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.

I/1
2

PO^ELA I NA^ELA

ORIGINS AND PRINCIPLES

POVR[INA

SURFACE

(RAZLI^ITE PROMJENE U INTENZITETU SVJETLOSTI)

jest svaka naspramnost
do`ivljava se vidom i dodirom
(dodirna)
PLOHA jest neutralizirani odnos mase i prostora

(tangible)

PO^ELA I NA^ELA

ORIGINS AND PRINCIPLES

PRIRODA JE NEPRESTANA P R E O B R A Z B A

NATURE IS A CONTINUOUS

TRANSFORMATION

(VARIOUS CHANGES IN LIGHT INTENSITY)

is everything opposed,
visual and tangible
PLANE is a neutralized relation between mass and space

Nae razli~ite opa`ajne mogu}nosti, kao to su vid, sluh, dodir i miris su rezultat osobitih razmjernih redukcija jednog te istog
irokog spektra vibracijskih frekvencija. Na vizualni opa`aj se razlikuje
od dodirnog, jer `ivci mre`nice nisu podeeni na isti raspon frekvencija kao `ivci usa|eni u nau ko`u.

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

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

THE TRANSFORMATION IS IRREVERSIBLE with time

PREOBRAZBA JE IREVERZIBILNA u vremenu

ART IS THE SENSORY SELF EDUCATION OF MANKIND

UMJETNOST JE OSJETILNI SAMOODGOJ ^OVJE^ANSTVA

GLAVNI OSJETILNI SADR@AJ VULASOVOG KIPA JE PREOBRAZBA

THE MAIN SENSORY CONTENT OF VULAS SCULPTURE IS TRANSFORMATION

KONKAVNO-KONVEKSNA MASA
CONCAVE-CONVEX MASS

ZBIJENA MASA
MONOLITHIC MASS

PREOBRAZBA

FOTOGRAFIJA
PHOTOGRAPH

prenosi
reducira
poja~ava
transmits
reduces
amplifies

TRANSFORMATION

FOTOGRAM
PHOTOGRAM

REVERZIBILNA U POGLEDU I DODIRU/sabijena u ISTODOBNOST

REVERSIBLE IN GLANCE AND TOUCH/pressed into SIMULTANEITY

I/1
4

PO^ELA I NA^ELA

ORIGINS AND PRINCIPLES

Prva izvedba radionica: 1992.-93.

First perfomance of workshops: 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 likovnim
po~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 sadr`aja nego i
u metodama kojima se ti sadr`aji isku{avaju, prenose u razli~ite svakodnevnosti ili pak u druge
medije, radi ve}e u~inkovitosti u osvje{tavanju vlastitog opa`aja i radi stjecanja kompetencije u
odnosu na promatranje/do`ivljaj umjetni~kog djela.
Ku{anje/mirisanje/slu{anje/kretanje/crtanje/mjerenje/ra~unanje/glumljenje/bojanje, uz gledanje i
dodirivanje, trebaju pridonijeti intenziviranju vi|enja, rastu razlikovne mo}i, ali i tome da se, uz
osvje{tavanje specifi~nosti vida, do`ivi 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 koje
zadr`avaju sla`u}i ih u mape.

Origins and Principles is the name of the first series

of workshops. As the name expresses, the contents
of the workshops are visual art origins, such as line,
plane, colour, mass and space and principles such
as symmetries, ratios and proportions, the basic
syntactic rules of the relationships we find in nature
and according to which all works and not only artworks are made. The essence of these workshops is
not only in the choice of contents, but also in the
methods by which these contents are investigated,
transferred to various everyday occurrences or to
other media on account of a greater effectiveness in
becoming aware of ones own perception and on
account of gaining competition in relation to observing/experiencing works of art. Tasting/smelling/hearing/moving/drawing/-measuring/computing/acting/colouring, besides looking and touching
should contribute not only to the intensification of
vision, to the growth of a discriminative ability, but
also to the specific character of visual experience
and its link to all other sensory fields and the link of
the human sensory/artistic activities with nature. In
all workshops the participants receive photocopied
materials to work on and they keep them together in
folders.

U p r v o j radionici namjera je mnogoosjetilno istra`ivati svijet i osvje{tavati svoj do`ivljaj;

osvje{tavati razlike izme|u shematskog i doslovnog opa`aja; osvje{tavati kontinuirane preobrazbe
odnosa mase i prostora i imenovati ih od zbijene do istanjene mase; osvje{tavati razli~ite osobine
razli~itih medija; osvje{tavati medije kao poja~ala, prenositelje, reduktore; osvje{tavati mnogoosjetilnost do`ivljaja kipa.
Ambijent: U sredini prostorije je stol, okolo su stolice u polukru`nom rasporedu, malo odmaknuti.
Projektor je s jedne u`e strane, projicira se na nasuprotni zid. Na stolu su razmje{teni razni svakodnevni, ali ipak pomno odabrani predmeti s karakteristi~nim odnosima mase i prostora. Na zidu su
crno-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|anja
U prvu radionicu voditelj uvodi svakog sudionika: do~eka ga na vratima, s njim se rukuje, pita ga tko
je 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}nosti
mase i prostora i imenovanja ~istih slu~ajeva (zbijena masa, konkavno-konveksna masa, penetrirana
masa, visoko penetrirana masa, plo{no istanjena masa, linijski istanjena masa itd); b) u smjeru mnogoosjetilnog do`ivljavanja pozivaju}i sudionike da izabrani predmet uzmu u ruke, da gledaju, da
miri{u, eventualno ku{aju (jabuka), slu{aju to {to dr`e u rukama (dodir, tresak); c) u smjeru upozorenja na osobine i uloge medija kao prenositelja, reduktora, poja~ala. d) Potom se projiciraju kolor
dijapozitivi nekoliko primjera predmeta prisutnih na stolu odnosno u ne~ijoj ruci (oblutak, tikva, suhi
list) i osvje{tavaju se razlike izme|u originala, kolor dijapozitiva, crno-bijelih fotografija i fotograma
koji 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 odnosa
mase i prostora radi osvje{tavanja doslovnog opa`aja, ~ime se produbljuje, pro{iruje i shematski opa`aj
(namjena, zna~enje).

The intention of the f i r s t workshop is to

explore the world with all the senses, to become
aware of ones own experience, the differences
between shematic and literal perception and the
continual transformation in the mass/space relationship and to name the stages from monolithic mass
to linear mass; the different characteristics of different mediums, the media as various amplifiers,
transmitters, reductors; and to gain an awareness of the intersensory experience of a sculpture.
Ambience: In the middle of the room there is a
table, all around it there are, at some distance from
each other, chairs in a semicircle. The projector is
in front of one of the shorter walls and the projection takes place on the opposite wall. On the table
there are various different, ordinary, and yet carefully chosen objects with a characteristic relationship
of mass and space. On the wall there are black and
white photographs, photograms, photocopies of
photograms made of some of the objects which are
present (gourd, dry leaves, pebbles). The original
sculpture is present. Some aluminium sheets and a
text/drawing about visual-tactile concepts are prepared. Time: about 120 minutes (which is the average duration of every workshop).

ORIGINS AND PRINCIPLES

PO^ELA I NA^ELA

Structure of the Activity

In the first workshop the workshop leader brings in
each participant: waits for them at the entrance,
shakes hands with them, asks them where they
come from, why they are attending the workshop
with what motivaton etc. and introduces him/herself.
1. a) The participants are invited to choose an
object from the table. They will keep it till the end of
the workshop. b) A short discourse follows: the
students talk to the participants about the reasons
for their choice, why they have chosen the particular object (gourd, dry leave, toilet paper, pebble
etc.)
2. The workshop leader takes over the discourse
and leads it in three directions:
a) of becoming aware of the various possibilities of
the mass and space relationship and naming the
pure cases (monolithic mass, concave-convex
mass, penetrated mass, highly penetrated mass,
planar mass, linear mass etc); b) of intersensory
experience, inviting the participants to pick up the
object in their hands, to look at it, to smell it, maybe
to taste it (apple), to listen to what they have in their
hands (touch, shake); c) of instructing about the
characteristics and roles of the media as transmitters, reductors and amplifiers. d) Colour slides of
some objects present on the table or in somebodys
hands (pebble, gourd, dry leaves) are projected and
we try to become aware of the difference between
the originals, the colour slides, the black and white
photographs and photograms which are on the
walls. We listen to an audio cassette with reproductions of sounds created by touching the objects.
Questions are posed: what do we hear, where is the
origin of the sound, how is it created (short talk).
3. Again the projections of the whole series from
the leaf to the pebble, are shown, participants
repeat and establish the concepts of the relationship
between mass and space and become aware of literal perception and therefore are deepened and
widened in their shematic perception (function,
meaning), too.
4. The participants become aware of transformations. The game is guided by the students. They
start from the participant who has chosen the roll
of toilet paper. The task is to become aware of a
highly penetrated mass with a rough textural surface and that when we begin to unroll it, it shows
itself as a planar mass. Till that time the text is
spoken by the workshop leader holding the roll in
his/her hands. After that a student takes the roll,
tightly wrapping one participant with the paper, getting a mildly rough surface of the concave-convex
mass of his/her body. One student then quickly

Svatko dr`i u ruci ne{to obi~no/Everybody has

Tuma~i se konkavno-konveksna masa/The con-

something ordinary in his hands

cave-convex mass is explained

Studentica pokazuje kako se probu{ena masa

pretvara u plo{no istanjenu/A student-instructor

Igra s plo{no istanjenom masom/A game with a

planar mass

demonstrates how a highly penetrated mass transforms into a planar one.

Smotuljak plo{no istanjene mase daje zbijenu

masu/A planar mass bundle results in a monolithic

Vulasova se Skulptura do`ivljava dodirom/Vulass

Sculpture is experienced by touching

one

Folijom se skida otisak Vulasovog kipa/A

Na sjeni kipa se prati obris/The outline is followed

print of Vulass sculpture is taken with foil

on the shadow of the sculpture

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PO^ELA I NA^ELA

4. Osvje{tavanje preobrazbi. Igru vode studenti. Polaze od osobe koja je izabrala smotuljak toalet
papira. Osvje{tava se da se radi o visoko penetriranoj masi hrapave teksturalne povr{ine i da se, kada
po~nemo odmotavati, poka`e plo{no istanjena masa. Do tog trenutka govori voditelj, dr`e}i u ruci
smotuljak. Predaje ga studentu-instruktoru koji ~vrsto omota sudionika i dobiva blago hrapavo
oplo{je konkavno-konveksne mase njegova tijela. Sada jedan student-instruktor brzo odmota/oslobodi uvijenog i smotuljak baci nekome, tra`e}i da taj, nakon {to se omota, traku baci dalje sljede}em i
opet tako sve dok se smotuljak ne potro{i. Osvje{tava se uporaba mogu}nosti plo{no istanjene mase
da uznemiri, o`ivi, komponira veliki prostor. Nakon gotove kompozicije, u ~ije su stvaranje bili
uklju~eni svi sudionici, jedan student-instuktor poziva na vra}anje postupka i kona~no dobiva cijeli
smotuljak. Dr`e}i ga u ruci, bilo on, bilo voditelj, upozorava da se dobila zbijena masa.
5. a)Voditelj uzima u ruke Skulpturu . Vulasa, 1973., drvo, 23 cm, vlasni{tvo autora (do tada je bila
skrivena) i tuma~i je, pokazuju}i da je komponirana od zbijenih masa hrapavog/plo{nog oplo{ja. Kip
daje sudionicima u ruke da ga opipaju, da ga svi osjete u svojim rukama. Nakon toga kip je opet u
rukama voditelja koji tuma~i preobrazbu zbijenosti u konkavno-konveksnu masu kao glavno osjetilno
doga|anje kipa, kao glavni osjetilni sadr`aj 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 od
Vulasove Skulpture radilo se ne previ{e spretno i s tro{nim materijalom. b) Voditelj tuma~i vizualnu
preobrazbu jednog cvijeta ploda kojeg dr`i u rukama (gospina jagodica) od konkavno-konveksne
mase do spleta linijsko istanjenih masa. Upozorava se na sli~nosti prirode i djela upravo na razini
preobrazbe odnosa mase i prostora.
6. Pripremljenom folijom student skida otisak oplo{ja Vulasove Skulpture i vodi razgovor o razlici
izme|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 se
raspon od plo{no istanjene mase otiska do apsolutne plohe sjene.
b) Sudionici se pozivaju da nacrtaju obris projicirane sjene i tako se sti`e 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 se
opet vratili taktilnom do`ivljaju.
8. Na kraju se projicira slijed dijapozitiva, osobito i namjerno snimljenih svakodnevnih stvari. Te paradigme svih vizualno-taktilnih pojmova namjeravaju sudionicima otvoriti mogu}nost druga~ijeg
gledanja uobi~ajenog svijeta {to je krajnja namjera radionice.
9. Svi sudionici dobivaju fotokopirani tekst/crte` o vizualno-taktilnim pojmovima.

