Unity Of Art Research Articles

Sport and Art

Sports and art are two combined phenomena, both performance-based, serving society culture and humanity, increasing in popularity throughout history and with a very high rate of involvement. The perfectionist quest, which is active in both fields, is represented especially by professionals with different forms and concepts such as movement, harmony, aesthetics and synchronism. The strong relationship between sports and art has become more remarkable in posters, sculptures, designs, paintings and media applications carried out in the name of sports and art, and in organizations such as competitions or competitions. Sports and art have always been hand in hand and complemented each other, but the unity of art and sports has always been a topic of discussion that remains current. While some argue that sports are literally an art, there are also those who claim the opposite and even argue that they are independent concepts. At this point, the main issue we advocate is the relationship between sports and art, which share a common denominator, rather than whether art is a sport or whether sports is an art. In our article, the harmony of sports and art, their interaction with each other and their contributions to humanity are discussed as a compilation study. The necessary literature review was conducted for the research and the findings were discussed together with similar publications and research. As a result, it has been seen that performing in sports and arts contributes to human development in physiological, psycho-social and physical contexts and exhibits a harmonious integrity.

Contemporary Ukrainian Visual Culture on the Way to the International Cultural Space

The article is devoted to the visual culture of Ukraine since independence. It pays special attention to the trends and phenomena of contemporary Ukrainian visual culture that have entered the context of world culture through recognition on international cultural platforms (competitions, festivals, biennials, etc.). The considerations concern the development of various trends in contemporary Ukrainian art, which use various artistic media: photography, installation, performance and film. In particular, Ukrainian conceptual photography was the most interestingly represented by several generations of photographers of the Kharkiv School, who combined radical bodily imagery and social criticism. The Ukrainian installation is represented by the works of artists of the REP (Revolutionary Experimental Space) group, which is focused on the unity of art and politics and considers artistic creation as a political act. An interesting sub-direction of the installation is the video installation, which delivers an original combination of contemporary Ukrainian artists with site-specific art and artistic means of reflecting on the traumas inflicted on Ukrainian society by the war. The article pays special attention to the development of contemporary Ukrainian cinema. The author demonstrates the connection between the work of contemporary Ukrainian filmmakers and the traditions of Ukrainian poetic cinema. In addition, other trends in Ukrainian cinema are identified: the experimental search for a new film language, the development of documentary cinema, on top of the convergence of fiction and non-fiction artistic languages in the work of contemporary Ukrainian filmmakers. The dominant issues of contemporary Ukrainian films selected for screening at leading European film festivals are identified: inclusiveness, reflection on Ukrainian history, war trauma, psychological rehabilitation of combatants, etc.

Trần Dần: Selected Poetry Translations

After Trần Dần criticized the poetry collection of Tỗ Hữu, a politician—calling his magnum opus a manual collection of propaganda and leadership—Tỗ Hữu assembled 150 poets and party intellectuals to criticize the poet, declaring Trần Dần and likeminded writers guilty of petty bourgeoisie. In February 1956, Trần Dần was purged from the party and sent to the infamous Hanoi Prison. Though he was released after an attempted suicide, Trần Dần was suspended from the Union of Arts and Literature for the next thirty years. In other words, for most of the poet's life, his works never saw the light of day. In August 2018, I was sitting in a cafe in Saigon sipping coffee when a novel caught my eyes: Crossroads and Lampposts it read—after a few lines I was mesmerized. I had seldom seen Vietnamese used in such a creative thought-provoking and frankly rule-breaking way. I searched up the author’s name and incredulously realized that instead of an emerging avant-garde writer, I was looking at the wikipedia entry for a 20th century radical who produced the draft fifty years before it was published. What followed was an obsessive pursuit of the elusive author's only poetry collection that led me from bookstore to bookstore across town without success. I afterwards realized that I could not find any copies because it had gone out of print long ago. Though the state had officially given Trần Dần pardon, their relationship with his poetry is still a precarious one. Fortunately, I was able to contact an Australian expatriate in Hanoi, the translator of Crossroads and Lampposts who had an electronic copy of the poetry collection that he shared with me.

