Beim Tropfbildversuch nach Theodor Schwenk werden in einer dünnen ProbenWasserschicht durch wiederholt hereinfallende Tropfen destillierten Wassers Strömungen angeregt, deren Muster durch Glycerin in der Probe in einer Schlierenoptik sichtbar gemacht und fotografiert werden.
Die entstehenden Bilder ändern sich in charakteristischer Weise mit der Beschaffenheit des Probenwassers und vermitteln Eindrücke, die mit Eigenschaften der Probenart in Zusammenhang gebracht werden können.
Vom ersten, oft noch subjektiven Bildeindruck geht der Erkenntnisweg zu den Bilddetails und führt, auf einer höheren, objektiven Stufe zurück zur Ganzheit des Bildes. So leicht uns der Schritt zu den Details fällt, so schwer wird der Schritt zurück zum Ganzen.
Das Erkennen der Zusammenhänge zwischen Bild und Probenart ist auf die Betrachtungsebene beschränkt, die man einbezieht. Betrachtet man nur das Bild, kann man nur Bilder charakterisieren; betrachtet man auch die Strömungsbewegungen, die zu den Bildern führen, können die Formen der Bilder Ausdruck von Bewegungen werden. In diesem Sinne wird auch jeweils die Ebene der Versuchsbedingungen, der Stoffe, der Wasserart und des Lebenszusammenhanges betrachtet. Das hier am Beispiel der Tropfbildmethode Dargestellte kann vom Prinzip her auch für den Umgang mit anderen Bildschaffenden Methoden Bedeutung haben.
N1 -In Theodor Schwenk’s drop-picture method, drops of distilled water are allowed to fall repeatedly on a thin film of a water sample. This causes currents to form whose pattern is made visible by the addition of glycerine to the sample and the use of Schlieren optics. The resulting pictures vary in character according to the composition of the water sample and convey impressions that can be associated with its properties.
After an initial often still subjective pictorial impression, the process of enquiry turns to the details of the picture and leads to its wholeness at a higher, objective level. As easy is the step into the details, as difficult is the step back to the whole.
Knowledge of the connection between the picture and the nature of the sample is restricted to the level at which the picture is being considered. If it is considered just as a picture, only pictorial aspects can be characterised. But if the flow movements that give rise to the picture are considered, then the picture’s forms can become an expression of movements. In this sense the method also takes into consideration the various levels of experimental conditions, substances, type of water and the context of life.
What is here presented for the drop-picture method can in principle be relevant to work with other picture forming methods.
In Theodor Schwenk’s drop-picture method, drops of distilled water are allowed to fall repeatedly on a thin film of a water sample. This causes currents to form whose pattern is made visible by the addition of glycerine to the sample and the use of Schlieren optics. The resulting pictures vary in character according to the composition of the water sample and convey impressions that can be associated with its properties.
After an initial often still subjective pictorial impression, the process of enquiry turns to the details of the picture and leads to its wholeness at a higher, objective level. As easy is the step into the details, as difficult is the step back to the whole.
Knowledge of the connection between the picture and the nature of the sample is restricted to the level at which the picture is being considered. If it is considered just as a picture, only pictorial aspects can be characterised. But if the flow movements that give rise to the picture are considered, then the picture’s forms can become an expression of movements. In this sense the method also takes into consideration the various levels of experimental conditions, substances, type of water and the context of life.
What is here presented for the drop-picture method can in principle be relevant to work with other picture forming methods.