ORIGINS AND PRINCIPLES

unrolls it - liberates the wrapped person and

throws the roll to someone, asking him to roll the
band around himself and then to throw it to someone else again and so on, while the roll lasts. The
task is to become aware of the possibility of a planar mass to disturb, to enliven, to compose a great
space. After the composition, created by all the
participants has been finished, a student invites the
participants to reverse the procedure and hold the
roll again. With it in his/her hand he/she tells them
about the monolithic mass.
5. a) The workshop leader takes . Vulass
Sculpture, 1973., wood, heights: 23 cm, the
author's collection, in his/her hands (till that
moment it was hidden) and explains it showing that
it is composed of monolithic masses with roughplanar surfaces. He/she gives it to all the participants who touch it and feel it. After that the workshop leader takes the sculpture back into his/her
hands and explains it as a transformation from a
monolithic mass into a concave-convex mass, as
the main sensory content of this art work. He/she
reminds the participants that they have just tried
something similar, transforming a penetrated mass
into a planar and finally into a monolithic mass.
Different from Vulass sculpture we worked not so
skilfully and used waste material (paper).
b) After that the workshop leader explains the visual
transformation of a flower to a fruit he/she has in
his/her hand a Chinese lantern from concave-convex mass into an interwoven linear mass. He/she
talks about the similarities between nature and a
work of art on the level of transformation of the
mass - space relationship.

PO^ELA I NA^ELA

6. A student with a prepared aluminium sheet takes

a printed mould of the surface of Vulass sculpture.
He talks about the differences between the sculpture
and the printed mould of the planar mass.
7. a) The sculpture is put onto a base in the middle
of the table. Light is projected on to it. The task is to
become aware of the span between the planar mass
of the mould and the absolute plane - shadow.
b) The participants are invited to draw the outline of
the projected shadow, in order to arrive at the concept of the linear. c) They draw another outline, now
with their left hands, not looking at the drawing itself.
They become aware of the return once again to tangible experience.
8. At the end a series of slides are projected, intentionally taken of ordinary objects. The paradigms of
all the visual-tangible concepts are intended to
open the possibility of looking in another way at
the common world which is the utmost intention of
the workshop.
9. The participants receive a photocopied text/drawing of the visual-tangible concepts.

ORIGINS AND PRINCIPLES

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PO^ELA I NA^ELA

ORIGINS AND PRINCIPLES

[TO V I D I M O (DOSLOVNO)
WHAT WE

boje

colours

teksture

textures

PO^ELA I NA^ELA

ORIGINS AND PRINCIPLES

KAKO G L E D A M O

SEE (LITERALLY)

HOW WE

LOOK

skok pogleda
gaze jump

rubove

edges

fiksacija pogleda
nagibe

slopes

likove

shapes

razmake

gaps

gaze fixation

VINCENT VAN GOGH:

SEOSKA ULICA U LES

SAINTES-MARIES-DE-LA
MER/VILLAGE STREET IN
LES SAINTES- MARIES-DE
LA MER, 1888., OLOVKA,
PERO/PENCIL, PEN, 24,5 X
31,8 CM, MUSEUM OF
MODERN ART, NEW YORK

ODGOJ PA@NJE/INTUICIJE
EDUCATION OF ATTENTION/INTUITION

ISTA KONSTELACIJA U BESKRAJ

THE SAME CONSTELLATION INTO INFINITY

DOGAANJE DOSLOVNOG OPA@AJA U RAZLI^ITIM SREDINAMA (MEDIJIMA)

THE OCCURRENCE OF LITERAL PERCEPTION IN VARIOUS SURROUNDINGS (MEDIUMS)
A. GAUDI: KAPELA GEL/CHAPELL GEL ,
1908.-15., KAMEN, OPEKA/STONE, BRICK,
BARCELONA

H. MOORE:

TRAG KRETNJE PO PODLOZI

THE TRACE OF A HANDMOVEMENT

TRAG ZAUSTAVLJENE KRETNJE

THE TRACE OF A MOVEMENT BROUGHT TO A HALT

LE@E]A FIGURA/RECLINING FIGURE,

1957., BRONCA/BRONZE, 290 CM, ZRICH

PUT S
^EMPRESOM/ROAD
WITH CYPRESSES,

V. VAN GOGH:

1890., ULJE/OIL,
92 X 73 CM, OTTERLO

PLOHA (TO^KA)

LINIJA

PLANE (POINT)

LINE

LINIJA

PLOHA

LINE

PLANE

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PO^ELA I NA^ELA

U d r u g o j radionici namjera je istra`ivati i osvijestiti proces gledanja; osvijestiti odnos doslovnog

opa`aja i formalnih elemenata umjetni~kih djela; pratiti preobrazbu jednog formalnog elementa u
drugi (linije u plohu i obratno) u doga|anju djela; osvijestiti slojevitost umjetni~kog djela; osvijestiti
djelo kao preobrazbu gledanja.
Ambijent: Stolice su razmje{tene uz jednu {iru stranu prostorije. Stolova nema. Projektor je, kao
uvijek, uz jednu u`u stranu. Zid druge, {ire strane prekriven je fotokopijama velikih pove}anja
raznih, ipak prete`no modernih crte`a (3 x broj sudionika). Tako|er su pripremljene i fotokopije
cjelina crte`a.
Struktura doga|anja
1. Sudionici dobivaju fotokopije cjeline crte`a (ima ih toliko koliko i sudionika). Pozivaju se da tra`e,
odnosno prona|u detalje sa svojih crte`a i da ih, na fotokopiji cjeline, ozna~e/zaokru`e olovkom.
Studenti-instruktori prilaze sudionicima i postavljaju im ova ili sli~na pitanja: Kako ste uspjeli na}i?
to je razlog da ste tako brzo na{li? Koji je bio prvi detalj koji ste uo~ili/na{li? Koji bi vi detalj
pove}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 i
razrije|enosti, na usmjerenja, na oblike itd. Tako im poma`u da osvijeste kako odista gledaju i {to
odista vide.
2. Nakon {to su svi identificirali detalje, voditelj postavlja pitanje: {to ste radili, na koji ste na~in
pronalazili? U kratkom se razgovoru osvje{tava da su se nekim pojedincima nametali shematski
aspekti i da su im olak{avali identifikaciju. Voditelj obja{njava da tematski elementi u biti ote`avaju
pravo vi|enje i vrednuje dugo tra`enje. Upozoruje se na preobrazbu crte`a u pogledu koji dugo i
intenzivno tra`i.
3. Projicira se mikrosnimak fovee (mo`e 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 se
zbivalo tijekom tra`enja 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, tra`enje }e biti intenzivnije i tako broj
fiksacija ve}i, ~ime se na{a slika svijeta neprestano mijenja (u trenutku kada se na{ao detalj, preobrazba vi|enog postala je o~ita, svjesno do`ivljena). Inertnost, zadovoljavanje shemom (zna~enjem) predstavlja veliku opasnost u istra`ivanju i konstituiranju svijeta. Upravo radi toga su detalji, koji su se zbog
tematske odre|enosti naizgled lak{e pronalazili, zapravo ote`avali zbiljsko, doslovno vi|enje crte`a,
odnosno njegovu adekvatniju rekonstrukciju pogledom.
4. a) Voditelj projicira detalje V. Van Goghova crte`a 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 je
proizvela. Upozoruje se na raznolike na~ine postizanja dvosmislenosti izme|u plohe i linije (neke su
to~ke/mrlje izdu`ene, neke su linije skra}ene, zdepaste). b) Projicira se cjelina crte`a i upozoruje se na
mno{tvo sli~nih preobrazbi. Upravo se time `eli posti}i svijest da se takve tanahnosti primje}uju tek
dugotrajnim 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 kretanju
od povr{no uhva}ene cjeline do sve dublje razine, da postaju}i sve osjetljiviji na promjene bolje razabiremo i da nas u tome, svojom slojevito{}u i bogatstvom, vodi umjetni~ko djelo.
5. Ista se ideja sada varira doga|anjem doslovnog opa`aja u razli~itim sredinama-medijima. a) V.Van
Gogh Put s ~empresom, 1890., ulje, 92 x 73 cm, Otterlo. Prvo se analizira detalj: prepoznaju se
mrlje i linijski potezi u pastoznoj slikarskoj povr{ini, a nakon toga se na cjelini pronalazi detalj. b)
Potom se pokazuje detalj H. Mooreove Le`e}e figure, 1957., bronca, 290 cm, Zrich. Analiziraju se
mrljasti i linijski urezi. Opet slijedi pokazivanje cjeline. c) Na sli~an se na~in analizira i detalj arhitektonskog djela A. Gaudija Santa Coloma de Cervello (Kapela Gel), 1908.-1915., Barcelona. Mrlje
su ovoga puta hrpe raznoobli~nog kamenja a linije u redove slo`ene opeke. Slijedi ponovno
prikazivanje cjeline.
6. Projicira se vrlo veliko pove}anje V.Van Goghova crte`a Kut vrta sa stablom i klupom, l889., olovka,
pero, 62,5 x 47 cm, Amsterdam, Rijksmuseum Van Gogh. Sudionik koji je istra`ivao taj crte` vjerojatno 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 iste
konstelacije u beskraj tzv. dubina - fraktal (u kasnijim radionicama dubina - fraktal se imenuje
kao samoodnosnost oblika ili reflektafor).
7. Na kraju ove radionice voditelj govori da se cijelo istra`ivanje mo`e ~initi besmisle-nim onome tko
ne odustaje od shematske razine, ali izra`ava nadu da su svi neprimjetno kliznuli s te razine na
dublju i univerzalniju i otvorili sebi put u medijsko/umjetni~ko.

ORIGINS AND PRINCIPLES

The intention of the s e c o n d workshop is to

explore and become aware of the process of looking; to
become aware of the relationship of literal perception
and the formal elements of art work; to follow the transformation of one formal element into another in the
occurrence of the art work (for instance a line into a
plane /dot/ and vice versa); to become aware of the
many layers of an artwork; to become aware of a work
of art as a transformation of looking.
Ambience: Chairs are placed in rows along one of the
longer walls. There are no tables. The projector is, as
always, beside one of the shorter sides of the room.
The opposite wall is covered with photocopies of greatly enlarged details of different, but mostly modern drawings (3 x the number of participants). Photocopies of
the whole drawings are prepared too (as many as there
are participants).
Structure of the Activity
1. The participants receive the photocopies of the
wholes. (as many drawings as participants) They are
invited to find the details of their drawings and to
mark them on the photocopy of the whole. The students/instructors approach the participants and put
these questions or similar ones: How did you succeed
in finding the details? What is the reason you found
them so quickly? Which detail did you notice first?
Which detail would you isolate and enlarge yourself and
why? The students/instructors work with the participants who are slower than the others. They direct them
to pay attention to similar or different elements, to the
accumulations and the spreadings, to the directions, to
the shapes etc. In this way they help them to become
aware of how they really look and what they, the participants, really see.
2. Later, when the details are all identified, the workshop leader asks: What were you doing? In what way
were you discovering? In a brief discourse the participants become aware of the dominance in some cases
of the shematic aspects and that the discoveries were
seemingly easier because of that. The workshop leader
on the other hand explains: the thematic elements really
make real literally vision of the drawing more difficult.
Attention is drawn to the transformation of the drawing
in the gaze searching long and intensively.
3. A microphotograph of a fovea is projected (or perhaps a drawing of the whole eye). We explain the
process of fixation and defixation. After that a photograph of a face is shown which is observed, and the
movements of the gaze are marked on it as dots and
lines. The explanation continues and makes the participants aware of what had happened during the
exploratory process when they had tried to find the
details and why it meant transforming the drawing itself.
Our gaze is always attracted by change, meaning by a
greater attraction and if we are more encouraged by
something, the search will be intensified and so the
number of fixations larger, and so our world image
changes all the time. (At the moment the detail is found
the transformation of the thing seen becomes evident,
consciously experienced.) A great danger in exploring
and constituting the world is inertia, a satisfaction with
the scheme (the meaning). That is the reason why the
details which were seemingly easier to find, the figurative ones, really make the real, literal vision of the drawing and its more adequate reconstruction by the gaze
more difficult.
4. a) The workshop leader projects the details of Van
Goghs Village Street in Les Saintes-Maries-de-la-Mer,
1888, pencil, pen, New York, Museum of Modern Art.

