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technologies understand their artistic practice as building a bridge between two cultures, which are considered as diametrically opposed, and they appear to move comfortably in this «in between» or «Third Culture.» [37] The notion of a «Third Culture» was proposed by C.P. Snow in 1963 in the second, revised edition of his book «The Two Cultures», [38] first published in 1959, in an additional essay entitled «The Two Cultures: A Second Look.» [39] With this concept, he attempted to delineate the interface between the natural sciences and the arts and humanities, which might serve to close the yawning gap between these two cultures. Today, there are artists who consider themselves «as researchers» [40] and whose work finds recognition in scientific circles and, moreover, the question as to what extent the images produced by science should be considered as art is a subject for serious debate. [41] In the meantime, both science and art are attributed with performing the function of a bridge, which is supposed to promote a dialogue between the two cultures. [42] However, the question is: who enters into a dialogue with whom here? In the natural sciences, the idea has long since gained


common currency that aesthetic considerations, which play a necessary part in the visualisation of scientific findings, by no means detract from interest in the science presented. Today, aesthetic considerations no longer represent a contradiction to the findings presented but rather are an integral part of science, for today’s scientist is not a «coldly registering thinking apparatus» any more, the target of Friedrich Nietzsche’s polemic. [43]