Structure of the Activity1. The workshop leader talks briefly about thecolours: what the primary colours are, then the sec-ondary and tertiary ones. Explains what the threedimensions of colours are. He/she explains the hue,the value and the chroma. He/she also warns theparticipants of different terminology and explainswhat the DIN 6164 system is, what is accepted in itas tone, darkness and saturation. He/she demon-strates the reading and using of the chips for colouridentification in O. Herman’s painting2. The participants are asked to bring a so called“mask” (little white or grey pieces of cardboardwith a window 1 x 1 cm cut in them). The work-shop leader gives the first instructions and with amask demonstrates the procedure of colour read-ing. The mask is put as near as possible to the cho-sen part of the painting (not touching it) to isolatethe particular colour from the influence of the oth-ers, then the chip is taken away (taking care not totouch the colour surface with the fingers to avoidany traces), it is put close to the isolated colour in

30


Pokazivanje DIN 6164 sustava boja/Demonstrating the DIN 6164 system of colours

Pred Hermanovom slikom voditelj pokazuje kakose radi s uzorkom boje/In front of Herman’s paintingthe workshop leader demonstrates how to work withthe colour chip

Studentica pokazuje kako se radi s uzor-kom boje/A student-instructor demonstrates how towork with the colour chip

Mije{anje boja na temelju uzorka boje/ Mixingpaints on the basis of colour chips

Rad s uzorkom boje/Working with the colour chip Mije{anje boja na temelju uzorka boje/ Mixingpaints on the basis of colour chips

Opti~ko mije{anje boje na temelju uzorka/Optical mixing of colours on the basis of the colourchips

Pripremanje skale/Preparation of a colour scale

Broj

sli~

ica

/num

ber

of im

ages

= 7

260

Broj sli~ica / number of im

ages=

7260

1 sli~ica/image


SIMETRIJA JE OP]E SS II NN TT AA KK TT II ^̂ KK OO PP RR AA VV II LL OO SYMMETRY IS A GENERAL SS YY NN TT AA CC TT II CC RR UU LL EE

PRIMJER: ZRCALJENJE (INVERZIJA U PROSTORU) EXAMPLE: REFLECTION (INVERSION IN SPACE)

UMJETNOSTAARRTT

PRIRODANNAATTUURREE

tema theme

FILM, POEZIJA, GLAZBA, KIPARSTVO, GRADITELJSTVOFILM, POETRY, MUSIC, SCULPTURE, ARCHITECTURE

DDVVOOGGLLAAVVAA ZZMMIIJJAA//TTWWOO HHEEAADDEEDDSSNNAAKKEE1133..--1144.. SSTT..//1133TTHH--

1144TTHHCC..,, MMEEKKSSIIKKOO//MMEEXXIICCOO,,PPAARRIIZZ//PPAARRIISS

LL.. GGAALLEETTAA PPii RRaa MMiiddaass11997722..--8844..

FARSANGI TÜKÖR-DALtelehold szitálj hamut min-den út pokolra fut palotábavérem vezetve csillárbapohárbapalotába vérem vezetve min-den út pokolra fut teleholdszitálj hamut

Nagy László

WW..AA.. MMOOZZAARRTT::SSIIMMFFOONNIIJJAA//SSIIMMPPHHOONNYY JJUUPPIITTEERRUU CC--DDUURRUU//IINN CC MMAAJJOORR,,11778888..,, FFIINNAALLEE

CC..NN.. LLEEDDOOUUXX:: PPAALLAA^̂AA//PPAALLAACCEEMMOONNTTMMOORREENNCCYY,, 11880044.. TTLLOOCCRRTT//PPLLAANN

inverzijainversion

DD.. JJAANNDDAA:: ^̂OOVVJJEEKK//MMAANN,,11998877..

3332


SS II MM EE TT RR II JJ AA :: KONSTRUKCIJA USMJERENOG PROSTORA SS YY MM MM EE TT RR YY :: CONSTRUCTION OF SPACE DIRECTION

dilatacija – {irenjedilatation – expansion

zrcaljenjereflection

SLOBODNA INTERPRETACIJA PRAVILA

mijenja se boja, stav likova

FREE INTERPRETATION OF RULES

the colour and posture of the figures are changed

NNEEBBEESSKKII JJEERRUUZZAALLEEMM//HHEEAAVVEENNLLYY JJEERRUUSSAALLEEMM,, MMIINNIIJJAATTUURRAA IIZZ KKOOMMEENNTTAARRAAAAPPOOKKAALLIIPPSSEE BBEEAATTUUSSAA IIZZLLIIEEBBAANNEE//MMIINNIIAATTUURREE FFRROOMM CCOOMMMMEENNTTAARRYY OONN AAPPOOCCAALLYYPPSSEE OOFF BBEEAATTUUSS DDEE LLIIEEBBAANNAA,,