ORIGINS AND PRINCIPLES

PO^ELA I NA^ELA

The discourse is about what we see. The participants

become aware of the vision of the linear strokes and
the dots (points). We try to reconstruct the movements by which they were created. Instructions are
given about the different modes of achieving ambiguity
between the plane and the line (some points/dots are
elongated, some lines are shortened). A whole of the
drawing is projected and the participants are instructed about the large number of similar transformations.
The intention is just to see that such subtleties can be
noticed only after a long observation; that only long
observation brings about another kind of vision/looking; that the work of art is an awareness/materialisation of literal perception and that a constant transformation means that from the totality caught superficially we go to a deeper level, to become more sensitive
of the changes, to discriminate better and that the
work of art with its many layers and richness guides
us in that process.
5. We variate the same idea: the occurrence of literal
perception in different mediums.
a) V. van Gogh The Road with a Cypress, 1890., oil,
92 x 73 cm, Otterlo. First we analyse the detail: linear
strokes and dots are recognised on the impasto surface. After that the detail is found in the whole of the
painting. b) A detail of H. Moores Reclining Figure is
shown, 1957, bronze, 290 cm, Zrich. The dotlike and
linelike cuts are analysed. Then the whole of the
sculpture is shown. c) In a similar way we analyse a
detail of an architectural work (A. Gaudi: Santa
Coloma de Cervello (Chapell Gel), 1908.-15,
Barcelona). The dots this time are heaps of stones
of different shapes and the lines are bricks put in
rows. Again we project the complete/work.
6. A very big enlargement of Van Goghs drawing The
Stone Bench and Ivy, 1889, pencil, pen, 62,5 x 47 cm,
Amsterdam, Rijksmuseum Van Gogh is projected. Any
participant who has explored this drawing can probably
recognise it. The same alteration of the curvature of
lines as on the macrolevel is recognised. We talk about
the third dimension of the linear sequences. Besides
the length and the rather small width there is an endless repetition of the same constellation, the so called
depth, the fractal (in the later workshops it appears
as selfreferalness of the shapes or as reflectaphors).
7. In the end the workshop leader says that the whole
exploration may seem senseless to someone who
does not want to give up the shematic level but at the
same time he/she expresses hope that all the participants have imperceptibly slipped from this level to a
deeper and more universal one and opened a path for
themselves to the medium/and to the artistic.

11

Studenti dijele fotokopije crte`a/The students-

Tra`e se detalji/A search for details

instructors distribute photocopies of the drawings

Tra`e se detalji/A search for details

Na|eni se detalj ucrtava u cjelinu crte`a/

The discovered detail is drawn onto the drawing as
a whole.

Studentica tuma~i/A student-instructor explains

Studentice intenzivno rade s jednim

sudionikom/The students-instructors working hard
with a participant

Pitamo se: kako smo pronalazili/We ask ourselves: how did we find out?

Tuma~imo na projekcijama prijelaz linij-skih i

mrljastih oblika u drugi medij/We explain the
transposition of linear and spot-like shapes into
another medium

I/3

PO^ELA I NA^ELA

12

KAKO S A G L E D A V A M O

ORIGINS AND PRINCIPLES

HOW WE

PO^ELA I NA^ELA

ORIGINS AND PRINCIPLES

APPREHEND

13

Polje pogleda:

1
1

Visual field:

Polje razaznatljivosti: FS + MS

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

The field of discrimination: FS +MS

1 fovealna slika
1 foveal image
1 minimum separabile

(MAERTENS)

^ovjek, 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 pod
okomitim 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 samim
predmetom, predmet se vidi pod najlagodnijim, tzv. fiziolo{kim kutom od 27.
Pribli`avanjem do udaljenosti koja odgovara visini predmeta, sagledavanje visine bez pomicanja glave izaziva napetost (kut od 45).

okomiti kut

vertical angle

vodoravni kut
horizontal angle

In order to view an object thoroughly, man spontaneously stops at three different distances from it. At a distance three times bigger than the object
observed 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.
MAN IS A PRIVILEGED OBSERVER

^OVJEK JE POVLA[TENI PROMATRA^

MAN IS IN INTERACTION WITH THE PICTURE

^OVJEK JE U INTERAKCIJI SA SLIKOM

2,6 cm

MICHELANGELO

SVOD
SIKSTINSKE KAPELE
/VAULT OF
THE SISTINE CHAPEL,

BUONAROTTI:

1508.-12. FRESKA/FRESCO,
13,4 X 40,23 M,
VATIKAN/VATICAN

4-5

1
SAGLEDAVA S JEDNOG MJESTA BEZ POMICANJA GLAVE KOMPOZICIJU U CJELINI I S
DETALJIMA.
PREDAJE SE ILUZIJI DA JE KOZMI^KA DRAMA
PO 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.

G. BRAQUE:

PORTUGALAC/
PORTUGUESE,
1911., ULJE/ OIL,
117 x 81 CM, BASEL/BASLE

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 ILLUSION
OF THE INTERFUSION OF THE FIGURE AND THE BACKGROUND, OF THE OBSERVED, THE OBSERVER AND THE OBSERVATION.

I/3
14

PO^ELA I NA^ELA

U t r e } o j radionici namjera je istra`iti i osvijestiti mogu}nost sagledavanja cjeline, mogu}nost

razabiranja i fokusiranja detalja: istra`iti odnos izme|u mikro i makro detalja i cjeline djela; upoznati
se s djelima kao razli~itim cjelo}ama.
Ambijent: Isti kao u drugoj radionici s jedinom razlikom da su na duljem, sudionicima nasuprotnom
zidu sada plakati (B. Bu}an @ar-ptica, Petru{ka, I. Picelj MUO i Z. Bourek Hamlet). Projektor je
sudionicima iza le|a. Pripremljene su fotokopije, logari-tamske tablice, metar.
Struktura doga|anja
1. a) Voditelj odre|uje tri udaljenosti od Bu}anova plakata koje se ozna~avaju na podu (1, 2, 3 x visina plakata). Poziva se jedan sudionik da sjedne ispred i da isku{a prvu mogu}nost (okomiti kut od
45). Verbaliziraju se iskustva. Drugu mogu}nost od 27 isku{avaju svi koji sjede u prvom i drugom
redu, a tre}u oni koji sjede u tre}em i
~etvrtom. Razgovara se o iskustvima. b) Voditelj obja{njava pojmove: fovealna slika (FS) - podru~je
o{trog vida = 1 i minimum separabile (MS) - najmanja razabirljivost 1 (MS). Studenti-instruktori
mjere 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~ine
vodoravnog kuta (tg = x - pola {irine/a - udaljenost), fovealne slike (FS = h/okomiti kut) i minimum separabilea (MS = h/okomiti kut x 60) i pokazuje primjenu na Bu}anov plakat (veli~ina
plakata: 210 x 200 cm (ako je okomiti kut 45, onda je vodoravni kut 51, FS 4,6 cm a MS O,7
mm; 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 se
sudionici da izaberu bilo Piceljev, bilo Bourekov plakat i da samostalno izra~unaju vrijednosti.
Studenti-instruktori su pored sudionika, poma`u im pitanjima i uputama. Nakon zavr{enog rada
voditelj ka`e to~ne podatke da bi sudionici mogli provjeriti svoje rezultate.
2. Voditelj projicira snimak Michelangelova svoda Sikstinske kapele u Vatikanu (1508.-1512., 40,23
x 13,4 x 17 m), J. Van Eyckovu sliku Obo`avanje 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 se
podaci o veli~inama, kutovima, FS, MS i voditelj interpretira sva tri djela kao tri razli~ite mogu}nosti
odnosa prema sagledavanju i razabiranju: klasi~na sagledljivost - razrada djela u odnosu na lagodno
fokusiranje, 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) i
djelo 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 se
poku{a interpretirati plakat na temelju podataka i iskustava koja su ste~ena.

ORIGINS AND PRINCIPLES

The intention of the t h i r d workshop is to

explore and to become aware of the possibilities to
apprehend a whole, to discriminate and focus on
the details; to explore the relationship between the
micro- and macro details and the whole of the work
of art; to become acquainted with works of art as
different wholes.
Ambience: The same as in the second workshop
with only one difference; there are posters (B.
Buan The Firebird, Petruschka, I. Picelj MUO and
Z. Bourek Hamlet) on the wall opposite the participants. The projector is behind the participants.
There are photocopies prepared.
Structure of the Activity
1. a) The workshop leader indicates three distances
from Buans poster which are marked on the floor
(1, 2, 3 x the posters height). One participant is
invited to sit in front of the poster and explore the
first possibility (the vertical angle is 45). The experience is verbalized. All the participants sitting in the
first and second rows explore the second possibility, that of 27, and the third one is examined by
those sitting in the third and fourth rows. They talk
about the experience. b) The workshop leader
explains the concepts: foveal image field of sharp
vision = 1 (FI) and minimum separabile the
smallest distinction of 1 (MS). The students measure Buans poster and demonstrate the distances
from which the details correspond with either the FI
or MS.
c) The participants are asked to bring logarithmic
tables and rulers. The workshop leader explains
what they will do. They get pieces of paper with formulas for computing the horizontal angle [(tg = 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 leader
explains the application to Buans poster the size
of which is 210 x 200 cm. (If the vertical angle is
45 then the horizontal one is 51, the FI 4.6 cm
and the MS 0.7 mm; if the vertical angle is 27 then

ORIGINS AND PRINCIPLES

PO^ELA I NA^ELA

the horizontal one is 26 40, FI 7.7 cm and MS 1.3

mm; if the vertical angle is 18 then the horizontal is
18, FI 12 cm and the MS 2 mm). d) When the
computing has been mastered the participants are
invited to choose one of the presented posters and
to work individually. The students/instructors are
beside the participants, helping them with questions
and instructions. After the exercise has been finished the workshop leader reads out the correct
answers so that the participants may check their
results.
2. The workshop leader projects the slides of
Michelangelos Sistine Chapell vault in the Vatican
(1508.-12, 40.23 x 13.4 x 17 m),
J. van Eycks Adoration of the Mystic Lamb the
central part of the Gent altarpiece (1425.-29, 242.3
x 137,7 cm) and G. Braques Portuguese (1911,
117 x 81.5 cm), Basle. He/she gives some information about the measures and about the angles,
about FI, MS and follows the interpretation of the
three works of art as three different possibilities of
relationship to apprehension and discrimination. The
first one is classical apprehension: articulation of
the work of art according to easy focusing, distinction and apprehension (Michelangelo); the second
one is a work of art as designed for an ideal divine
gaze: the distinction of details which would in
apprehension of the whole be hidden to the ordinary
gaze (J. Van Eyck) and the third one is a work of art
in interaction with the viewer: the invitation to participate in the work of art, to become a part of it, to
be included in it. (C. Braque)
3. At the end the participants receive a photocopy
of Buans poster with the task to interpret the
poster on the basis of the data and the experience
gained, as homework.

15

Tuma~i se pojam sagledavanja/The concept of

apprehension is explained

Sudionik isku{ava napeto sagledavanje

Bu}anovog plakata/A participant explores a tense
apprehension of Buans poster

Student mjeri, sudionik istra`uje/A student-

Mjere se Piceljevi plakati/Piceljs posters are mea-

instructor measures, a participant explores

sured

Mjere se Piceljevi plakati/Piceljs posters are mea-

Izra~unavaju se kutevi, fovealne slike, minimum

separabile/Angles, foveal images, minimum separa-

sured

bile are computed

Ra~una se i provjerava zajedni~ki/We compute

Ra~una se i provjerava zajedni~ki/We compute

and check together

and check together

I/4
16

PO^ELA I NA^ELA

ORIGINS AND PRINCIPLES

KOMUNIKACIJSKA STRUKTURA

PO^ELA I NA^ELA

ORIGINS AND PRINCIPLES

COMMUNICATION STRUCTURE

17

WC
Kp

HIJERARHIJSKOM STRUKTUROM,
ukinuta prema periferiji

dovedena u pitanje kru`enjem

CENTRISTI^KA STRUKTURA U JEZGRI

MJESTO

veza

PLACE

connection

Komunikacijska struktura dijela prvog kata

INTERAKCIJOM

posredno mjesto
indirect place

neposredna veza

posredna veza

direct connection

indirect connection

CENTRISTIC STRUCTURE IN NUCLEUS

G
Sp
The communication structure of a part of the 1st floor
Kp kupaonica, bathroom
P1
Sp spavanje, bedroom
R
Br2
Br1 boravak1, livingroom1
Br2 boravak2, livingroom2
P2
T terasa, terrace
Bl
T
Bl blagovanje, diningroom
P1 predvorje1, hall1
Br1
P2 predvorje2, hall2
G garderoba, cloakroom
PROSTOR KRU@I
R rampa, ramp
SPACE CIRCULATES

INTERACTION

suspended towards the perifery by

in question by circulation

HIERARCHICAL STRUCTURE,

PROSTOR SE STUPNJEVANO, ARTIKULIRANO VODI VAN

UNUTRA

THE SPACE IS ARTICULATED AND GRADUALLY GUIDED OUT

SVE KOMUNIKACIJSKE STRUKTURE SE USPOSTAVLJAJU I DOVODE U PITANJE PONAVLJANJEM

VAN
IN

OUT

ALL COMMUNICATION STRUCTURES ARE STATED AND QUESTIONED BY REPETITION

PROSTOR KRU@I
SPACE CIRCULATES

A. PALLADIO:

VILLA ROTONDA,
1550., VICENZA

LE CORBUSIER:

