The representation of space is not a mental preconceived form. One must to consider it as a who- le of technical, logical and intellectual processes that progress, not very quickly, as the historical and cultural contexts of a society change. Since the Renaissance to the Nineteenth century the representation of architectonic space has crossed fundamental steps, articulated by the scientific thought and technological progress. In this field we analyze the ideas and constructions of the architects and artists that in these centuries the concepts of the science have used. The image, between science and art, opens to a research field about the representation methods of the space and also on the validity of these methods rose and developed in relation to cultural, artistic and social parameters of their time. This paper will deal with images, or better, representations to communicate ideas or tridimensional realities on two–dimensional surfaces. There is a spatial dialogue between art and science, which can be interpreted through six known examples, from the medieval geometry to the fourth–dimension. A sort of excursus of the “point of view” that can synthetically trace the history of these significant works, able to highlight the culture and scientific discoveries of the time that has generated them. From the perspective subjectivism of the “Renaissance box”, which uses the perspective as tool of representation of the Renaissance oligarchy, to the dynamic perspective of the Galileo’s telescope; from the quadraturism of the ba- roque scene to the reason’s space of Cartesian axes; from the accolade of the technique of Mon- ge’s projections to the figurative vanguards for the experimentation of the fourth–dimension.
La rappresentazione dello spazio non è una forma mentale precostituita; bisogna considerarla come un complesso di processi tecnici, logici e intellettuali che progrediscono, non troppo rapi- damente, man mano che mutano i contesti storici e culturali di una società. Dal Rinascimento al Novecento la rappresentazione dello spazio architettonico ha attraversato tappe fondamentali, scandite dal pensiero scientifico e dal progresso tecnologico. In questo contesto si analizzano le idee e le realizzazioni degli architetti e degli artisti che, nel corso di questi secoli, hanno utilizza- to, e come, i concetti della scienza. L’immagine, tra scienza e arte, apre un campo di studio e di ricerca sui metodi di rappresentazione dello spazio, e ancora sulla validità di tali metodi, nati e sviluppati in funzione di parametri culturali, artistici e sociali propri del loro tempo. In questo contributo si tratterà di immagini, o meglio di rappresentazioni per comunicare idee o realtà tridimensionali su superfici a due dimensioni. Vi è un dialogo spaziale tra arte e scienza, che può essere interpretato attraverso sei esempi noti, dalla geometria medievale alla quarta dimensione. Una sorta di excursus del “punto di vista” che possa tracciare in modo sintetico la storia di queste opere significative, capaci di mettere in evidenza la cultura e le scoperte scientifiche del tempo che le ha generate. Dal soggettivismo prospettico della “scatola rinascimentale” che utilizza la prospettiva come strumento di rappresentazione della oligarchia rinascimentale, alla prospettiva dinamica del cannocchiale di Galileo; dal quadraturismo della scena barocca, allo spazio della ragione degli assi cartesiani; dall’elogio della tecnica delle proiezioni mongiane, alle avanguardie figurative per la sperimentazione della quarta dimensione.
Science and art between time and place: six points of view. Scienza e arte tra tempo e luogo: sei punti di vista / Fatta, Francesca. - In: XY. - ISSN 2499-8346. - 1:1(2016), pp. 44-57.
Science and art between time and place: six points of view. Scienza e arte tra tempo e luogo: sei punti di vista
FATTA, Francesca
Writing – Original Draft Preparation
2016-01-01
Abstract
The representation of space is not a mental preconceived form. One must to consider it as a who- le of technical, logical and intellectual processes that progress, not very quickly, as the historical and cultural contexts of a society change. Since the Renaissance to the Nineteenth century the representation of architectonic space has crossed fundamental steps, articulated by the scientific thought and technological progress. In this field we analyze the ideas and constructions of the architects and artists that in these centuries the concepts of the science have used. The image, between science and art, opens to a research field about the representation methods of the space and also on the validity of these methods rose and developed in relation to cultural, artistic and social parameters of their time. This paper will deal with images, or better, representations to communicate ideas or tridimensional realities on two–dimensional surfaces. There is a spatial dialogue between art and science, which can be interpreted through six known examples, from the medieval geometry to the fourth–dimension. A sort of excursus of the “point of view” that can synthetically trace the history of these significant works, able to highlight the culture and scientific discoveries of the time that has generated them. From the perspective subjectivism of the “Renaissance box”, which uses the perspective as tool of representation of the Renaissance oligarchy, to the dynamic perspective of the Galileo’s telescope; from the quadraturism of the ba- roque scene to the reason’s space of Cartesian axes; from the accolade of the technique of Mon- ge’s projections to the figurative vanguards for the experimentation of the fourth–dimension.File | Dimensione | Formato | |
---|---|---|---|
Fatta_2016_XY_Science_editor.pdf
accesso aperto
Tipologia:
Versione Editoriale (PDF)
Licenza:
Creative commons
Dimensione
3.01 MB
Formato
Adobe PDF
|
3.01 MB | Adobe PDF | Visualizza/Apri |
I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.