Abstract
Scientific thought served as an inspiration and example for the avant-garde artists. With an enthusiasm for scientific discovery of the world, they accepted an idea of equal rights of art and science in process of cognition. But after the revolution in Russia, the idea of new creation pressed out the idea of investigation. The theoretical impulse of pre-revolutionary avant-garde in revealing structures of artistic experience and creation of new systems in art might provide for theoretical closeness to ideas of new organisational science. Bogdanov's concern of art as a harmoniously organised unity of elements of life experience coincided with the creative exploration of artistic formal structures. Malevich, Kandinsky, Tatlin, Matushin, Stenberg, El Lisitsky took leading positions in newborn educational establishments and societies, and "Proletkult" schools accepted many principles of the avant-garde. Construction was thought to deal with the most economical and purposeful way of modeling, based upon a certain measure, discovered by artist. Articles and educational programmes of early constructivists' practice took statements of new organisational science as a theoretical basis. Nicholas Punin in his essay on Tatlin's Tower of Third International suggests the tower to be the first example of implementing organisational principles in art, a single entity of idea, structure, function, and material. For the proletariat as social class modernism with its artistic revelations was already the past day, the scientific and artistic method was understood in their unity, and artistic technique (and technology) had to become a foundation for the truly new art of the nearest future/.
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