VILLA SAVOY,
1929., POISSY

I/4
18

PO^ELA I NA^ELA

U ~ e t v r t o j radionici namjera je osvijestiti razli~ite mogu}nosti komunikacije; svladati crtanje

grafova; 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 okru`uje, svojom se komunikacijskom strukturom utiskuje u nas putem svih osjetila.
Ambijent: Nema stolova, stolice su razmje{tene u dva polukruga, projektor je uz u`i zid. Potrebni su
zvonce i fotokopije tlocrta.
Struktura doga|anja
1. a) Voditelj najavljuje da }e se baviti komunikacijom i da }e se u tu svrhu izvesti dramolet. Kraj svakoga ~ina voditelj najavljuje zvoncem. Jedan student-instruktor stane u sredinu praznog prostora i u razgovoru s voditeljem poka`e, izjavljuje ili odglumi da je on/ona najatraktivnija osoba na svijetu i da svi
hrle da bi s njim/njom komunicirali. Ra{irenih ruku prima obo`avatelje. Kako, naravno, ima samo
dvije ruke obo`avatelji (svi sudionici) ga/ju hvataju gdje god stignu. (Zvoncem se najavljuje kraj prvog ~ina i po~etak drugog.) Sada
voditelj ili sam glumac izjavljuje da je nastupio dramati~an trenutak, njemu, obo`avanom, sinulo je
rje{enje, naime, on vi{e ne mo`e podnositi teret obo`avanja i zato mora ne{to poduzeti. Stane na stolac i
poziva sve svoje obo`avatelje da se organizi-raju u odnosu na njegove ruke u dva reda. Voditelj
obja{njava o~iglednu ~injenicu: koliko su osobe dalje od obo`avanog toliko je me|u njima vi{e posrednika i toliko su te osobe nesretnije. Tada se zvoncem najavljuje drugi dramati~ni moment i po~etak
tre}ega ~ina: nesretnima je ne{to sinulo, oni koji su najdalje od `eljene osobe okre}u se jedno prema
drugom i hvataju se za ruke. U tom presudnom trenutku sa stolice (pijedestala) pada kraljevska
osoba 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 sadr`aj dramoleta. Odigrale su se
tri glavne mogu}nosti komunikacije koje se ugra|uju u arhitektonska ostvarenja: centristi~ka, hijerarhijska i interakcijska.
2. a) Voditelj sada projicira jednostavni primjer centristi~kog prostora i graf koji mu odgovara. Jedan
student-instruktor tuma~i kako se crtaju grafovi i sada je zadatak da svaki sudionik nacrta graf
svoga stana. (U prethodnoj su radionici bili upozoreni da kod ku}e nacrtaju tlocrt stana.) Projiciraju
se po jedan centristi~ki, hijerarhijski i interakcijski primjer grafova stanova sudionika i vodi se razgovor o njima. b) Nastavlja se sa projekcijama tlocrta razli~itih arhitektonskih ostvarenja tijekom
povijesti i njima odgovaraju}ih grafova i tuma~e se kao komunikacijske strukture. Pokazuje se jednocentri~na (koliba), dvocentri~na (rimska ku}a), hijerarhijska (barokni dvorac) i dvosmislena kombinacija, igra sa svim strukturama (A. Palladio Villa Rotonda).
3. Projicira se graf i tlocrt Le Corbusierove Ville Savoy. Tuma~i se interakcijska struk-tura, pokazuje
se bogatstvo i slo`enost arhitektonskog ostvarenja velikim brojem
(oko 30) dijapozitiva. Veliki broj snimaka slu`i tome da se do`ivi stupnjevano artikulirani vid interakcijske 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 analiziranja i interpretacije.

ORIGINS AND PRINCIPLES

The intention of the f o u r t h workshop is to

become aware of the different posssibilities of communication; to master the drawing, the graphs; to
become aware of architectural structures as different communication structures, which by staying
and moving in architectural spaces, most often
unconsciously influence people; to know that building is one of the most influential human activities
the space around us with its communication structure is impressed on us by all our senses.
Ambience: There are no desks in the room, the
chairs are in two semicircles with the projector on
the narrow side.
Structure of the Activity
1. a) The workshop leader announces: the subject
is communication and we intend to perform a miniplay. The workshop leader will announce the end of
each act by ringing a bell. A student stands in the
middle of the empty room and talking to the workshop leader he/she shows, says or acts that
he/she is the most attractive person in the world
and that everyone rushes to communicate with
him/her. With extended arms he/she accepts the
admirers. Because he/she has naturally got only
two arms the admirers (all the participants) try to
touch him/her where they can. (Ringing the bell
announces the end of the first act and the beginning of the second one.) Now the workshop leader
or the actor him/herself declares: a dramatic
moment has come: to him/her, to the admired one
the solution has come to mind, and that is that,
he/she is not willing to bear the burden of admiration any more and has to do something about it.
He/she stands on a chair and invites all his admirers to organise themselves according to his/her
arms, into two rows. The workshop leader explains
the evident facts: the farther the persons are from
the admired one the more mediators there are
between them and the more unhappy they are.
The bell announces the second dramatic moment
and the beginning of the third act. Something has
occured to the unhappy, admirers those who are
at the farthest distance from the desired person
turn to each other and hold each others hands. At

ORIGINS AND PRINCIPLES

PO^ELA I NA^ELA

that decisive moment the kinglike person falls

from the chair (pedestal) and a circle is established
a circle of equally valued persons in communication (the bell rings: the mini-play ends). b) When all
the participants sit down again, the workshop
leader explains the content of the mini-play. Three
main possibilities of communication were acted
out: the centristic, hierarchical and the interactive
ones, which are all built into architectural works.
2. a) A simple example of centristic space and a
corresponding graph are projected. A student
explains how the graphs are made and the task is
set to all the participants to draw graphs of their
flats (in the former workshop they were asked to
draw plans of their flats at home and bring them
with them). Some of the participants graphs are
projected (a centristic, a hierarchical and an interactive example). b) Further projections of the
plans. Different architectural examples throughout
history with corresponding graphs are shown, and
explained as communication structures. A monocentristic (a hut), a bicentristic (a Roman house),
a hierarhical (a baroque castle) and an ambigual
combination, playing with all structures (A.
Palladio: Villa Rotonda) are shown.
3. The plan and graph of Le Corbusiers Villa Savoy
are projected. The interactive structure is explained
and the richness and complexity of the architectural
work with a large number (about 30) slides. A large
number of photographs are used to enable the
experiencing of the gradual articulation of an interactive communicative structure and the relationship
between outer and inner space.
4. In the end the participants are given the plans of
three different F.L. Wrights houses with the same
graph to analyse and interpret them at home.

19

Po~etak dramoleta: najprivla~nija osoba

svijeta/The beginning of the mini play: The most

Svi `ele doprijeti do najprivla~nije osobe: kraj

prvog ~ina/All wishing to approach the most

attractive person in the world

attractive person: End of Act One

Drugi ~in: najprivla~nijoj osobi je sinulo

rje{enje/The Second Act: A solution came to the

Najnesretnijima u lancu je ne{to sinulo: kraj

drugog ~ina/A flash of an idea in the mind of the

most attractive person

unhappiest persons in the chain: End of Act Two

Voditelj spaja ruke najnesretnijih, svi su u

krugu jednaki: kraj tre}eg ~ina/The workshop

mini play is explained

Tuma~i se smisao dramoleta/The sense of the

leader connects the hands of the unhappiest ones,

all in the circle are equal: End of Act Three

Studenti poma`u crtati graf vlastitog stana/The

Voditelj poma`e/tuma~i/The workshop leader

students-instructors help to draw graphs of the participants apartments

helps and explains

I/5
20

PO^ELA I NA^ELA

ORIGINS AND PRINCIPLES

L I N I J A JE NAGLA I KONTINUIRANA PROMJENA

T H E L I N E IS A SUDDEN AND CONTINUOUS CHANGE

UGLATA KRIVULJA
ANGLE CURVE

PLOHE TROKUTASTOG OBLIKA

TRIANGULAR PLANES

RAVNA LINIJA
STRAIGHT LINE

JEDNAKA KRIVULJA
EQUAL CURVE

NEJEDNAKA KRIVULJA
UNEQUAL CURVE

(RAWSON)

I D E A L N A R E K O N S T R U K C I J A CRTE@A P. KLEEA: ECCE, 1940., olovka, 29,5 x 21 cm, Bern, Zbirka F. Klee
A N I D E A L R E C O N S T R U C T I O N OF P. KLEES DRAWING: ECCE, 1940, pencil, 29,5 x 21 cm, Bern, Coll. F. Klee

PO^ELA I NA^ELA

ORIGINS AND PRINCIPLES

R E A L N A R E K O N S T R U K C I J A P. PICASSOVOG CRTE@A (H.G. Clousot Tajna Picasso)

A R E A L R E C O N S T R U C T I O N O F P. PICASSOS DRAWING (H. G. Clousot: Le mystre Picasso)

21

I/5
22

PO^ELA I NA^ELA

U p e t o j radionici namjera je istra`ivati liniju kao elementarni znak i kao tok (razli~ita sintakti~ka
pravila), kao individualni govor svakog medija i svakog umjetnika (trag kretanja ruke); osvijestiti
mogu}e vi{esmisleno ~itanje toka, u~estalost i karakter promjene usmjerenja, mogu}nost vi{esmislenog
~itanja u odnosu na okoli{; istra`iti razli~ite polo`aje linija i ritam; do`ivjeti idealnu rekonstrukciju
jednog crta~kog djela i uvidjeti apstraktnost svakog, pa i figurativnog djela; uvidjeti samoodnosnost
oblika u umjetni~kom djelu; do`ivjeti realnu rekonstrukciju jednog crta~kog djela.
Ambijent: Sudionici su podijeljeni u vi{e grupa. Sjede za stolovima i uz njih po jedan studentinstruktor. Broj grupa odgovara broju linija na koji se razla`e crte`. Prire|ene su fotokopije izdvojenih
linija i cijelog crte`a. Potreban je projektor i video.
Struktura doga|anja
1. Svaka grupa dobiva fotokopiju jedne linije, jedne linijske sekvence, tada jo{ sudio-nicima neznanog
crte`a P. Kleea Ecce (1940., olovka, 29,5 x 21 cm, Bern, Zbirka
F. Klee). Sudionici pod vodstvom studenata-instruktora isku{avaju razli~ite metode istra`ivanja linije:
a) precrtavaju preko pausa; b) crtaju slobodno desnom rukom;
c) desnom rukom, ali bez gledanja vlastitog crte`a; 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 istra`uju promjene
polo`aja; i) prate liniju s lijeva u desno i obratno; j) promatraju liniju u odnosu na okoli{.
2. a) Idealna rekonstrukcija Kleeova crte`a Ecce: voditelj projicira crte` s jednom linijom, nakon toga
s dvije itd. Kod svake promjene/ uslo`njavanja pita o osobinama pridodane linije, ali i o nastalim
promjenama uslijed me|uodnosa linija. Osvje{tava se crte` kao artikulacija kretanja (linija) i kao
otkrivanje svjetlosti (ploha). Osvje{tava se samoodnosnost oblika u crte`u (oblici zrcale po~etni oblik
uvijek iznova u sve druga~ijim i druga~ijim ina~icama). Osvje{tava se slojevitost crte`a umjetni~kog
djela. b) Projicira se zavr{ni snimak. Nakon slijeda apstraktnih (sve slo`enijih) crte`a naglo se
pojavljuje figurativni crte`. Doga|aj je iznena|uju}i i slu`i osvje{tavanju da je svaki crte`, svako djelo
u biti apstraktno i da je tek na povr{noj razini ~esto tematski prepo-znatljivo figurativno.
c) Sudionici dobivaju fotokopiju Kleeova crte`a Ecce.
3. Slijedi realna rekonstrukcija crte`a P. Picassa (sekvenca iz filma H. G. Clousota Tajna Picasso).
Filmski je, naime, zabilje`eno Picassovo crtanje od prvog poteza do gotovog crte`a.