1111.. SSTT..// 1111TTHH.. CC..,, 222222 FFOOLLIIOO,,BBIIBBLLIIOOTTHHEECCAA MMOORRGGAANN,, NNEEWWYYOORRKK

translacija – pomaktranslation – shift

rotacija – vrtnjarotation

seen from above in Venice are examples of rotation;d) The Two-headed Snake, a Mexican sculpture is anexample of reflection; e) a whirlpool, the minaret atSamara, the staircase in the benedictine Abbey ofMelk, and The Street Light by B. Neuman are exam-ples of dilatation.3. Intending to become aware that the symmetries aregeneral syntactic rules not only in visual art works andin nature but in art works of different mediums too,some examples of poetry are projected in which differ-ent symmetries rule: a) R. Dohl’s poem is made with atwo-axis reflection of the primal syntagma and its vari-ations; b) L. Nagy: the verses reflect; D. Thomas: thekey word is the carrier of the reflection axis of theshapes made by verses; d) V. Radovanoviæ places theverses into a spiral.4. The participants get a note fragment from the finaleof Mozart’s Jupiter symphony (in C-major), and visual-ly perceive the inversion of the theme (an accousticreproduction and a musical analysis are very desirable)5. The workshop leader projects Heavenly Jerusalem,an illumination from Beatus de Liebana’s Commentaryof the Apocalypse, 11th Century (Bibliotheca Morgan,New York) where all the syntactic rules can be foundand talks about this so that the participants see them,get to know them and become aware of them.6. L. Galeta’s film Pi Ra Midas (1977-89) is presented.It is made on the basis of the principles of reflection,rotation and dilatation. At the end of the projection atalk with the author (or a taped video of it) is shown.7. The participants receive photocopies of the shematicdrawing of symmetries and photocopies of the poems.

U o s m o j radionici namjera je osvijestiti komponiranje, u prvome redu kao usmjeravanje prosto-ra, i da se ono izvodi na razli~ite na~ine (razli~ite simetrije); osvijestiti razli~ite simetrije (translacija,rotacija, zrcaljenje, dilatacija) kao univerzalna sintakti~ka pravila u prirodi, u ljudskim djelatnostimai u umjetni~kim djelima.

Ambijent: Stolice su du` bo~nih strana, sredina je prazna, projektor je na uobi~ajenom mjestu.Potreban je i kinoprojektor/video. Pripremljene su i fotokopije.

Struktura doga|anja1. Voditelj, studenti-instruktori i sudionici poku{avaju “otplesati” pojedine simetrije: a) translacija - stoji se u redu i kora~a se lijevo ili desno i osvje{tava se da se tijelo premije{ta u cijelosti,sve se to~ke pomi~u u jednom smjeru i prostor se usmjerava; b) translacija s pomakom (ina~icatranslacije) - sudionici su u dva paralelna reda, jedan se red kre}e u jednom, drugi u drugom smjeru; c) rotacija - svaki sudionik rotira oko jedne to~ke za 90°, 180° i za 360°; d) dvostruka rotacija - tvori sezajedni~ki krug, kolo, i izvodi se dvostruko rotiranje: svaki sudionik rotira oko jedne to~ke i, istodobno,zajedno s drugima, oko sredi{ta kruga (“dervi{ki ples”); e) zrcaljenje - sudionici zajedno izvode“crnogorsko kolo”, korak udesno i dizanje lijeve noge i obrnuto, korak ulijevo i dizanje desne noge; f) dilatacija - jedan student-instruktor povede sve sudionike u “zmiju”, spiralno kretanje.2. Nakon kineti~kog osvje{tavanja slijede likovni primjeri i primjeri iz prirode u kojima je po jedna vrstasimetrije dominantno sintakti~ko pravilo, odnosno kompozicijski zakon: a) fotografija li~inke komarca, Sinanov most u Vi{egradu i unutra{njost S. Apolinare Nuovo u Raveniprimjeri su translacije; b) inkrustirani pod Sv. Marka u Veneciji i Escherova grafika Konjanici, translacijesu s pomakom; c) cvijet hortenzije, cvijet klematisa i unutra{nji prostor S. Maria della Salute u Venecijigledan odozgo primjeri su rotacije; d) Dvo-glava zmija, meksi~ka skulptura, primjer je zrcaljenja; e) vir,minaret u Samari i stubi{te u benediktinskoj opatiji u Melku te Uli~ni znak B. Neumana primjeri sudilatacije.3. Radi medijskog pro{irenja, odnosno osvje{tavanja, da su simetrije op}a sintakti~ka pravila, ne samo ulikovnim djelima i u prirodi nego i u djelima drugih umjetnosti, projicira se nekoliko primjera poezije ukojima vladaju razli~ite vrste simetrije: a) R. Dohl: pje-sma je sa~injena dvoosnim zrcaljenjem po~etnesintagme i njenih varijacija; b) L. Nagy: stihovi se razmje{tavaju zrcalno; c) D.Thomas: klju~na rije~ jenositelj osi zrcaljenja oblika koji su sa~injeni od stihova; d) V. Radovanovi}: stihovi su razmje{teni u spi-rali. 4. Sudionici dobivaju notni izvadak iz finala Mozartove simfonije u C-duru Jupiter i vizualno uo~avajuinverziju teme (po`eljna je i zvukovna reprodukcija i glazbena analiza).5. Voditelj projicira Nebeski Jeruzalem, minijaturu iz rukopisa komentara Apokalipse Beatusa odLiebane, 11. st. (Biblioteka Morgan, New York) u kojoj se mogu prepoznati sva navedena sintakti~kapravila i vodi razgovor da bi ih sudionici ugledali, upoznali, osvijestili.6. Prikazuje se film L. Galete Pi Ra Midas (1972.-1984.) koji je sa~injen na temelju na~ela zrcaljenja,rotacije i dilatacije. Nakon projekcije vodi se razgovor s autorom ili se prikazuje video o tome.7. Sudionici dobivaju fotokopiju shematskog crte`a simetrija i fotokopije s tekstovima pjesama.