НЕМЕЦКАЯ АРХИТЕКТУРА В РОССИИ: ГЕРМАН МУТЕЗИУС И ЭЛЕКТРОСТАНЦИЯ «ЭЛЕКТРОПЕРЕДАЧА» (1914)

The “Electroperedacha” (Electric Transmission) power plant represents an important attainment in the field of architecture, urban planning and power engineering. This plant has been in operation since 1914 to the present day. Based on the original blueprints the authorship of the project was identified – it was created by Hermann Muthesius, the co-founder of the Deutsche Werkbund. The article provides a greater knowledge of the Muthesius’s heritage due to the discovery of his first and the only one project in Russia. Furthermore, the article examines the modernization of the plant in the 1920s with the participation of the VKHUTEMAS Architecture Faculty Dean Edgar Norvert. At the beginning of the 20th century, in Germany, Werkbund masters elaborated a new approach to the architecture based on the unity of art and industry. The research regards the close relationship between Russia and Germany in the field of electrification, owing to which the creation of the “Electroperedacha” power plant became possible. To conclude, the preservation and revitalization of industrial architecture is an important social and cultural process, and this published information can be regarded as a contribution to it.

PEDAGOGICAL FOUNDATIONS OF ECODESIGN IN CONTEMPORARY NATIONAL ART

Ecodesign is a direction in design and architecture aimed at protecting the environment, creating a comfortable human environment in harmony with nature. The article deals with the issues of introducing the ecodesign of modern national art into the scientific and pedagogical sphere, the pedagogical foundations of ecodesign, its scientific, theoretical and practical content in various aspects. The purpose of this study is to show the aesthetic and ecological nature of ecodesign in traditional and modern national art, as well as their application and importance in the education system. Considering the pedagogical aspects of the combination of natural purity and artistic beauty of ecodesign in national art as an indicator of the everyday culture of an ethnic group, the authors use a variety of methods and techniques: analysis, systematization, questioning, narration, interpretation, processing of scientific literature and various sources. The results of the research will be presented to specialists in the field of art education and other professional fields in the form of scientific, pedagogical and practical materials. The pedagogical aspects of ecodesign in the education system are aimed at educating future generations in the spirit of harmony of nature and man, the integrity of ethnos and culture, the realization of the inseparable unity of art and life.

Materijalistička teorija avangarde i neoavangarde

U radu se analiziraju i raspravljaju dvije tematizacije: (1) razlike avangarde i neoavangarde i (2) različiti avangardistički i neoavangardistički pristupi materijalizmu u filozofskom, političkom i estetičkom smislu. Avangarde i neoavangarde su rijetko kada bile doktrinarne, prije se može govoriti o cirkularnosti uvjerenja i stavova, mobilnosti teorijskih i praktičnih platformi od autodestruktivnosti do umjetničkog i medijskog nomadizma te o antagonizmima istovremenog suočavanja s dijalektičkim napetostima i obratima, strukturnom proizvodnjom razlika i beskrajnim usložnjavanjima mogućnosti na način rizomatičnih mnogostrukosti. Svakako, postoje i zajedničke opsesije jedinstvom umjetnosti i života ili fundamentalnim obratom umjetnosti u život, koje se iskazuju makroutopijskim projekcijama novog društva (industrijskog društva, komunističkog društva) kod avangardista ili konkretizacijama mikroutopija (komune, alternativne produkcijske i izlagačke institucije) kod neoavangardista. Izvedeni su primjeri primarnog materijalizma, aleatornog materijalizma, historijskog materijalizma te baznog materijalizma da bi se upozorilo na relativne odnose medija (materijala) i medija (tehnike, tehnologije) komunikacije, ali i nekomunikacije.