ORIGINS AND PRINCIPLES

The intention of the f i f t h workshop is to explore

the line as an elementary sign and as inflexions (different syntactic rules), as individual speech of each
medium and each artist (the trace of a hand movement); to gain awareness of the possible polysemic
reading of the inflexions, the frequency and character of the change of directions, the possibility of a
polysemic reading of the line in relation to the environment; to explore the different positions of the line
and their rhythm; to experience an ideal reconstruction of a drawing and to comprehend the abstract
character of each, even figurative art work; to comprehend the selfreferal character of shapes in a
piece of art work; to experience the real reconstruction of a drawing.
Ambience: The participants are divided into several
groups (two or three of them in a group) They sit at
tables with one of the students-instructors beside
them. The number of the groups is the same as the
number of lines in the drawing analysed.
Photocopies of the separate lines and of the whole
drawing are prepared. A projector and a video player are available for use.
Structure of the Activity
1. Every group receives a photocopy of one linear
sequence, of P. Klees drawing Ecce (1940, pencil,
29.5x21 cm, Bern, Collection of P. Klee) then still
unknown to the participants. The participants are
guided by the students-instructors to use different
methods of exploring the line: a) they trace it on
transparent paper; b) they draw it freely with the right
hand; c) they draw it with the right hand without
looking at their own drawing; d) they draw it with the
left hand; e) they divide it into elementary signs;
f) they follow the alteration of the change of direction

ORIGINS AND PRINCIPLES

PO^ELA I NA^ELA

(rhythm); g) they establish the connections between

the elementary signs; h) they use the coordinate system to explore the change of positions; i) they follow
the line from left to right and vice versa; j) they
observe the line in relation to the environment.
2. a) An ideal reconstruction of P. Klees drawing
Ecce: the workshop leader projects the drawing
with one line, then with two etc. At every change of
complexity he/she asks about the characteristics of
the added line, but also about the changes due to
the interaction of the lines. The participants become
aware of the drawing as an articulation of movement (line) and as a discovering of light (plane).
They become aware of the selfreferal character of
the shapes in the drawing (the shapes reflect the
initial shape always in a new different variation).
They become aware of the many layers of the
drawing-art work. b) Projection of the final slide.
After a sequence of abstract (more and more complex) drawings a figurative one suddenly appears.
The occurrence is astonishing and is meant to point
out that every drawing, every piece of art work is in
essence abstract and is only on the superficial level
often thematically recognisable figurative. c) The
participants receive photocopies of P. Klees drawing Ecce.
3. A real reconstruction of P. Picassos drawing (a
sequence from H.G. Clousots film Le Mystre
Picasso) follows. Picassos drawing from the first
stroke to the complete artwork is shown recorded
on film.

23

Istra`ivanje linije/Exploring lines

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

Istra`uje se polo`aj linije u koordinatnom sustavu/The position of the line in the coordinate sys-

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

tem is explored

Istra`uje se polo`aj linije u koordinatnom

sustavu/The position of the line in the coordinate
system is explored

I/6
24

PO^ELA I NA^ELA

ORIGINS AND PRINCIPLES

(VIDNA) P L O H A

(VISUAL)

PO^ELA I NA^ELA

PLANE

25

THE LINE GENERATES A PLANE

LINIJA GENERIRA PLOHU

ZAPRIJE^ENA SVJETLOST

ZAUSTAVLJENA SVJETLOST

ORIGINS AND PRINCIPLES

LIGHT OBSTRUCTED

LIGHT HALTED

SUGERIRANA PLOHA
SUGGESTED PLANE

SJENA

SVJETLOSNA MRLJA

SHADOW

LIGHT SPOT

THE PLANE GENERATES A LINE

PLOHA GENERIRA LINIJU

IMITACIJA SVJETLOSTI
IMITATING LIGHT
O. SCHLEMMER:
A. ROD^ENKO/A. RODCHENKO:

MAJAKOVSKI/MAYAKOVSKY,

BAUHAUS,
ZNAK/SIGN,
1923.

1939.

IMITACIJA SJENE
IMITATING SHADOW

LINIJA

PLOHA

LINE

rub, obris
edge, outline

SVAKODNEVNO ISKUSTVO: SVJETLOST SLU@I VIENJU SVIJETA

UMJETNI^KO ISKUSTVO: SVJETLOST U^INITI VIDLJIVOM

EVERYDAY EXPERIENCE: LIGHT SERVES TO SEE THE WORLD

AS AN ARTISTIC EXPERIENCE: TO MAKE LIGHT VISIBLE

RAZLIKA U OMJERIMA
DIFFERENCE IN RATIOS

PLANE

I/6
26

PO^ELA I NA^ELA

U { e s t o j radionici namjera je do`ivjeti plohu kao zaustavljanje svjetlosti (bilo kao svjetlosne
mrlje, bilo kao sjene - vizualno generiranje); osvijestiti da je likovno izvedena ploha uvijek imitacija
apsolutne plohe; osvijestiti da u svakodnevnom iskustvu svjetlost slu`i da se vidi svijet, a u
umjetni~kom se poku{ava svjetlost u~initi vidljivom; isku{avati kompozicijski smisao kontrastnih
ploha svjetlosti i sjene; u`ivljavati se u ritam pokrenute plohe; osvijestiti likovno generiranje
plohe/linije.
Ambijent: Stolci i stolovi su razmje{teni uz dva dulja zida, sredina prostorije je prazna. Projektor je
na uobi~ajenom mjestu. Pripremljeni su {kare, crni papir, fotokopije i paus.
Struktura doga|anja
1. Studenti-instruktori izvode kazali{te sjena. Prvi glumac ulazi u jaki snop svjetlosti iz projektora i izvodi razne kretnje. Kada dlanovima dodiruje granice (kadar) lijevo-desno, gore-dolje, projektor 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 lik
su~elice, zatim u kadar ulaze postupno ostali dok se u trenutku svi ne okrenu le|ima projektoru i
narasli 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 imitacije
plohe. Upu}uje na gledanje crnog oblika, pa bijelog, pa na doga|anja na njihovoj granici. U tu svrhu
prekriva dio bijelog oblika, pa crnog, da bi na taj na~in intenzivirao njihovu granicu; b) Znak
Bauhausa O. Schlemmera, 1923. Upozoruje na variranje duljine i {irine (dviju dimenzija ploha) i
u~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 (`ivotna nit, pup~ana vrpca, Arijadnina nit, Tezejev ples,
iz `ivota u smrt i obrnuto); potom se upozoruje na mogu}u pokrenutost plohe omjerima i na ritam
koji iz toga proizlazi; na odnos lik - podloga: kao lik se ~ita svijetliji, ve}i, bolji oblik; na opti~ku
varku: bijeli se oblik na crnom {iri i izgleda ve}i; na mogu}u interakciju lika i podloge, na opti~ki
kontinuitet; na mogu}u dvosmislenost lik - podloga.
3. Sudionici dobivaju fotokopiju bilo Rod~enkova, bilo Schlemmerova, bilo Kniferova djela i tra`i se
da dekomponiraju pa invertiraju izrezane crno-bijele plohe. Studenti-instruktori sudjeluju savjetom,
razgovorom.
4. Na kraju se izla`u radovi sudionika i uspore|uju se s originalnim djelima. (Ukoliko radovi nisu
dovoljno zanimljivi, mogu se uvrstiti radovi iz nekih prethodnih radionica.) Svrha je osvje{tavanje
kona~nog autorova izbora izme|u bezbroj mogu}nosti i osvje{tavanje da se ploha naj~e{}e likovno
generira linijom (obrisom), ali i obratno, linija se mo`e generirati iz plohe (demonstracija pomo}u
razrezanih dijelova Schlemmerova djela).

ORIGINS AND PRINCIPLES

The intention of the s i x t h workshop is to experience the plane as a halting of light (either as a light
spot or as a shadow visually generating); to
become aware that a flat surface is an imitation of
the absolute plane; to become aware that in everyday experience light serves in seeing the world, and
in artistic experience to make itself visible; to
explore the compositional meaning of contrasted
planes of light and shadow; to feel the rhythm of
a plane set in motion; to become aware of the line
generating the plane and vice versa.
Ambience: Chairs and desks are lined up along the
two longer walls; the middle of the room is empty.
The projector is in its usual place. Scissors, black
paper, photocopies, tracing paper are all prepared.
Structure of Activity
1. The students-instructors perform a shadow theatre. The first actor enters the strong beams of
light from the projector and performs various movements. When he/she touches the boundaries
(frame) with his/her palms left-right, up-down, the
projector is moved. A game goes on between the
frame ground (light plane) and the representation
the figure (dark plane). Eventually when the frame
is still again, the actor turns and shows his profile
and another actor/actress appears opposite him, then
the others gradually enter the frame till the moment
when they are all turned with their backs to the projector and their figures grow and totally obstruct the
light (a totally black plane is created which covers
the whole frame).
2. The workshop leader in a brief talk makes the participants aware of the essence of the plane and after
that projects: a) A. Rodchenkos Mayakovsky, 1939.
He/she demonstrates the dif-ference between the
absolute plane (the former playing) and various
imitations of the plane. He/she tells them to watch
the black shape, then the white one, again the black
one and the occurrences on their boundary. Because
of that he/she covers part of the white shape, then

ORIGINS AND PRINCIPLES

PO^ELA I NA^ELA

the black one in order to intensify their boundary. b)

The workshop leader then projects O. Schlemmers
Sign for Bauhaus, 1923. He/she warns the participants that the length and width (the two dimensions
of the plane) are variated and speaks about the
effects which result (plane/line). c) J. Knifers
Meander is projected (1964, oil, 99.3x135.5 cm,
GSU, Zagreb). First the meaning is explained (life
thread, umbilical cord, Ariadnas thread, Theseus
dance, from life to death and vice versa), afterwards
instructions are given about the possible shift of the
plane by ratios and about the rhythm as the result of
it, about the relation of the figure and the background
(the lighter, the greater the better shape is regarded
as a figure), about the optical illusion (the white
shape extends and looks bigger), about the possible intergration of the figure and the ground, about
the optical continuum, the possible ambiguity of the
figure and the background relation.
3. The participants receive photocopies either of
Rodchenkos, Schlemmers or Knifers work and
they are invited to decompose them and then to
invert the cut out white/black planes. The studentsinstructors participate giving advice and discussing.
4. At the end the participants works are displayed
and compared with the originals (if the participants
works are not interesting enough, it is possible to
include works from some former workshops). The
intention is to become aware of the authors final
choice between the infinite possibilities and to
become aware that the plane is mostly generated
by the line (outline) but the line as well can be generated by the plane (demonstration with the cut
pieces of Schlemmers work).

27

Kazali{te sjena: igranje apsolutne plohe/The

Kazali{te sjena: istra`ivanje granica/The shadow

shadow theatre: playing the absolute plane

theatre: exploring the boundaries

Kazali{te sjena: umna`anje sjene/The shadow

Kazali{te sjena: sjene su nadvladale/The shadow

theatre: multiplying the shadows

theatre: the shadows overcome

Izrezuje se Schlemmerov znak Bauhausa/

Inverzija Rod~enkovog Majakovskog/

Schlemmers sign of the Bauhaus is cut out

Rodchenkos Mayakovsky is inverted

Inverzija Schlemmerovog znaka je gotova: lijepi

se na zid/Inversion of Schlemmers sign is finished:

Studentica tuma~i promjene dobivene inverzijom/A student-instructor explains the changes

it is put on the wall

obtained by inversion

I/7

PO^ELA I NA^ELA

28

BOJA

ORIGINS AND PRINCIPLES

COLOUR

PO^ELA I NA^ELA

ORIGINS AND PRINCIPLES

IDENTIFIKACIJA BOJA
U TRI DIMENZIJE

COLOUR IDENTIFICATION
IN THREE DIMENSIONS

PROMJENA VALNE DULJINE SVJETLOSTI

WAVE LENGTH LIGHT CHANGE

3D
gradiranje

gradiranje

gradation

gradation

KROMATSKE KVALITETE (VRSTA)

SVJETLINE (TON)

OF HUE

OF LIGHTNESS (VALUE)

svijetlocrveno
light red

blijedocrveno
pale red

gradiranje

jarkocrveno

gradation

intense red

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

tamnocrveno
dark red
O. HERMAN:

kromatska kvaliteta (vrsta)

hue

SUZANA I STARCI
/SUZANNAH AND
THE ELDERS,
1969., ULJE/OIL,
81 X 103.6,
GSU, ZAGREB

HUE SCALE

KROMATSKA SKALA

(the first numerical value in the DIN system)

jarkost (valer)

(prva broj~ana vrijednost u DIN sustavu)

intensity (chroma)

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

crvenoljubi~asta crvena crvenonaran~asta naran~asta `utonaran~asta `uta `utozelena zelena plavozelena plava plavoljubi~asta
purple red reddishorange orange yellowishorange yellow yellowishgreen green bluishgreen blue bluishviolet

svjetlina (ton)
lightness (value)
CHROMA SCALE

VALERSKA SKALA
3; 4; 5; 6

(druga broj~ana vrijednost u DIN sustavu)

najjarkija

(the second numerical value in the DIN system)

highest chroma

1; 2; 3; 4; 5

TONSKA SKALA

VALUE SCALE
(the third numerical value in the DIN system)

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

najsvjetlija

highest value

29

I/7
30

PO^ELA I NA^ELA

Namjera u s e d m o j radionici je ste}i iskustvo o bogatstvu boja u jednoj slici; ste}i iskustvo o
trodimenzionalnom 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 nesigurnosti opa`aja 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 DIN
6164 uzorci boja po redu, od 1 do 25. Drugi stol je za studente-instruktore s pripremljenim uljenim
bojama, kistovima, razrezanim kartonima i aparatom za speed mije{anje boja.
Struktura doga|anja
1. Voditelj dr`i 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 na
razli~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 identifikaciji 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 se
maksimalno, ali pritom ne dodiruju}i sliku, pribli`i `eljenom dijelu da bi se pojedine boje izdvojile od
utjecaja drugih boja, i tada se uzima uzorak (pa`ljivo, ne dodiruju}i obojenu povr{inu da ne bi ostali
otisci), prinosi se izdvojenoj boji na slici i uspore|uje. Ukoliko smo zadovoljni i odlu~imo da smo
pogodili 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 nismo
prona{li odgovaraju}u boju, tra`imo dalje, uzimamo drugi uzorak i uspore|ujemo (pritom uzorke
pa`ljivo vra}amo na mjesta).
3. Nakon uputa voditelj raspore|uje sudionike u dvanaest grupa, svaka se bavi jednom bojom.
Po~inje se od `ute. Ostali, nezaposleni, dobivaju reprodukciju Hermanove slike, razgledavaju original i uspore|uju ga s reprodukcijom te bilje`e odstupanja. Kada je prva grupa zavr{ila istra`ivanje
pred 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 (`utonaran~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{aju
boja.
6. Upozorava se da }e se skala koristiti u daljnjim istra`ivanjima slike.
7. Osim reprodukcije Hermanove slike sudionici dobivaju i fotokopirani materijal s obja{njenjem DIN
sustava i trodimenzionalnosti boje.

