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A. A. L. / A. L. L. ALEBO ADA (ČASŤ I.)

100%

Mitášová M.

nr 1

3 - 19

This paper is composed of two parts. The first one deals with the question of modes of depiction (notations, diagrams, algorithms, sketches) related to the scientific and artistic study of natural and cultural systemic phenomena, dynamic systems and open systems, including extra-systemic phenomena, singularity, and a chance. The question is how system-related scientific and artistic modes of depiction inspire each other? The second part of this paper tackles a question of scientific and artistic imagination in the concept of poetic science (Augusta Ada, Lady Lovelace). This first part traces answers to the questions mentioned above in Ada Lovelace‘s education, study and work preceding her translation and interpretation of Babbage‘s Analytical engine. The number of her diagrammatic notes also included a first known (computer) algorithm. At that time, landscape painters studied scientific diagrams of atmospheric phenomena (rainbow, clouds, light reflection and refraction etc.) and developed specific approaches to sketching and notating air motion and light changes in the Earth‘s atmosphere that are associated with weather and climate and transformed them in accordance with their painting programs. This process is traced in sketches, paintings and texts of landscape painters Constable, Turner and Ruskin. Ruskin‘s typology of sketches concludes this part by referring to his drawings, paintings, and daguerreotypes. This first part aims to offer an introductory differentiation of possible and actual relations between scientific and artistic depictions introducing notations, diagrams, and algorithms in comparison with three of Ruskin‘s types of sketches: 1) experimental, 2) determinant, 3) commemorative.

THE BIRTH OF THE MILE-LONG OPERA OUT OF THE EVENTS OF NEW YORK CITY PARK AT 7 O’CLOCK: PERFORMATIVITY OF PERFORMATIVITIES OR A MULTIPERFORMATIVITY?

100%

Mitášová M.

Slovenské divadlo (Slovak Theatre)

2024

tom 72

nr 3

266 – 286

This paper focuses on The Mile-Long Opera, created by architect Elizabeth Diller and composer David Lang with contributions from other artists. This “subversive” open-air opera is interpreted especially from an architectural perspective in relation to its performance venue – the High Line rail trail on Manhattan’s West Side – from the point of view of an inter-categorial work crossing multiple genres, introducing its various components into new relationships and contexts in terms of both staging and multi-performativity. Musicianship alludes not only to civic music-making, but also to the heteronomous infected process of autonomization, and citizenship is a heteronomization arising from the permanent process of the differing of artistic autonomy. The impacts of this include those on terminology – and, for example, that traditional theatrological and musicological terminology is changing its scope and content, triggering the need for a re-thinking.

FUNCTION OF THE CONCEPTS FIGURATIVE AND FIGURAL IN MACHINE OF ARCHITECTURE PETER EISENMAN

63%

Zervan M. , Mitášová M.

ARS

2023

tom 56

nr 1

3 - 12

In our lecture, we focus on the terms figurative and figural as defined by Francois Lyotard and Gilles Deleuze in his book on Francis Bacon. We examine these terms’ roles in Peter Eisenman’s architectural thinking and design. Eisenman became interested in the reflection of Deleuze’s philosophy after he collaborated with Jacques Derrida. There are various aspects of Deleuze’s influence on Eisenman to be explored. The first utilizes Deleuze’s term fold. The second considers Eisenman’s version of a diagram elaborated in dialogue with Deleuze’s term diagram. Moreover, finally, the third points towards Deleuze’s terms mentioned above, figurative and figural and their role in Eisenman’s construction of the term and project of the interstitial space. Our lecture traces Eisenman’s understanding of figurative and figural and asks how interstitiality has become an argument in the problematization of both heterogeneous and affirmative aspects of architecture in critical architectural thinking.