35The intention of the e i g h t h workshop is tobecome aware that composing is primarily spacedirection performed in different ways (differentsymmetries); that the different symmetries (trans-lation, rotation, dilatation, reflection) are universalsyntactic rules in nature, in human activities and inpieces of art work.

Ambience: The chairs are in rows around the walls,the middle is empty (there are no desks in theroom), the projector is in its usual place, also a cin-ema projector or a video player is available for use.

Structure of the Activity1. The workshop leader, students and participantstry to “dance” the particular symmetries: a) trans-lation - standing in rows, stepping left or right andthey become aware of the transposition of thebody as a whole, all the points shift in one direc-tion and the space is directed that way; b) the par-ticipants are in two parallel rows, one row movesin one direction, the other in another one, weobtain a variation of translation, a translation with ashift; c) every participant rotates round a point for90°, 180° and 360°; d) a common circle - is creat-ed - it is a double rotation, every participant rotatesround a point and simultaneously, together with theothers, round the centre of the circle (“Dervish’sdance”); e) together they dance a “Montenegrian folkdance” - one step right raising the left leg and viceversa, a step left and raising the right leg andthrough that become aware of reflection; f) a stu-dent leads all the participants into a “snake”, intospiral moving, into dilatation.2. After this kinetic experience the examples fromart and nature follow, where one of the symme-tries is the dominant syntactic rule, or a composi-tional law: a) a mosquito’s grub, Sinan’s bridge inVi{egrad and the interiorof S. Apolinare Nuovo inRavenna are the examples of translation; b) thefloor of San Marco with incrustations in Veniceand Escher’s print The Riders are translations witha shift; c) the flower of hortensia, the flower ofclematis and the interior of S. Maria della Salute

34


Na ulazu: u oktaskopu se vidi osmerostrukarotacija okoli{a/At the entry: an eightfold rotation ofthe environment can be seen in an octascope

Studentica daje upute za kretanje/A student-instructor gives instructions for movement

Kretanjem se isprobavaju simetrije (trans-lacija,rotacija)/Symmetries (translation, rotation) are triedout by moving.

Kretanjem se isprobavaju simetrije (trans-lacija,rotacija)/Symmetries (translation, rotation) are triedout by moving.

Kretanjem se isprobavaju simetrije (zrcaljenje)/Symmetries (reflection) are tried out by moving.

Studentica tuma~i na projekcijama cvijetahortenzije rotaciju/A student-instructor explainsrotation in a projection of a hortensia flower

Studentica tuma~i na projekcijama mek-si~kogkipa zrcaljenje/A student-instructor explains reflec-tion in a projection of a Mexican sculpture

L. Galeta tuma~i simetriju (dilataciju) nakonprojekcije njegovog filma Pi Ra Midas/L. Galetaexplains the symmetry (dilatation) after the projec-tion of his film Pi Ra Midas

37


LLEEOONNAARRDDOO DDAA VVIINNCCII::PPOOSSLLJJEEDDNNJJAA VVEE^̂EERRAA//TTHHEE LLAASSTT SSUUPPPPEERR,, 11449955..--9977..,,TTEEMMPPEERRAA,, 446600 XX 888800 CCMM,,SS.. MMAARRIIAA DDEELLLLEE GGRRAAZZIIEE,, MMIILLAANNOO

1. SUSTAV: STRUKTURALNE MOGU]NOSTIKADRA

1. SYSTEM: THE STRUCTURAL POSSIBILITIESOF THE FRAME

2. SUSTAV: PERSPEKTIVA2. SYSTEM: PERSPECTIVE

3. SUSTAV: ZLATNI REZ3. SYSTEM: THE GOLDEN SECTION

DD JJ EE LL OO KK AA OO SS UU SS TT AA VV PP RR EE OO BB RR AA ZZ BB II TT HH EE WW OO RR KK OO FF AA RR TT AA SS AA SS YY SS TT EE MM OO FFTT RR AA NN SS FF OO RR MM AA TT II OO NN SS