ORIGINS AND PRINCIPLES

The intention of the s e v e n t h workshop is to

experience the richness of colours in a painting, the
three-dimensionality of colour, and colour identification using colour chips; to get colour by optic
speed mixing and by paint mixing (oil paint); to
gain experience of the modifications of the colours
in the environment, of the uncertainty of colour perception and of the shortness of memory of colour.
Ambience: A room in the GSU (Gallery of
Contemporary Art) in Zagreb. Chairs for the participants are prepared in the room, as well as an easel
with O. Hermans painting Suzannah and the Elders
and two large tables. On one of them the DIN 6164
set of colour chips are placed in rows numbered
from 1 to 25. Another table is for the studentsinstructors, oil paints, brushes, prepared pieces of
cardboard, and an apparatus for the speed mixing
of colours.
Structure of the Activity
1. The workshop leader talks briefly about the
colours: what the primary colours are, then the secondary and tertiary ones. Explains what the three
dimensions of colours are. He/she explains the hue,
the value and the chroma. He/she also warns the
participants of different terminology and explains
what the DIN 6164 system is, what is accepted in it
as tone, darkness and saturation. He/she demonstrates the reading and using of the chips for colour
identification in O. Hermans painting
2. The participants are asked to bring a so called
mask (little white or grey pieces of cardboard
with a window 1 x 1 cm cut in them). The workshop leader gives the first instructions and with a
mask demonstrates the procedure of colour reading. The mask is put as near as possible to the chosen part of the painting (not touching it) to isolate
the particular colour from the influence of the others, then the chip is taken away (taking care not to
touch the colour surface with the fingers to avoid
any traces), it is put close to the isolated colour in

ORIGINS AND PRINCIPLES

PO^ELA I NA^ELA

the painting and it is compared. If we are satisfied

and decide we have guessed the colour, we write
the data, for instance hue (tone): 1; chroma (saturation): 4; value (darkness): 5. Naturally if in the
first attempt we did not find the exact colour we
search further, we take another chip and we compare (the chips after using them are put carefully
back into their places).
3. After the previous instructions the workshop
leader divides the participants into twelve groups
and instructs each group to work with one colour.
Yellow is the first colour. The waiting participants receive a reproduction of Hermans painting,
and compare it with the original and make notes
about the alterations. After the first group has finished the exploration of the painting is instructed
to approach the group of students who are waiting
to mix the oil paints and the other group of optical
mixers to try to examine what they obtained and
the second group starts working on the painting
(the yellow-orange colour) etc.
3. In this way, step by step, all the paints are
mixed, the colours are examined by speed mixing
too and a gamut (scale) is prepared.
4. The occurrence is interwoven with the workshop
leaders remarks either in front of the painting, in
front the chips or at the mixing table.
5. The participants are informed that the prepared
scale will be used in a further workshop.
6. Besides the colour reproductions of Hermans
painting the participants receive photocopies of a
page where the DIN system, and the three-dimensionality of the colours are explained.

31

Pokazivanje DIN 6164 sustava boja/

Demonstrating the DIN 6164 system of colours

Pred Hermanovom slikom voditelj pokazuje kako

se radi s uzorkom boje/In front of Hermans painting
the workshop leader demonstrates how to work with
the colour chip

Studentica pokazuje kako se radi s uzorkom boje/A student-instructor demonstrates how to

Mije{anje boja na temelju uzorka boje/ Mixing

paints on the basis of colour chips

work with the colour chip

Rad s uzorkom boje/Working with the colour chip

Mije{anje boja na temelju uzorka boje/ Mixing

paints on the basis of colour chips

Opti~ko mije{anje boje na temelju uzorka/

Optical mixing of colours on the basis of the colour
chips

Pripremanje skale/Preparation of a colour scale

ORIGINS AND PRINCIPLES

S I M E T R I J A : KONSTRUKCIJA USMJERENOG PROSTORA

S Y M M E T R Y : CONSTRUCTION OF SPACE DIRECTION

PO^ELA I NA^ELA

ORIGINS AND PRINCIPLES

SIMETRIJA JE OP]E S I N T A K T I ^ K O P R A V I L O

SYMMETRY IS A GENERAL

EXAMPLE: REFLECTION (INVERSION IN SPACE)

PRIMJER: ZRCALJENJE (INVERZIJA U PROSTORU)

FILM, POEZIJA, GLAZBA, KIPARSTVO, GRADITELJSTVO

ART

FILM, POETRY, MUSIC, SCULPTURE, ARCHITECTURE

FARSANGI TKR-DAL
telehold szitlj hamut minden t pokolra fut palotba
vrem vezetve csillrba
pohrba
palotba vrem vezetve minden t pokolra fut telehold
szitlj hamut
Nagy Lszl

r of
im a
ges=
726

UMJETNOST

translacija pomak

mb e

translation shift

SYNTACTIC RULE

DVOGLAVA ZMIJA/
TWO HEADED
SNAKE

ca /
nu

13.-14. ST./13TH 14 TH C.,

MEKSIKO/MEXICO,
PARIZ/PARIS

sli~i

32

PO^ELA I NA^ELA

Broj

I/8

tema
theme

inverzija
inversion

L. GALETA

Pi Ra Midas
1972.-84.

1 sli~ica/image
W.A. MOZART:

SIMFONIJA/
SIMPHONY JUPITER
U C-DURU/IN C MAJOR,
1788., FINALE

dilatacija {irenje

rotacija vrtnja

dilatation expansion

rotation

mijenja se boja, stav likova

FREE INTERPRETATION OF RULES

the colour and posture of the figures are changed

260
=7

SLOBODNA INTERPRETACIJA PRAVILA

s
age
f im
er o

BIBLIOTHECA MORGAN, NEW

YORK

b
num
ca /

reflection

sli~i

zrcaljenje

MINIJATURA IZ KOMENTARA
APOKALIPSE BEATUSA IZ
LIEBANE/MINIATURE FROM
COMMENTARY ON APOCALYPSE
OF BEATUS DE LIEBANA,
11. ST./ 11TH . C., 222 FOLIO,

Broj

NEBESKI JERUZALEM/
HEAVENLY JERUSALEM,

C.N. LEDOUX:

D. JANDA:

PALA^A/PALACE
MONTMORENCY,

1987.

^OVJEK/MAN,

1804. TLOCRT/PLAN

PRIRODA
NATURE

33

I/8
34

PO^ELA I NA^ELA

U o s m o j radionici namjera je osvijestiti komponiranje, u prvome redu kao usmjeravanje prostora, 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 djelatnostima
i 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|anja
1. 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~ica
translacije) - 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 se
zajedni~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 vrsta
simetrije dominantno sintakti~ko pravilo, odnosno kompozicijski zakon:
a) fotografija li~inke komarca, Sinanov most u Vi{egradu i unutra{njost S. Apolinare Nuovo u Raveni
primjeri su translacije; b) inkrustirani pod Sv. Marka u Veneciji i Escherova grafika Konjanici, translacije
su s pomakom; c) cvijet hortenzije, cvijet klematisa i unutra{nji prostor S. Maria della Salute u Veneciji
gledan 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 su
dilatacije.
3. Radi medijskog pro{irenja, odnosno osvje{tavanja, da su simetrije op}a sintakti~ka pravila, ne samo u
likovnim djelima i u prirodi nego i u djelima drugih umjetnosti, projicira se nekoliko primjera poezije u
kojima vladaju razli~ite vrste simetrije: a) R. Dohl: pje-sma je sa~injena dvoosnim zrcaljenjem po~etne
sintagme i njenih varijacija; b) L. Nagy: stihovi se razmje{tavaju zrcalno; c) D.Thomas: klju~na rije~ je
nositelj osi zrcaljenja oblika koji su sa~injeni od stihova; d) V. Radovanovi}: stihovi su razmje{teni u spirali.
4. Sudionici dobivaju notni izvadak iz finala Mozartove simfonije u C-duru Jupiter i vizualno uo~avaju
inverziju teme (po`eljna je i zvukovna reprodukcija i glazbena analiza).
5. Voditelj projicira Nebeski Jeruzalem, minijaturu iz rukopisa komentara Apokalipse Beatusa od
Liebane, 11. st. (Biblioteka Morgan, New York) u kojoj se mogu prepoznati sva navedena sintakti~ka
pravila 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.

ORIGINS AND PRINCIPLES

The intention of the e i g h t h workshop is to

become aware that composing is primarily space
direction performed in different ways (different
symmetries); that the different symmetries (translation, rotation, dilatation, reflection) are universal
syntactic rules in nature, in human activities and in
pieces of art work.
Ambience: The chairs are in rows around the walls,
the middle is empty (there are no desks in the
room), the projector is in its usual place, also a cinema projector or a video player is available for use.
Structure of the Activity
1. The workshop leader, students and participants
try to dance the particular symmetries: a) translation - standing in rows, stepping left or right and
they become aware of the transposition of the
body as a whole, all the points shift in one direction and the space is directed that way; b) the participants are in two parallel rows, one row moves
in one direction, the other in another one, we
obtain a variation of translation, a translation with a
shift; c) every participant rotates round a point for
90, 180 and 360; d) a common circle - is created - it is a double rotation, every participant rotates
round a point and simultaneously, together with the
others, round the centre of the circle (Dervishs
dance);
e) together they dance a Montenegrian folk
dance - one step right raising the left leg and vice
versa, a step left and raising the right leg and
through that become aware of reflection; f) a student leads all the participants into a snake, into
spiral moving, into dilatation.
2. After this kinetic experience the examples from
art and nature follow, where one of the symmetries is the dominant syntactic rule, or a compositional law: a) a mosquitos grub, Sinans bridge in
Vi{egrad and the interiorof S. Apolinare Nuovo in
Ravenna are the examples of translation; b) the
floor of San Marco with incrustations in Venice
and Eschers print The Riders are translations with
a shift; c) the flower of hortensia, the flower of
clematis and the interior of S. Maria della Salute

ORIGINS AND PRINCIPLES

PO^ELA I NA^ELA

seen from above in Venice are examples of rotation;

d) The Two-headed Snake, a Mexican sculpture is an
example of reflection; e) a whirlpool, the minaret at
Samara, the staircase in the benedictine Abbey of
Melk, and The Street Light by B. Neuman are examples of dilatation.
3. Intending to become aware that the symmetries are
general syntactic rules not only in visual art works and
in nature but in art works of different mediums too,
some examples of poetry are projected in which different symmetries rule: a) R. Dohls poem is made with a
two-axis reflection of the primal syntagma and its variations; b) L. Nagy: the verses reflect; D. Thomas: the
key word is the carrier of the reflection axis of the
shapes made by verses; d) V. Radovanovi places the
verses into a spiral.
4. The participants get a note fragment from the finale
of Mozarts Jupiter symphony (in C-major), and visually perceive the inversion of the theme (an accoustic
reproduction and a musical analysis are very desirable)
5. The workshop leader projects Heavenly Jerusalem,
an illumination from Beatus de Liebanas Commentary
of the Apocalypse, 11th Century (Bibliotheca Morgan,
New York) where all the syntactic rules can be found
and talks about this so that the participants see them,
get to know them and become aware of them.
6. L. Galetas 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 a
talk with the author (or a taped video of it) is shown.
7. The participants receive photocopies of the shematic
drawing of symmetries and photocopies of the poems.

35

Na ulazu: u oktaskopu se vidi osmerostruka

rotacija okoli{a/At the entry: an eightfold rotation of

Studentica daje upute za kretanje/A studentinstructor gives instructions for movement

the environment can be seen in an octascope

Kretanjem se isprobavaju simetrije (trans-lacija,

rotacija)/Symmetries (translation, rotation) are tried

Kretanjem se isprobavaju simetrije (trans-lacija,

rotacija)/Symmetries (translation, rotation) are tried

out by moving.

out by moving.

