Znanost skozi umetnost

je inovativni pristop k učenju, ukrojen po meri negovanja samostojnosti, konceptualne natančnosti in ustvarjalne domišljije. Pristop: Otroci iščejo odgovore na temeljna vprašanja izbranih področij znanosti: fizika in matematika, biologija, ekonomija.

Ob podpori mentorja križarijo skozi miselno pokrajino kjer srečujejo ključna vprašanja in ključne koncepte izbranih področij. Spoznavajo in raziskujejo jih iz različnih zornih kotov, brez naglice, natančno, z veliko igre in prostora za ustvarjalno domišljijo. Skozi risanje in kiparjenje, okrepljeno s primeri iz Zgodovine umetnosti, ter skozi veliko debate razumevajo njihove sorodnosti in razlike ter si ustvarjajo miselne zemljevide. Nekatere velike za v zvezek, druge za čez pol učilnice. Individualno in v skupini.

Pristop združuje analitično z intutitivnim ter ročno-ustvarjalno z mentalnim. Tak način omogoča pridobitev jasnih, večplastnih uvidov ter izdelavo preglednih in trajnih miselnih orodij. Z njimi se lahko nato samostojneje, gibkeje in z več domišljije orientirajo tudi pri nadaljnjem spoznavanju pokrajin znanosti in tehnologije.

Vsebinski sklopi Znanosti skozi umetnost:

  • Dojemanje prostora in Evklidova geometrija (geometrija, geografija, zgodovina in zgodovina umetnosti, mehanika)

  • Vrednost, od kod izvira? (ekonomija, teorija vrednosti skozi risbo, kip in zgodovino umetnosti)

  • Razvojno drevo: naravno odbiranje s prilagoditvijo in speciacijo (taksonomija in evolucija skozi risanje in kiparjenje)

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.





  1. DEL:
    Skozi prostor se gibljemo, v njem živimo. Ampak prostor si tudi predstavljamo. Kakšna je razlika med bivanjem v in predstavo o prostoru?

Kako so aplikacije za satelitsko navigacijo (npr. Google maps) in 3D računalniška modelacija povezane z Mercatorjevim zemljevidom iz 16. st. in renesančnimi slikami iz 15. st.?

Na poti iskanja odgovorov na zastavljena vprašanja srečamo aksiome geometrije kot jih je postavil Stari Grk Evklid, avanture pomorščakov, ki so pred 500 leti zajadrali stran od obal, na širna neznana morja, ter renesančne mojstre, ki jih je obsedla geometrična natančnost.
Delamo hkrati z možgani in rokami: opazujemo, rišemo, raziskujemo ter rešujemo matematične naloge.





3 DEL:
Na temo razstave Fazni prehod (1) smo v prostorih Galerije Miklova hiša organizirali delavnice za pet razredov prve triade OŠ Sodražica. Namen delavnic je bil otrokom skozi igro in razpravo predstaviti ključne ideje in koncepte Faznega prehoda.

  • Produktivnost delovnega procesa, osrednji kocept razstave, skupaj z njenimi poglavitnimi komponentami; izboljšanje orodij in organizacije, so srečali skozi tri-stopenjsko igro. Izziv igre je bil prenesti preko prostora v privzdvignjeno košaro čimvečje število koščkov papirja. Sprva so se naloge lotili brez orodja in neorganizirano. Drugič so si pomagali s stopnicami. V tretjem poskusu pa so se še medsebojno uskladili.

        Število koščkov papirja prenesenih v košaro v 60 sekundah za tri skupine otrok:
        začetni poskus         s pomočjo stopnic         z medsebojno vskladitvijo
        8         26         65
        5         39         90
        6         20         78



Kipu Fazni prehodi 3D - od 1320 do danes smo se približali s pomočjo zgodovinskih slik. Te smo si skupaj ogledali in predebatirali ter jih primerjali in povezali z deli kipa, ki je oblikovan kot zgodovinsko valovanje skozi tri nivoje produktivnosti; fazo obdelovanja zemlje, obrti in zemljiškega gospostva, fazo masovne proizvodnje in množičnih hierarhičnih struktur in fazo nakopičenih produktivnih moči in soodločanja. Na ta način smo izluščili njihove poglavitne razlike glede na odnos do orodjih in organizacije dela.



  • Zgodovinske tenzije, ki odločilno zaznamuje čas v katerem živimo in jo upodablja kip Moderna projekcija in postmoderna realnost, smo se lotili s pomočjo vprašanj: Iz koliko delov je sestavljen kip? Kaj pomenijo številke 1950, 1960 … 2020 ob vznožju kipa? Kaj je tisto kar se spreminja pri vsaki od krivulj (plačilo in produktivnost dela)? Kje sta si dela podobna, kje in kako pa se razlikujeta? Kaj ta razlika pomeni, za ljudi, ki so skozi ti dve krivulji živeli? Za lažjo časovno predstavo sprememb smo dinamiko vsake od krivulj skozi debato povezali z življenji babic in dedkov sodelujočih otrok.

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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.
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×
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.
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×
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.
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×
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.
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Julij Borštnik

email: julijb@protonmail.com

telefon: +38651237407