Science Through Art

is an innovative approach to learning, tailored to foster autonomy, conceptual precision and creative imagination.
Approach: Children seek answers to basic questions in selected fields of science: physics and mathematics, biology, economics.
With the support of a mentor, they cruise through a mental landscape where they encounter key issues and key concepts of chosen areas. They get to know and explore them from different angles. Without haste, precisely, playfully and with a lot of space for creative imagination. Through drawing and sculpting, enhanced by examples from the History of Art, and through much debate, they perceive their affinities and differences and create mental maps of their own. Some large for a notebook, others for half a classroom. Individually and in a group.

The approach combines the analytical with the intuitive and the manual dexterity with the mental. This allows for clear, multi-faceted insights and the creation of enduring thinking tools. So that children can orientate themselves more independently and imaginatively in their further explorations in the landscapes of science and technology.

Science through Art by sections:

  • Perception of space and Euclidean geometry (geometry, geography, history and art history, mechanics)
  • Value, where does it come from? (economics, value theory of value through drawing, sculpting and art history)
  • Natural Selection with Adaptation and Speciation (taxonomy and evolution through drawing and sculpting)

Studying maps: medieval and modern. Kosovelov dom Sežana.

The aksioms of Euclids Geometry. Kosovelov dom Sežana.

Copying Mercators 16th century map. Kosovelov dom Sežana.

Brushes. Kosovelov dom Sežana.

Nautical game with models of 16th century ships. Kosovelov dom Sežana.

Nautical game with models of 16th century ships. Kosovelov dom Sežana.

Nautical game with models of 16th century ships. Kosovelov dom Sežana.

Nautical game with models of 16th century ships. Kosovelov dom Sežana.

Nautical game with models of 16th century ships. Kosovelov dom Sežana.

Nautical game with models of 16th century ships - close up. Kosovelov dom Sežana.

Drawing a 16th century ship. Kosovelov dom Sežana.

Drawing a 16th century ship - close up. Kosovelov dom Sežana.





PART 2:
Through space we move and we live in it. But space we also imagine. What is the difference between experiencing space directly and its notion?

How are satellite navigation applications (eg Google maps) and 3D computer modeling related to Mercator's 16th century map and to Renaissance paintings from the 15th century?

On the way to finding answers to these questions we encounter axioms of geometry set by the ancient Greek Euclid, the adventures of sailors who 500 years ago sailed away from the shores, into the vast unknown oceans, and Renaissance masters obsessed with geometric precision.
We work simultaneously with the brain and hands: we observe, draw, research and solve mathematical problems.





PART 3:

A part of the exhibition Phase Transition (1) were also workshops for five primary school classes in the Miklova hiša Gallery. The workshops aimed to introduce children to the key ideas and concepts of the Phase Transition through play and discussion.



  • Productivity of the work process, the central concept of the exhibition, together with its main components; improving tools and organisation, they met through a three-stage game. The game's challenge was to get as many pieces of paper as possible across the room and into the raised basket. Initially, they set about the task without tools and preparations. The second time, they used the stairs to help themselves. In the third attempt, they coordinated with each other.

        Number of pieces of paper put into the basket by three groups of children in 60 seconds:
        initial try         with the aid of steps         with division of tasks
        8         26         65
        5         39         90
        6         20         78



  • We approached The Phase Transitions 3D - from 1320 to the present day sculpture with the help of historical images. We looked at and discussed these, comparing and linking them to the parts of the statue shaped like a historical ripple through three levels. The bottom represents the phase of land cultivation, crafts and landlordism, the middle the stage of mass production and mass hierarchical structures, and the upper the phase of accumulated productive powers and co-determination. In this way, we have extracted their primary differences in attitudes towards using tools and work organisation.



  • The historical tension, which marks our current times, depicted by the sculpture Modern Projection and Postmodern Reality, was addressed through the following questions: How many parts constitute the sculpture? What do the numbers 1950, 1960 ... and 2020 at the foot of the statue? What is it that changes in each of the curves (pay and labour productivity)? Where are the works similar, and where and how do they differ? What does this difference mean for the people who have lived through these two trajectories? To help visualise the time changes, we linked the dynamics of each curve to the participating children's grandparents' lives.