(BOULEAU)

(PEDRETTI)

2, 3, 5, 8 = Fibonaccijev niz(zlatni rez)

the Fibonacci series(Golden Section)

2

3

8

5

36

a : b = b : (a + b) = 0,618


PP.. PPIICCAASSSSOO UU FFIILLMMUU HH..GG.. CCLLOOUUSSOOTTAA//PP.. PPIICCAASSSSOO IINN CCLLOOUUSSOOTT′′SS FFIILLMM::

TTAAJJNNAA PPIICCAASSSSOO//LLEE MMYYSSTTEERREE PPIICCAASSSSOO

OO MM JJ EE RR II II RR AA ZZ MM JJ EE RR IIDD JJ EE LL OO KK AA OO SS UU SS TT AA VV PP RR EE OO BB RR AA ZZ BB II

STRUKTURALNE MOGU]NOSTI KADRA (ARMATURA)

THE STRUCTURAL POSSIBILITIES OF THE FRAME (ARMATURE)

RR AA TT II OO SS AA NN DD PP RR OO PP OO RR TT II OO NN SSAA WW OO RR KK OO FF AA RR TT

AA SS AA SS YY SS TT EE MM OO FF TT RR AA NN SS FF OO RR MM AA TT II OO NN SS

HH.. HHOOLLBBEEIINN::AAMMBBAASSAADDOORRII//AAMMBBAASSSSAADDOORRSS,,11553333..,, UULLJJEE//OOIILL,, 220066 XX 220099 CCMM,,NNAATTIIOONNAALL GGAALLLLEERRYY,,LLOONNDDOONN

a

a

b

b

a b

(COLE)

3. a) The participants get a rectangular piece ofpaper, dimensions 8 x 16 cm and guided by theinstructors explore some of the structural possibili-ties of the format. Following the instructions firstthey divide the rectangle horizontally and verticallyinto four parts. They connect the points they get onthe sides with each other according to a certainorder: the third upper and the third bottom and thethird left with the third right. Then they draw diago-nals. Now the second, third and fourth upper pointsare connected with five other points that way: sec-ond upper with first, second, third and fourth bot-tom and with second right; third upper with third leftand second, third, fourth bottom and with thirdright; the fourth up with second left and with sec-ond, third, fourth and fifth bottom; the second bot-tom with fourth right; the third bottom with third leftand right and the fourth bottom with fourth left.There is a possibility to construct squares one inanother if the points at the intersections are con-nected in the armature obtained. If the second andfourth points up and down are interconnected verti-cally we get the largest square in which the othertwo are; b) the participants get a rectangle of thesame dimensions which has to be divided verticallyleft-right 10 : 6 and vice versa. The instructorsexplain the Golden Section (auxiliary leaflet); thestudents-instructors demonstrate how to performAlberti’s construction of the perspective by stages.The participants receive a prepared drawn square 8x 8 cm. The base of it is divided into six parts andthe height into two. The lower points are connectedwith the central point (vanishing point). Half of thewidth (4 cm) is transposed out of the square to the right,onto the line which is obtained by extending thecentral point parallelly with the base thus getting thedistance point. It is connected with the points onthe base; d) Leo-nardo Last Supper (1495-97, tem-pera, 460 x 880 cm, S. Maria delle Grazie, Milano)is projected. Talking to the participants the work-shop leader shows them how the structural lines ofthe rectangle become the compositional lines of thepainting. He/she calls their attention to the fact thatthe dynamics of reflection and the perspective arein a constant transformation according to theGolden Section.4. A vertically “cut” detail of P. Picasso’s Guernica(1937, 345 x 770 cm, oil, Madrid) is presented andfor homework the participants should find reflectionand the Golden Section in the painting as a whole.5. The participants may keep the drawings theyhave made and receive photocopies of the LastSupper and Guernica.

U d e v e t o j radionici namjera je osvijestiti umjetni~ko djelo kao sustav prebrazbi; osvijestiti raz-liku izme|u struktura i oblika istraùju}i promjene oblika nastale promjenom omjera mreè;istraìvati strukturalne mogu}nosti kadra - pravokutnika; osvijestiti perspektivu kao konstrukcijuo~i{ta u mreì; osvje{tavati da je komponiranje upravljanje vremenom gledateljeva pogleda i njegovaintenziviranja (omjeri i razmjeri).

Ambijent: U prostoriji su stolice i stolovi, stolovi su razmje{teni polukru`no uz dva uà zida. Uzsvaki stol, pokraj dva-tri sudionika po jedan instruktor-student. Projektor je na uobi~ajenom mjestu.Potreban je video. Prire|en je fotokopirani materijal.