Kretanjem se isprobavaju simetrije (zrcaljenje)/

Studentica tuma~i na projekcijama cvijeta

hortenzije rotaciju/A student-instructor explains

Symmetries (reflection) are tried out by moving.

rotation in a projection of a hortensia flower

Studentica tuma~i na projekcijama mek-si~kog

kipa zrcaljenje/A student-instructor explains reflec-

L. Galeta tuma~i simetriju (dilataciju) nakon

projekcije njegovog filma Pi Ra Midas/L. Galeta

tion in a projection of a Mexican sculpture

explains the symmetry (dilatation) after the projection of his film Pi Ra Midas

I/9
36

PO^ELA I NA^ELA

ORIGINS AND PRINCIPLES

OMJERI I RAZMJERI
DJELO KAO SUSTAV PREOBRAZBI

RATIOS AND PROPORTIONS

A WORK OF ART
AS A SYSTEM OF TRANSFORMATIONS

PO^ELA I NA^ELA

ORIGINS AND PRINCIPLES

DJELO KAO SUSTAV PREOBRAZBI

THE WORK OF ART AS A SYSTEM OF

TRANSFORMATIONS
1. SUSTAV: STRUKTURALNE MOGU]NOSTI
KADRA
1. SYSTEM: THE STRUCTURAL POSSIBILITIES
OF THE FRAME

LEONARDO DA VINCI:

POSLJEDNJA VE^ERA/
THE LAST SUPPER,
1495.-97.,TEMPERA, 460 X 880 CM,
S. MARIA DELLE GRAZIE, MILANO

P. PICASSO U FILMU H.G. CLOUSOTA/

P. PICASSO IN CLOUSOT S FILM:

(BOULEAU)

TAJNA PICASSO/
LE MYSTERE PICASSO

2. SUSTAV: PERSPEKTIVA
2. SYSTEM: PERSPECTIVE

STRUKTURALNE MOGU]NOSTI KADRA (ARMATURA)

THE STRUCTURAL POSSIBILITIES OF THE FRAME (ARMATURE)

H. HOLBEIN:

AMBASADORI/
AMBASSADORS,
1533., ULJE/OIL,
206 X 209 CM,
NATIONAL GALLERY,
LONDON
(PEDRETTI)

3. SUSTAV: ZLATNI REZ

3. SYSTEM: THE GOLDEN SECTION

a
2
3
(COLE)

5
8

b
a

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

2, 3, 5, 8 = Fibonaccijev niz
(zlatni rez)
the Fibonacci series
(Golden Section)

37

I/9
38

PO^ELA I NA^ELA

U d e v e t o j radionici namjera je osvijestiti umjetni~ko djelo kao sustav prebrazbi; osvijestiti razliku izme|u struktura i oblika istra`uju}i promjene oblika nastale promjenom omjera mre`e;
istra`ivati strukturalne mogu}nosti kadra - pravokutnika; osvijestiti perspektivu kao konstrukciju
o~i{ta u mre`i; osvje{tavati da je komponiranje upravljanje vremenom gledateljeva pogleda i njegova
intenziviranja (omjeri i razmjeri).
Ambijent: U prostoriji su stolice i stolovi, stolovi su razmje{teni polukru`no uz dva u`a zida. Uz
svaki 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|anja
1. a) Pokazuje se sekvenca iz Clousotova filma Tajna Picasso. Prisustvuje se preobrazbi oblika =
zna~enja koje izvodi Picassova ruka. Picasso crta kaktus koji se preobra`ava u ribu pa onda u pijetla
i, kona~no, u masku/glavu |avla kao broda kojim plove likovi.
b) Pokazuje se P. Mondrian Kompozicija sa `utim linijama, 1933., ulje. Sudionici su pozvani da
gledaju sliku i osvijeste preobrazbe u pogledu. c) Projicira se slijed crte`a J.G. Lavatera koji pokazuju
lice `abe odnosno `ene. Prikazi se me|usobno neznatno razlikuju, `aba se postupno pretvara u lice
`ene. d) Pokazuju se lubanje ~ovjeka i raznih vrsta majmuna ucrtane u mre`e. Lubanje su iste strukture a razli~ite po obliku, jer su omjeri mre`a druga~iji (W. DArcy Thomson).
2. Radi se u grupama. a) Svi sudionici dobivaju tri razli~ite mre`e, jednu 1 : 1, drugu svatko
razli~itih omjera, a tre}u s omjerima koji nastaju ugra|ivanjem o~i{ta sa strane (anamorfoza). Prvo
ucrtavaju u jednostavnu mre`u obris nekog uobi~ajenog predmeta po naho|enju, potom lubanje.
Nakon toga obris prenose u slo`eniju mre`u, a obris lubanje u mre`u za anamorfozu. Mre`a za
anamorfozu 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 postavi
se to~ka Y i povezuje se s doljnjom to~kom prvotne okomice (D). Gdje YD sije~e AX spusti se prva
okomica 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 zrcaljenja, zlatnog reza i razli~itih pomaka dviju mre`a u odnosu na te zakonitosti. Pokazuje se detalj
snimljen s boka (lubanja). Sudionici prepo-znaju svoj pripremni rad. Govori se o pretpostavljenom
smje{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 istra`uju
neke od strukturalnih mogu}nosti tog formata. Prema uputama najprije dijele pravokutnik vodoravno i okomito na ~etiri dijela. Dobivene to~ke na stranicama me|usobno povezuju po odre|enom
redu: 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 s
4.desno; 3. doljnju s 3. lijevo i desno i 4. doljnju s 4. lijevo. Na tako dobivenoj armaturi postoji
mogu}nost da se konstruiraju kvadrati jedan u drugom, ako se pove`u to~ke koje nastaju na mjestu
kri`anja triju linija. Ako se to~ke 2. i 4. gore i dolje me|usobno pove`u okomito, dobije se najve}i
kvadrat u kojem su unutra dva druga. b) Sudionici dobivaju nacrtani pravokutnik istih dimenzija
koji dijele okomito lijevo-desno 10 : 6 i obrnuto. Pritom im instruktor tuma~i zlatni rez (pomo}ni
listi}). 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 sa
sredi{njom glavnom to~kom. Polovica {irine (4 cm) prenosi se izvan kvadrata desno, na liniju koja
se dobiva produ`enjem sredi{nje to~ke paralelno s osnovicom i dobiva se to~ka nedogleda. Ona se
povezuje s to~kama na osnovici i onda se to~ke sjeci{ta s desnom stranicom kvadrata produ`e do
lijeve 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 kako
su strukturalne linije pravokutnika postale kompozicijske linije slike. Ukazuje se na na~in na koji su
zrcaljenje 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) i
zadaje se doma}a zada}a da se prona|u zrcaljenje i zlatni rez u cjelini kompozicije.

ORIGINS AND PRINCIPLES

The intention of the n i n t h workshop is to make

the participants aware of art work as a system of
transformations; to make them aware of the difference between structure and shape exploring the
changes of shape created by the change of ratios in
the network; to explore the structural possibilities of
the frame - such as a rectangle; to make them
aware of the perspective as an insertion of the
viewpoint into the network; to make them aware
that to compose means to govern the time of the
observers gaze and to intensify it (ratios and proportions).
Ambience: In the room there are chairs and desks
placed in a semicircle along the two shortest walls.
At each desk there are two or three participants and
a student-instructor. The projector is in its usual
place. A video player is also available. Photocopied
material has been prepared and is available.
Structure of the Activity
1. a) A sequence from Clousots film Le Mystre
Picasso is presented. Picasso is drawing a cactus
which transforms into a fish, then into a cock and
eventually into a mask/head of the devil as a sort
of ship on which figures are sailing. We witness a
transformation of shapes = meanings, performed
by Picassos hand. b) P. Mondrians Compo-sition
with Yellow Lines, 1933, oil, is shown. The participants are invited to look at the painting and
become aware of the transformations in their gaze.
c) J.G. Lavaters drawings which represent the
faces of a frog and a woman are projected. The
representations differ slightly, the frog gradually
becomes a woman. d) Skulls of man and of different sorts of apes drawn into the network are presented. The skulls have the same structure but different forms because the ratios of the network differ (W. DArcy Thompson)
2. The participants work in groups. All of them get:
a) three different networks, the first one is 1:1, the
second one has a different ratio each time and the
third one with a viewpoint inserted from one side
(anamorphose). First they draw an outline of a common object, afterwards that of a skull. They transpose the outline of the common object into a more
complex network and the skull into a network with
the viewpoint from the side inserted. A network of
anamorphose has to be constructed: a vertical line is
drawn 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 we
put point Y and connect it with the lower point (D) of
the first vertical line. Where YD cuts AX we draw the
first vertical etc. at all the intersections of DY and eX,
fX etc. b) H. Holbeins painting The Ambassadors
(tempera, 1533, 206 x 209 cm, National Gallery,
London) is presented and a detailed analysis folows
with reference to reflection, the Golden Section, different shifts in relation to these regularities and to the
two networks. A detail taken from one side (the
skull) is projected. The participants recognize their
preparatory excercise. The hypothesis is explained
that the painting was intended to be put on the wall
of a staircase where, while moving, the transformation in the observers gaze could happen.

ORIGINS AND PRINCIPLES

PO^ELA I NA^ELA

3. a) The participants get a rectangular piece of

paper, dimensions 8 x 16 cm and guided by the
instructors explore some of the structural possibilities of the format. Following the instructions first
they divide the rectangle horizontally and vertically
into four parts. They connect the points they get on
the sides with each other according to a certain
order: the third upper and the third bottom and the
third left with the third right. Then they draw diagonals. Now the second, third and fourth upper points
are connected with five other points that way: second upper with first, second, third and fourth bottom and with second right; third upper with third left
and second, third, fourth bottom and with third
right; the fourth up with second left and with second, third, fourth and fifth bottom; the second bottom with fourth right; the third bottom with third left
and right and the fourth bottom with fourth left.
There is a possibility to construct squares one in
another if the points at the intersections are connected in the armature obtained. If the second and
fourth points up and down are interconnected vertically we get the largest square in which the other
two are; b) the participants get a rectangle of the
same dimensions which has to be divided vertically
left-right 10 : 6 and vice versa. The instructors
explain the Golden Section (auxiliary leaflet); the
students-instructors demonstrate how to perform
Albertis construction of the perspective by stages.
The participants receive a prepared drawn square 8
x 8 cm. The base of it is divided into six parts and
the height into two. The lower points are connected
with the central point (vanishing point). Half of the
width
(4 cm) is transposed out of the square to the right,
onto the line which is obtained by extending the
central point parallelly with the base thus getting the
distance point. It is connected with the points on
the base; d) Leo-nardo Last Supper (1495-97, tempera, 460 x 880 cm, S. Maria delle Grazie, Milano)
is projected. Talking to the participants the workshop leader shows them how the structural lines of
the rectangle become the compositional lines of the
painting. He/she calls their attention to the fact that
the dynamics of reflection and the perspective are
in a constant transformation according to the
Golden Section.
4. A vertically cut detail of P. Picassos Guernica
(1937, 345 x 770 cm, oil, Madrid) is presented and
for homework the participants should find reflection
and the Golden Section in the painting as a whole.
5. The participants may keep the drawings they
have made and receive photocopies of the Last
Supper and Guernica.

