A. A. L. / A. L. L. alebo Ada (časť I.)
A. A. L. / A. L. L. or Ada (Part I.)

Summary/Abstract: 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 imagina- tion 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 ty- pology 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.

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