Struktura doga|anja1. a) Pokazuje se sekvenca iz Clousotova filma Tajna Picasso. Prisustvuje se preobrazbi oblika =zna~enja koje izvodi Picassova ruka. Picasso crta kaktus koji se preobraàva u ribu pa onda u pijetlai, kona~no, u masku/glavu |avla kao broda kojim plove likovi. b) Pokazuje se P. Mondrian Kompozicija sa ùtim linijama, 1933., ulje. Sudionici su pozvani dagledaju sliku i osvijeste preobrazbe u pogledu. c) Projicira se slijed crteà J.G. Lavatera koji pokazujulice àbe odnosno ène. Prikazi se me|usobno neznatno razlikuju, àba se postupno pretvara u liceène. d) Pokazuju se lubanje ~ovjeka i raznih vrsta majmuna ucrtane u mreè. Lubanje su iste struk-ture a razli~ite po obliku, jer su omjeri mreà druga~iji (W. D’Arcy Thomson).2. Radi se u grupama. a) Svi sudionici dobivaju tri razli~ite mreè, jednu 1 : 1, drugu svatkorazli~itih omjera, a tre}u s omjerima koji nastaju ugra|ivanjem o~i{ta sa strane (anamorfoza). Prvoucrtavaju u jednostavnu mreù obris nekog uobi~ajenog predmeta po naho|enju, potom lubanje.Nakon toga obris prenose u sloèniju mreù, a obris lubanje u mreù za anamorfozu. Mreà zaanamorfozu se dobiva ovako: nacrta se okomita linija AD, na izvjesnoj udaljenosti odredi se to~ka X.Linija AD se dijeli na jednake dijelove i te se to~ke (e, f, g, h, i) povezuju s to~kom X. Iznad X postavise to~ka Y i povezuje se s doljnjom to~kom prvotne okomice (D). Gdje YD sije~e AX spusti se prvaokomica itd. na svim sjeci{tima DY i eX, fX, gX itd. b) Pokazuje se H. Holbeinova slika Ambasadori(1533., tempera, 206 x 209 cm, National Gallery, London), detaljno se analizira sa stanovi{ta zrcal-jenja, zlatnog reza i razli~itih pomaka dviju mreà u odnosu na te zakonitosti. Pokazuje se detaljsnimljen s boka (“lubanja”). Sudionici prepo-znaju svoj pripremni rad. Govori se o pretpostavljenomsmje{taju slike na stubi{te, gdje se u pogledu promatra~a, koji se kretao, doga|ala preobrazba.3. a) Sudionici dobivaju nacrtani pravokutnik veli~ine 8 x 16 cm i uz pomo} instruktora istraùjuneke od strukturalnih mogu}nosti tog formata. Prema uputama najprije dijele pravokutnik vodor-avno i okomito na ~etiri dijela. Dobivene to~ke na stranicama me|usobno povezuju po odre|enomredu: 3. gornju i 3. doljnju i 3. lijevu i 3. desnu. Nakon toga crtaju dijagonale. Sada 2., 3. i 4. gornju povezuju s po pet to~aka ovako: 2. gornju s 1., 2., 3., i 4. doljnjom i 2. desno; 3. gornju s 3.lijevo i 2., 3., 4. doljnjom i 3. desno; 4. gornju s 2. lijevo i s 2., 3., 4. i 5. doljnjom; 2. doljnju s4.desno; 3. doljnju s 3. lijevo i desno i 4. doljnju s 4. lijevo. Na tako dobivenoj armaturi postojimogu}nost da se konstruiraju kvadrati jedan u drugom, ako se poveù to~ke koje nastaju na mjestukriànja triju linija. Ako se to~ke 2. i 4. gore i dolje me|usobno poveù okomito, dobije se najve}ikvadrat u kojem su unutra dva druga. b) Sudionici dobivaju nacrtani pravokutnik istih dimenzijakoji dijele okomito lijevo-desno 10 : 6 i obrnuto. Pritom im instruktor tuma~i zlatni rez (pomo}nilisti}). c) Instruktori pokazuju kako se u etapama izvodi Albertijeva konstrukcija perspektive.Sudionici dobivaju nacrtani kvadrat 8 x 8 cm ~iju osnovicu dijele na {est dijelova i visinu na polovicu. Doljnje se to~ke povezuju sasredi{njom glavnom to~kom. Polovica {irine (4 cm) prenosi se izvan kvadrata desno, na liniju kojase dobiva produènjem sredi{nje to~ke paralelno s osnovicom i dobiva se to~ka nedogleda. Ona sepovezuje s to~kama na osnovici i onda se to~ke sjeci{ta s desnom stranicom kvadrata produè dolijeve i dobivaju se paralele osnovici. d) Pokazuje se Leonardova Posljednja ve~era, 1495.-1497.,tempera, 460 x 880 cm, S. Maria delle Grazie, Milano i, u razgovoru sa sudionicima, pronalazi se na~in kakosu strukturalne linije pravokutnika postale kompozicijske linije slike. Ukazuje se na na~in na koji suzrcaljenje i perspektivno skra}enje dinamizirani u stalnoj preobrazbi po zlatnom rezu.4. Pokazuje se okomito “isje~eni” detalj Picassove Guernice (1937., ulje, 345 x 770 cm, Madrid) izadaje se doma}a zada}a da se prona|u zrcaljenje i zlatni rez u cjelini kompozicije.