×
1 / 78
Measuring right angles for the rectangular grid.
2 / 78
Measuring right angles for the rectangular grid.
3 / 78
Measuring distances for the rectangular grid.
4 / 78
Measuring distances for the rectangular grid.
5 / 78
Drawing the rectangular grid on the ground.
6 / 78
Drawing the rectangular grid on the ground.
7 / 78
Drawing the rectangular grid on the ground.
8 / 78
Drawing the rectangular grid.
9 / 78
Drawing the rectangular grid.
10 / 78
Drawing the rectangular grid.
11 / 78
Drawing the rectangular grid.
12 / 78
Consulting with the map drawn in the notebook.
13 / 78
Consulting with the map drawn in the notebook.
14 / 78
Consulting with the map drawn in the notebook.
15 / 78
Consulting with the map drawn in the notebook.
16 / 78
Drawing the map of the Pacific on the rectangular grid.
17 / 78
Drawing the map of the Pacific on the rectangular grid.
18 / 78
Map of the Pacific.
19 / 78
Map of the Pacific.
20 / 78
Map of the Pacific.
21 / 78
Map of the Pacific.
22 / 78
Map of the Pacific.
23 / 78
Drawing the map of the Pacific on the rectangular grid.
24 / 78
Drawing the map of the Pacific on the rectangular grid.
25 / 78
Map of the Pacific.
26 / 78
Map of the Pacific.
27 / 78
Map of the Pacific.
28 / 78
Rectengular grid.
29 / 78
Rectengular grid.
30 / 78
Drawing the 16th c. Carrack.
31 / 78
Drawing the 16th c. Carrack.
32 / 78
Drawing the 16th c. Carrack.
33 / 78
Drawing the 16th c. Carrack.
34 / 78
Drawing the 16th c. Carrack.
35 / 78
The Portugues in the East Indies, J.H.v.Linschoten, 1599.
36 / 78
The Portugues in the East Indies, J.H.v.Linschoten, 1599.
37 / 78
The Portugues in the East Indies, J.H.v.Linschoten, 1599.
38 / 78
The Portugues in the East Indies, J.H.v.Linschoten, 1599.
39 / 78
Space: real and its notion. & How many weeks would a 16th c. need to sail from N.Guinea to California?
40 / 78
Space: as seen and its ground plan.
41 / 78
Space: as seen and its ground plan.
42 / 78
Space: as seen and its ground plan.
43 / 78
Space: as seen and its ground plan.
44 / 78
Space: as seen and its ground plan.
45 / 78
Space: as seen and its ground plan.
46 / 78
Space: as seen and its ground plan.
47 / 78
Space: as seen and its ground plan.
48 / 78
Space: as seen and its ground plan.
49 / 78
Space: as seen and its ground plan.
50 / 78
Space: as seen and its ground plan.
51 / 78
Euklids aksioms.
52 / 78
Flogging by P.d.Francesca and its ground plan, 1445.
53 / 78
Drawing the map of the Pacific - a detail from the Mercators' 1569 World map.
54 / 78
Drawing the map of the Pacific - freehand.
55 / 78
Drawing the map of the Pacific - freehand.
56 / 78
Drawing the map of the Pacific - freehand.
57 / 78
Drawing the map of the Pacific - freehand.
58 / 78
How to draw the rectangular grid of the map into the rectangular grid?
59 / 78
Drawing the map of the Pacific - into the rectangular grid.
60 / 78
Drawing the map of the Pacific - freehand and into the rectangular grid.
61 / 78
Setting the poles.
62 / 78
Setting the poles.
63 / 78
Setting the measures for the globe.
64 / 78
Drawing the meridians.
65 / 78
Drawing the meridians.
66 / 78
Drawing the meridians.
67 / 78
Drawing the meridians.
68 / 78
Drawing the meridians.
69 / 78
Drawing the circles of latitudes.
70 / 78
Drawing the circles of latitudes.
71 / 78
Drawing the circles of latitudes.
72 / 78
Drawing the circles of latitudes.
73 / 78
Drawing the continents.
74 / 78
Drawing the continents.
75 / 78
Drawing the continents.
76 / 78
Calculating the distance a 16th c. sailing ship would need to cross from Mexico to Japan.
77 / 78
Calculating the distance a 16th c. sailing ship would need to cross from Mexico to Japan.
78 / 78
Calculating the distance a 16th c. sailing ship would need to cross from Mexico to Japan.
❮❯

×
1 / 5
The start of the workshop.
2 / 5
Measuring time-span with steps: 1 step = 100 years.
3 / 5
"What do we see here?"
4 / 5
Measuring time-span with steps: 1 step = 100 years.
5 / 5
"Describe what you see?"
❮❯

×
1 / 15
Explaining the rules of the game.
2 / 15
Initial try: Without tools or coordination.
3 / 15
Initial try: Without tools or coordination.
4 / 15
Initial try: Without tools or coordination.
5 / 15
Initial try: Without tools or coordination.
6 / 15
Measuring time.
7 / 15
Second try: With the help of three steps.
8 / 15
Second try: With the help of three steps.
9 / 15
Second try: With the help of three steps.
10 / 15
Second try: With the help of three steps.
11 / 15
Making groups and dividing tasks.
12 / 15
Third try: With the help of three steps and coordination.
13 / 15
Third try: With the help of three steps and coordination.
14 / 15
Third try: With the help of three steps and coordination.
15 / 15
Third try: With the help of three steps and coordination.
❮❯

×
1 / 15
"What do we see here?"
2 / 15
Taking a look at Très Riches Heures du Duc de Berry by the Limbourg brothers, 1416.
3 / 15
Debating Très Riches Heures du Duc de Berry by the Limbourg brothers, 1416.
4 / 15
Debating Très Riches Heures du Duc de Berry by the Limbourg brothers, 1416.
5 / 15
Debating Très Riches Heures du Duc de Berry, 1416.
6 / 15
Très Riches Heures du Duc de Berry - September by the Limbourg brothers, 1416.
7 / 15
Debating the middle level of the sculpture.
8 / 15
Debating the middle level of the sculpture.
9 / 15
Debating the middle level of the sculpture.
10 / 15
Factories in Ludwigshafen by Robert Friedrich Stieler, 1881.
11 / 15
"What do we see on this painting?"
12 / 15
Perfume factory of Eugen Rimmel, around 1850.
13 / 15
Discussing the top level of the sculpture.
14 / 15
Discussing the top level of the sculpture.
15 / 15
Discussing automation.
❮❯

×
1 / 8
"What do you see here?"
2 / 8
Discussing the sculpture.
3 / 8
Discussing the sculpture.
4 / 8
Discussing the sculpture.
5 / 8
Discussing the sculpture.
6 / 8
Explaining the sculpture.
7 / 8
Explaining the sculpture.
8 / 8
Explaining the sculpture.
❮❯

Julij Borštnik

email: julijb@protonmail.com

phone: +38651237407