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PL
Artykuł jest oparty na korespondencji między Udo Wid’em i Karin Hofer a Łukaszem Guzkiem i Anką Lesniak. Dotyczy przygotowań do spotkania i konferencji w Dreźnie (Ostrale). Jest to przykład wymiany poglądów i tworzenia teorii w zamkniętej grupie (echo chamber). Jest także przykładem tego, jak w praktyce przebiega produkcja wiedzy w naukach humanistycznych oraz jaka rolę mogą odegrać badania artystyczne. Tak więc nowa dyscyplina Art(istic) research wykorzystuje metody artystyczne do tworzenia wiedzy o świecie, podczas gdy przyszłe ArtStudies prawdopodobnie będą wykorzystywać metody epistemiczne do tworzenia wiedzy o sztuce. Oba mogą się uzupełniać.
EN
The article is based on the correspondence between Udo Wid and Karin Hofer and Łukasz Guzek and Anka Lesniak. Concerns preparations for meetings and conferences in Dresden (Ostrale). This is an example of exchanging views and creating theories in a closed group (echo chamber). It is also an example of how the production of knowledge in the humanities works in practice and what role artistic research can play. So the new discipline of Art (istic) Research uses artistic methods to produce knowledge about the world, while future ArtStudies will probably use epistemic methods to produce knowledge about art. Both perhaps will complement each other.
EN
According to the author, a perfect example of the theory, which is considered to be removed from the historical context, is the uncertainty principle. For various reasons, this principle became the most famous element of atomic theory, and it usually serves as kick-off for popular lectures in quantum mechanics. This order of presentation can, however, distort an accurate picture of the uncertainty principle and quantum mechanics in general. In this article we try to identify specifically the misunderstandings initiating a course of quantum mechanics contrary to the chronology from the uncertainty principle can lead.
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