39The intention of the n i n t h workshop is to makethe participants aware of art work as a system oftransformations; to make them aware of the differ-ence between structure and shape exploring thechanges of shape created by the change of ratios inthe network; to explore the structural possibilities ofthe frame - such as a rectangle; to make themaware of the perspective as an insertion of theviewpoint into the network; to make them awarethat to compose means to govern the time of theobserver’s gaze and to intensify it (ratios and pro-portions).

Ambience: In the room there are chairs and desksplaced in a semicircle along the two shortest walls.At each desk there are two or three participants anda student-instructor. The projector is in its usualplace. A video player is also available. Photocopiedmaterial has been prepared and is available.

Structure of the Activity1. a) A sequence from Clousot’s film Le MystèrePicasso is presented. Picasso is drawing a cactuswhich transforms into a fish, then into a cock andeventually into a mask/head of the devil as a sortof ship on which figures are sailing. We witness atransformation of shapes = meanings, performedby Picasso’s hand. b) P. Mondrian’s Compo-sitionwith Yellow Lines, 1933, oil, is shown. The partici-pants are invited to look at the painting andbecome aware of the transformations in their gaze.c) J.G. Lavater’s drawings which represent thefaces of a frog and a woman are projected. Therepresentations differ slightly, the frog graduallybecomes a woman. d) Skulls of man and of differ-ent sorts of apes drawn into the network are pre-sented. The skulls have the same structure but dif-ferent forms because the ratios of the network dif-fer (W. D’Arcy Thompson)2. The participants work in groups. All of them get: a) three different networks, the first one is 1:1, thesecond one has a different ratio each time and thethird one with a viewpoint inserted from one side(anamorphose). First they draw an outline of a com-mon object, afterwards that of a skull. They trans-pose the outline of the common object into a morecomplex network and the skull into a network withthe viewpoint from the side inserted. A network ofanamorphose has to be constructed: a vertical line isdrawn AD, at a certain distance a point X (is defined).The line AD is divided into equal parts and the points(e, f, g, h, i) are connected with point X. Above X weput point Y and connect it with the lower point (D) ofthe first vertical line. Where YD cuts AX we draw thefirst vertical etc. at all the intersections of DY and eX,fX etc. b) H. Holbein’s painting The Ambassadors(tempera, 1533, 206 x 209 cm, National Gallery,London) is presented and a detailed analysis folowswith reference to reflection, the Golden Section, dif-ferent shifts in relation to these regularities and to thetwo networks. A detail taken from one side (“theskull”) is projected. The participants recognize theirpreparatory excercise. The hypothesis is explainedthat the painting was intended to be put on the wallof a staircase where, while moving, the transforma-tion in the observer’s gaze could happen.

38


Ucrtava se oblik u mreù/The shape is drawnonto the network

Studenti instruiraju u malim grupama/The students-instructors instruct in small groups

U armaturu se ugra|uje o~iste (perspektiva)/Inthe armature is the viewpoint inserted (perspective)



Istraùju se strukturalne mogu}nosti kadraLeonardove Posljednje Ve~ere/The structural possibilities of the frame ofLeonardo’s Last Supper are explored

Tuma~i se Albertijeva perspektiva/Alberti’s per-spective is explained

Konstruira se Albertijeva perspektiva/ Alberti’sperspective is constructed

41

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40


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er” us in reading the pure line only. A participantfollows the line and divides it, reads it on a univer-sal level. Although “we are not bothered” by theverbal context it is present and it differs from thevisual one but we feel they support each other.Slides of Alhambra are projected to show the richornamental and calligraphic surroundings. All thewalls are covered either with ornaments or withtexts written in calligraphy and performed in stuccorelief. We concentrate on the Room of the TwoSisters and the inscription of the poet Ibn Zamrak:“The Twins stretch forth a friendly hand in greetingto her / The celestial moon draws near / whisperingaffection.” The discussion is about the closeness ofthe ornament and calligraphy.2. First: a) the motive is defined as a movement ofthe original point (invisible), which is closed in itselfand becomes a new point or motive which stopsour gaze; b) a student-instructor draws a motivewith a feltpen (a line which is closed again in itself -a point in movement) on a piece of paper lighted bybeams of light. c) The floor is covered with wrap-ping paper. A student-instructor invites the partici-pants to place themselves into a certain constella-tion (see figure 1 in Croatian text).After that he/she winds a piece of cord round theparticipants and obtains the following(The motive from Koljani: figure 2). a) When theform is finished the other student-instructor drawsa projection of the cord on the paper with a brushand paint. The next procedure is: the participants,