39

Ucrtava se oblik u mre`u/The shape is drawn

Studenti instruiraju u malim grupama/

onto the network

The students-instructors instruct in small groups

Istra`uju se strukturalne mogu}nosti kadra

Leonardove Posljednje Ve~ere/

Studenti instruiraju u malim grupama/

The students-instructors instruct in small groups

The structural possibilities of the frame of

Leonardos Last Supper are explored

Studenti instruiraju u malim grupama/

Tuma~i se Albertijeva perspektiva/Albertis per-

The students-instructors instruct in small groups

spective is explained

Konstruira se Albertijeva perspektiva/ Albertis

U armaturu se ugra|uje o~iste (perspektiva)/In

perspective is constructed

the armature is the viewpoint inserted (perspective)

I/10 PO^ELA I NA^ELA

40

ORIGINS AND PRINCIPLES

VIZUALNE DISCIPLINE

PO^ELA I NA^ELA

ORIGINS AND PRINCIPLES

VISUAL DISCIPLINES

41

PISMO
SCRIPTURE

ORNAMENT
ORNAMENT

KALIGRAFIJA

TISAK

CALLIGRAPHY

PRINT

RAVNOTE@A VIZUALNE FORME I

VERBALNOG SADR@AJA

MOTIV = TO^KA
THE MOTIVE = POINT

POKRENUTA TO^KA

RASCJEP VIZUALNE (SHEMATIZIRANE) FORME

I VERBALNOG SADR@AJA

THE BALANCE OF VISUAL FORM

AND VERBAL CONTENT

THE SHIFTING POINT

THE SPLIT OF VISUAL (SCHEMATIC) FORM

AND VERBAL CONTENT

RAVNOTE@A DINAMIKE I STATIKE

BALANCE OF DYNAMICS AND STATICS

EDUCATION OF ATTENTION

ODGOJ PA@NJE

UNITY OF CONTENT AND FORM

JEDINSTVO SADR@AJA I FORME

@UTO
YELLOW

PLUTEJ IZ KOLJANA/ THE

KOLJANI PLUTEUS,
DETALJ/ DETAIL, 9. ST./9TH C.,
DU@./LENGTH 1,50 M, MHAS,
SPLIT

SYMBALLO SKUPITI - TO GATHER

DYABALLO RAZDVAJATI - TO SPLIT APART

BOOK OF DURROW,
(DETALJ/DETAIL, FOLIO 116)
DRUGA POLOVICA 7. ST./
SECOND HALF OF 7TH C.,
24,5 X 14,5 CM,
TRINITY COLLEGE, DUBLIN

OZNA^AVA SEBE RAVNOTE@U STATIKE (TO^KA) I DINAMIKE (LINIJA),

VODI ZAUSTAVLJA POGLED
JEST TALASANJE BITKA
SIGNS ITSELF A BALANCE OF STATICS (POINT) AND DYNAMICS (LINE)
GUIDES STOPS THE GLANCE
IT IS THE WAVING OF BEING

TEKST: OM (AUM) .
INDIJSKA KALIGRAFIJA,
LIJEVA KRIVULJA =
BUDNO STANJE;
DESNA KRIVULJA =
SPAVANJE BEZ SNA;
KRIVULJA DOLJE, IZME\U =
SANJANJE;
POLUKRU@NICA I TO^KA =
OSLOBO\ENJE..
TEXT: OM (AUM) .
INDIAN CALLIGRAPHY,
THE LEFT CURVE =
WAKING STATE;
THE RIGHT CURVE =
DREAMLESS SLEEP;
THE CURVE DOWN, BETWEEN =
DREAMING STATE;
SEMI-CIRCLE AND DOT =
LIBERATION.

TEKST: HORAN ,
JAPANSKA KALIGRAFIJA, 16. ST.,
JAPANSKI IZGOVOR KINESKIH
RIJE^I FENG I LUAN [TO ZNA^I
@AR PTICU I NEKU VRSTU @AR
PTICE, A ZAJEDNO ^ITANO S
DESNA U LIJEVO: MIRNO @IVJETI,
MU@ I @ENA ITD.,
TEXT:

HORAN,

JAPANESE CALLIGRAPHY, 16TH

C., JAPANESE PRONONCIATION
OF CHINESE WORDS FENG AND
LUAN WHICH MEAN PHOENIX
AND A SORT OF PHOENIX,
TOGETHER READ FROM RIGHT
TO LEFT: TO LIVE PEACEFULLY
OR HUSBAND AND WIFE ETC.

BLIZANKE PRU@AJU PRIJATELJSKU

RUKU NJOJ (ALHAMBRI), NEBESKI SE
MJESEC PRIBLI@AVA I [AP]E NAKLONOST,

TEKST:

(IBN ZAMRAK),
ISLAMSKA KALIGRAFIJA, 14. ST.

THE TWINS STRETCH FORTH A

FRIENDLY HAND GREETING TO HER,
(ALHAMBRA). THE CELESTIAL MOON
DRAWS NEAR WHISPERING AFFECTION,

TEXT:

(IBN ZAMRAK),
ISLAMIC CALLIGRAPHY, 14TH C.

I/10 PO^ELA I NA^ELA

42

Namjera u d e s e t o j radionici je osvijestiti da se pozornost spontano odgaja ili ornamentom ili

pismom; da je ornament temeljni simbol, jedinstvo sadr`aja i forme; da se u pismu razlikuje likovni i
verbalni sadr`aj; da je kaligrafija neka vrsta ravnote`e izme|u likovnog i verbalnog sadr`aja, a da je
tiskani tekst njihov potpuni rascjep.
Ambijent: Stolice su razmje{tene uz dulje zidove, sredina prostorije je prazna i prekrivena pakpapirom. Projektor je na uobi~ajenom mjestu. Potrebni su konop, boja, kist i, kao uvijek, fotokopirani
materijal.
Struktura doga|anja
1. Voditelj vodi: a) razgovor o do`ivljajima 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|u
njih i verbalnog sadr`aja.
f) Pokazuje se tekst ALLAH AMALI (Alah je moja nada) u tumar kaligrafskom pismu. Jedan sudionik
ra{~lanjuje liniju i ~ita je na univerzalnoj razini. Iako nas ne ometa (ne znamo arapski!) verbalni je
sadr`aj prisutan i razlikuje se od likovnog, me|utim naslu}ujemo da su u me|usobnom supodr`avanju.
g) Pokazuju se snimci Alhambre da bi se vidio bogati ornamentalni i kaligrafski ambijent. Svi su zidovi
prekriveni {to ornamentima, {to kaligrafskim tekstovima izvedenim u {tuko reljefu. Izdvajamo Dvoranu
dviju sestara i natpis pjesnika Ibn Zamraka: Blizanke pru`aju prijateljsku ruku njoj (Alhambri).
Nebeski se mjesec pribli`ava 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 zatvara u sebe i postaje nova to~ka - motiv koji zaustavlja pogled. b) Potom student-instruktor izvodi
flomasterom motiv (liniju - pokrenutu to~ku koja se opet za-tvara u sebe) na papiru osvijetljenom
snopom svjetla. c) Na podu je pak-papir. Jedan student-instruktor poziva sudionike da stanu u
odre|enu konstelaciju.
Nakon toga obmotava oko njih konop tako da dobiva ovo (Motiv iz Koljana):

ORIGINS AND PRINCIPLES

The intention of the t e n t h workshop is to make

the participants aware that attention is spontaneously
educated either by ornament or by script; that the
ornament is a basic symbol, unity of content and
form; that in a written text there is a difference
between the visual content and the verbal one; that
calligraphy is a sort of balance between the visual
content and the verbal one and that a printed text is a
full split.
Ambience:
Chairs are arranged along the longer walls, the middle of the room is empty and the floor is covered
with wrapping paper. The projector is in its usual
place. Some cord, some paint and a brush are prepared.
Structure of the Activity
1. The workshop leader discusses. a) about the
experiences of the participants in the former workshops; ; b) the two visual disciplines (ornament and
script); c) and talks about directing the attention;
d) the text YELLOW is projected, it is written in several colours and the gap between the verbal concept and the visual sensation is explained. A text
from a journal is presented JOY AND ENTHUSIASM
and participants become aware of the visual neutrality of the letters and of the gap between them
and the verbal content. The text ALAH AMALI (Alah
is my hope) is presented in Tumar calligraphy.
Since we cannot read in Arabic, nothing may both-

ORIGINS AND PRINCIPLES

PO^ELA I NA^ELA

er us in reading the pure line only. A participant

follows the line and divides it, reads it on a universal level. Although we are not bothered by the
verbal context it is present and it differs from the
visual one but we feel they support each other.
Slides of Alhambra are projected to show the rich
ornamental and calligraphic surroundings. All the
walls are covered either with ornaments or with
texts written in calligraphy and performed in stucco
relief. We concentrate on the Room of the Two
Sisters and the inscription of the poet Ibn Zamrak:
The Twins stretch forth a friendly hand in greeting
to her / The celestial moon draws near / whispering
affection. The discussion is about the closeness of
the ornament and calligraphy.
2. First: a) the motive is defined as a movement of
the original point (invisible), which is closed in itself
and becomes a new point or motive which stops
our gaze; b) a student-instructor draws a motive
with a feltpen (a line which is closed again in itself a point in movement) on a piece of paper lighted by
beams of light. c) The floor is covered with wrapping paper. A student-instructor invites the participants to place themselves into a certain constellation (see figure 1 in Croatian text).
After that he/she winds a piece of cord round the
participants and obtains the following
(The motive from Koljani: figure 2). a) When the
form is finished the other student-instructor draws
a projection of the cord on the paper with a brush
and paint. The next procedure is: the participants,

43

Student crta motiv ornamenta na zidu/

A student-instructor draws an ornamental motive on
the wall

Konopom se konstruira motiv od sudionika do

sudionika/The motive is fixed with a cord from participant to participant

Motiv se doga|a i na podu: studentica kistom

povla~i liniju/The motive occurs also on the floor:

Motiv se doga|a i na podu: studentica kistom

povla~i liniju/The motive occurs also on the floor:

a student-instructor draws the line with a brush

a student-instructor draws the line with a brush

Sudionici motre crtanje motiva na podu/ The

participants watch the drawing of the motive on the
floor

Student prolazi slijepo linijom motiva/

Sudionici prolaze linijom motiva/The participants

Studentica prstom prolazi kroz ornament na

projekcijama oltarne pregrade iz Koljana/A stu-

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

move through the line of the motive

A student-instructor blindly moves through the line

of the motive

dent-instructor moves through the ornament in the

projection of the altar screen from Koljani using her
finger

I/10 PO^ELA I NA^ELA

44

Pritom se svakom ka`e njegov broj kojeg treba zapamtiti. Jedan student-instruktor radi s konopom
povezuju}i sudionike po redoslijedu brojeva i dobiva ovo (Motiv iz Book of Durrow):

Oblik se ponovi crtanjem na podu i prola`enjem bilo studenata-instruktora, bilo jednog ili svih
sudionika po uputama koje glase: kre}ite se ravno, u~inite blagi ali nagli luk ulijevo, ponovite
zaokret, pre|ite preko prvog traga, u~inite dva puta dugi i rastegnuti luk ulijevo, ravno pa naglo
desno, dugo, postupno putovanje u blagom luku stalno udesno do povratka, blizu ishodi{ta prelazite
prvi trag, zaokret udesno naglo, traje, opet desno i blago, skoro ravno, do to~ke koja u prostoru zrcali
mjesto 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 tra`i 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 sudionici
se pozivaju na usredoto~eno pra}enje ornamenta na gornjem rubu plo~e. Voditelj pokazuje prstom tok
linije i usmjerava pogled. b) Tuma~i se pleter kao simbol evolucije i involucije, kao poziv da se bude
sudionikom tajanstvene energije, da se du{a ~itatelja poistovjeti s du{om svijeta (talasanje valova, titranje zraka, kozmos) i da u slu~aju kada se pojavljuje u rukopisnoj knjizi svetog sadr`aja svojom vlastitom
sveto{}u pripremi ~itatelja za ~itanje svetog teksta (SYMBALLO, skupiti; DYABALLO, razdvajati). c)
Prati se motiv sa 116 str. Book of Durrow. Pokazuju se crte`i ~etiriju linija koje sa~injavaju cijeli ornament. Prola`enje 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.

ORIGINS AND PRINCIPLES

one after the other, pass the traces while a student

guides them or they move according to his/her
instructions. b) Ten new participants are invited
and arranged in this constellation: figure 3.
Everybody receives a number. The student with the
cord connects the participants in accordance to the
sequence of numbers and obtains the following
(The motive from Book of Durrow: figure 4). The
form is repeated by drawing on the floor and by the
passing of one of the students, or all the participants according to the instructions: straight, a gentle but sudden arch to the left, repeating the turn,
passing the first trace, a twice as long and extended arch to the left, straight and after a sudden turn
to the right, long gradual travelling into a gentle
arch constantly to the right till returning, near the
starting point you pass the first trace, turning right
suddenly, continously, again right and gently
almost straight, to the point which in space reflects
the place where you first changed the direction, a
sudden arch, repetition of the original situation,
moving left, a circle is described and when you
intersect the third trace you go on straight and after
intersecting one more trace, it is finished. You go
out. The paper is removed.
3. The workshop leader asks the participants to
draw according to memory the first and then the
second motive, no matter whether they succeed or
not in drawing them,

PO^ELA I NA^ELA

4. a) a detail of the pluteus from Koljani is presented. The motive is identified. After that the whole is
projected and the participants are instructed to concentrate and follow the ornament on the upper part
of the slab. The workshop leader points to it with
his/her fingers and directs the gaze. b) The knotwork
is explained as a symbol of evolution and involution,
an invitation to be part of mystic energy, to identify
the soul of the reader with the soul of the world
(waving, vibrating of the air, cosmos) and when the
ornament is in a manuscript with holy content with
its own holiness to prepare for reading the holy text
(SYMBALLO = to gather; DYABALLO = to split
apart). c) The motive from the Book of Durrow, folio
116 follows. The four isolated lines which compose
the whole ornament are presented. To go through
the whole is left for homework.
5. They receive photocopies of page 116 of the
Book of Durrow for this purpose.
6. The series of workshops Origins and Principles
ends and the participants are invited to a small celebration (cakes, tea, discussion)

ORIGINS AND PRINCIPLES

45