43


Student crta motiv ornamenta na zidu/A student-instructor draws an ornamental motive onthe wall

Konopom se konstruira motiv od sudionika dosudionika/The motive is fixed with a cord from par-ticipant to participant

Motiv se doga|a i na podu: studentica kistompovla~i liniju/The motive occurs also on the floor:a student-instructor draws the line with a brush

Motiv se doga|a i na podu: studentica kistompovla~i liniju/The motive occurs also on the floor:a student-instructor draws the line with a brush

Sudionici motre crtanje motiva na podu/ Theparticipants watch the drawing of the motive on thefloor

Student prolazi “slijepo” linijom motiva/A student-instructor “blindly” moves through the lineof the motive

Sudionici prolaze linijom motiva/The participantsmove through the line of the motive

Studentica prstom prolazi kroz ornament naprojekcijama oltarne pregrade iz Koljana/A stu-dent-instructor moves through the ornament in theprojection of the altar screen from Koljani using herfinger

42 Namjera u d e s e t o j radionici je osvijestiti da se pozornost spontano odgaja ili ornamentom ilipismom; da je ornament temeljni simbol, jedinstvo sadràja i forme; da se u pismu razlikuje likovni iverbalni sadràj; da je kaligrafija neka vrsta ravnoteè izme|u likovnog i verbalnog sadràja, a da jetiskani tekst njihov potpuni rascjep.

Ambijent: Stolice su razmje{tene uz dulje zidove, sredina prostorije je prazna i prekrivena pak-papirom. Projektor je na uobi~ajenom mjestu. Potrebni su konop, boja, kist i, kao uvijek, fotokopiranimaterijal.

Struktura doga|anja1. Voditelj vodi: a) razgovor o doìvljajima sudionika u proteklim radionicama; b) govori o usmjeravanju pozornosti; c) o postojanju dviju vizualnih disciplina (pismo i ornament). d)Projicira se tekst @UTO pisan raznobojno i tuma~i se jaz izme|u verbalnog pojma i vizualne senzacije.e) Projicira se tekst iz novina RADOSTI I ZANOSI i osvje{tava se likovna neutralnost slova te jaz izme|unjih i verbalnog sadràja. f) Pokazuje se tekst ALLAH AMALI (Alah je moja nada) u tumar kaligrafskom pismu. Jedan sudionikra{~lanjuje liniju i ~ita je na univerzalnoj razini. Iako nas “ne ometa” (ne znamo arapski!) verbalni jesadràj prisutan i razlikuje se od likovnog, me|utim naslu}ujemo da su u me|usobnom supodràvanju.g) Pokazuju se snimci Alhambre da bi se vidio bogati ornamentalni i kaligrafski ambijent. Svi su zidoviprekriveni {to ornamentima, {to kaligrafskim tekstovima izvedenim u {tuko reljefu. Izdvajamo Dvoranudviju sestara i natpis pjesnika Ibn Zamraka: “Blizanke pruàju prijateljsku ruku njoj (Alhambri).Nebeski se mjesec pribliàva i {ap}e naklonost.” Govori se o bliskosti ornamenta i kaligrafije.2. a) Prvo se odre|uje motiv kao kretanje ishodi{ne to~ke (nevidljive), koja se u svom kretanju zat-vara u sebe i postaje nova to~ka - motiv koji zaustavlja pogled. b) Potom student-instruktor izvodiflomasterom motiv (liniju - pokrenutu to~ku koja se opet za-tvara u sebe) na papiru osvijetljenomsnopom svjetla. c) Na podu je pak-papir. Jedan student-instruktor poziva sudionike da stanu uodre|enu konstelaciju.

Nakon toga obmotava oko njih konop tako da dobiva ovo (Motiv iz Koljana):

Kada je oblik gotov, drugi student-instruktor povla~i projekciju konopa po papiru kistom umo~enimu boju. Sljede}i postupak: sudionici, jedan za drugim prolaze tragom ili ih student-instruktor vodi, ilise kre}u po njegovim uputama. d) Pozove se novih deset sudionika i postavi se u ovu konstelaciju:

The intention of the t e n t h workshop is to makethe participants aware that attention is spontaneouslyeducated either by ornament or by script; that theornament is a basic symbol, unity of content andform; that in a written text there is a differencebetween the visual content and the verbal one; thatcalligraphy is a sort of balance between the visualcontent and the verbal one and that a printed text is afull split.

Ambience:Chairs are arranged along the longer walls, the mid-dle of the room is empty and the floor is coveredwith wrapping paper. The projector is in its usualplace. Some cord, some paint and a brush are pre-pared.

Structure of the Activity1. The workshop leader discusses. a) about theexperiences of the participants in the former work-shops; ; b) the two visual disciplines (ornament andscript); c) and talks about directing the attention; d) the text YELLOW is projected, it is written in sev-eral colours and the gap between the verbal con-cept and the visual sensation is explained. A textfrom a journal is presented JOY AND ENTHUSIASMand participants become aware of the visual neu-trality of the letters and of the gap between themand the verbal content. The text ALAH AMALI (Alahis my hope) is presented in Tumar calligraphy.Since we cannot read in Arabic, nothing may “both-


4. a) a detail of the pluteus from Koljani is present-ed. The motive is identified. After that the whole isprojected and the participants are instructed to con-centrate and follow the ornament on the upper partof the slab. The workshop leader points to it withhis/her fingers and directs the gaze. b) The knotworkis explained as a symbol of evolution and involution,an invitation to be part of mystic energy, to identifythe soul of the reader with the soul of the world(waving, vibrating of the air, cosmos) and when theornament is in a manuscript with holy content withits own holiness to prepare for reading the holy text(SYMBALLO = to gather; DYABALLO = to splitapart). c) The motive from the Book of Durrow, folio116 follows. The four isolated lines which composethe whole ornament are presented. To go throughthe whole is left for homework.5. They receive photocopies of page 116 of theBook of Durrow for this purpose.6. The series of workshops Origins and Principlesends and the participants are invited to a small cel-ebration (cakes, tea, discussion)

4544 Pritom se svakom kaè njegov broj kojeg treba zapamtiti. Jedan student-instruktor radi s konopompovezuju}i sudionike po redoslijedu brojeva i dobiva ovo (Motiv iz Book of Durrow):

Oblik se ponovi crtanjem na podu i prolaènjem bilo studenata-instruktora, bilo jednog ili svihsudionika po uputama koje glase: kre}ite se ravno, u~inite blagi ali nagli luk ulijevo, ponovitezaokret, pre|ite preko prvog traga, u~inite dva puta dugi i rastegnuti luk ulijevo, ravno pa naglodesno, dugo, postupno putovanje u blagom luku stalno udesno do povratka, blizu ishodi{ta prelaziteprvi trag, zaokret udesno naglo, traje, opet desno i blago, skoro ravno, do to~ke koja u prostoru zrcalimjesto gdje ste prvi puta mijenjali smjer, nagli luk, ponavljanje po~etne situacije, kretanje ulijevo -

opisuje se krug i kada se presje~e tre}i trag, nastavite ravno i nakon presjecanja jo{ jednog traga,gotovo, izi{li ste. S poda se pokupi papir.3. Voditelj traì od sudionika da po sje}anju nacrtaju prvi, pa drugi motiv. 4. a) Projicira se detalj plo~e iz Koljana. Identificira se motiv. Nakon toga se pokazuje cjelina i sudionicise pozivaju na usredoto~eno pra}enje ornamenta na gornjem rubu plo~e. Voditelj pokazuje prstom toklinije i usmjerava pogled. b) Tuma~i se pleter kao simbol evolucije i involucije, kao poziv da se budesudionikom tajanstvene energije, da se du{a ~itatelja poistovjeti s du{om svijeta (talasanje valova, titran-je zraka, kozmos) i da u slu~aju kada se pojavljuje u rukopisnoj knjizi svetog sadràja svojom vlastitomsveto{}u pripremi ~itatelja za ~itanje svetog teksta (SYMBALLO, skupiti; DYABALLO, razdvajati). c)Prati se motiv sa 116 str. Book of Durrow. Pokazuju se crteì ~etiriju linija koje sa~injavaju cijeli orna-ment. Prolaènje cjelinom ostavlja se za individualni rad kod ku}e.5. Sudionici dobivaju fotokopiju 116. stranice Book of Durow u tu svrhu.6. Radionice P o ~ e l a i n a ~ e l a zavr{avaju i sudionici se pozivaju na razgovor uz kola~e i ~aj.

one after the other, pass the traces while a studentguides them or they move according to his/herinstructions. b) Ten new participants are invitedand arranged in this constellation: figure 3.Everybody receives a number. The student with thecord connects the participants in accordance to thesequence of numbers and obtains the following(The motive from Book of Durrow: figure 4). Theform is repeated by drawing on the floor and by thepassing of one of the students, or all the partici-pants according to the instructions: straight, a gen-tle but sudden arch to the left, repeating the turn,passing the first trace, a twice as long and extend-ed arch to the left, straight and after a sudden turnto the right, long gradual travelling into a gentlearch constantly to the right till returning, near thestarting point you pass the first trace, turning rightsuddenly, continously, again right and gentlyalmost straight, to the point which in space reflectsthe place where you first changed the direction, asudden arch, repetition of the original situation,moving left, a circle is described and when youintersect the third trace you go on straight and afterintersecting one more trace, it is finished. You goout. The paper is removed.3. The workshop leader asks the participants todraw according to memory the first and then thesecond motive, no matter whether they succeed ornot in drawing them,


radionica i

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