Genesis of the Idea of Using Folk Arts and Crafts Elements in Teaching and Upbringing in Classical Ukrainian and Western European Pedagogical Thought

The article aims to identify the origins and analyze the development of the idea of applying folk arts and crafts elements in teaching and upbringing in the works of Ukrainian and Western European classical educators. The conceptual analysis of the classical national and foreign pedagogical thought, taking into account the specificity of the studied artistic-educational phenomenon, allowed determining the foundations of scientific-theoretical understanding of decorative and applied arts as a subject of pedagogical research. In the course of the study, a positive attitude of the outstanding figures of education and culture towards the introduction of folk pedagogy elements, in particular traditional arts and crafts, was revealed, namely the views of prominent figures of Ukrainian national pedagogy, writers, philosophers (Hryhorii Skovoroda, Oleksandr Dukhnovych, Lesia Ukrainka, Ivan Franko, Anton Makarenko, Vasyl Sukhomlynskyi, Taras Shevchenko); Ukrainian and Russian teacher of Ukrainian origin Konstiantyn Ushynskyi, who first introduced the concept of “folk pedagogy” to scientific discourse; Russian Soviet scholar-teacher, researcher of Chuvash folk pedagogy, founder of the term “ethno-pedagogy” Hryhorii Volkov; Western European theorists-philosophers, scientists-pedagogues (I. Bazedov, B. Blache, H. Campe, H. Saltzman, D. Diderot, J. Comenius, J. Locke, R. Owen, J. Pestalozzi, J.-J. Rousseau, I. Heusinger). At the same time, the article analyzes the works of foreign art theorists, propagandists of the world movement for the unity of arts and crafts (G. Semper, V. Morris, A. Riegl, J. Ruskin), whose scientific-theoretical works have contributed to the improvement of the status of decorative and applied arts in the history of art education development in Ukraine in the 19 th – early 20 th centuries. The findings of the study traced general features of the genesis of pedagogical ideas of foreign and domestic scientists on the development of art education in the field of arts and crafts as a basis for introduction of decorative and applied arts in the institutions of art and general education in Ukraine.

Technocrats of the Imagination: Art, Technology, and the Military-Industrial Avant-Garde by John Beck and Ryan Bishop

Reviewed by: Technocrats of the Imagination: Art, Technology, and the Military-Industrial Avant-Garde by John Beck and Ryan Bishop W. Patrick McCray (bio) Technocrats of the Imagination: Art, Technology, and the Military-Industrial Avant-Garde By John Beck and Ryan Bishop. Durham, NC: Duke University Press, 2020. Pp. 240. Fifty years ago, the art world experienced an invigorating wave of projects, programs, and exhibitions connecting engineers, artists, and corporate patrons. Since then, many researchers, mostly art historians and “new media” scholars, but also historians of technology, have explored this diverse array of creative collaborations. John Beck and Ryan Bishop’s Technocrats of the Imagination (they are professors of modern literature and [End Page 986] global arts, respectively) gives a new perspective on this union of art and technology and its implications for similar initiatives underway today. Few of the artists, curators, and engineers I have encountered in archival collections or in-person interviews would categorize themselves as “technocrats” in the traditional use of the term. Instead, they adopted new artistic media partly to humanize technology that many saw as increasingly alienating, autonomous, and even malevolent. Beck and Bishop center their account around several large-scale art-and-technology initiatives in the United States in the mid-1960s. These include the Center for Advanced Visual Studies at MIT, which artist Gyorgy Kepes launched, the Art and Technology Program curator Maurice Tuchman started at the Los Angeles County Museum of Art, as well as the influential group Experiments in Art and Technology (E.A.T.), which operated out of New York City. Many charismatic individuals championed the art-and-technology movement. What is fascinating is the plurality of strategies they adopted to advance the merger of fine art and technology within the “broader cultural climate of mid-century corporate liberalism” (p. 2). Beck and Bishop focus part of their book on Billy Klüver, the co-founder of E.A.T., who was also an accomplished electrical engineer. Unfortunately, their goal of making broad appraisals about “the military-industrial state” and “neo-liberal orthodoxy” tends to flatten such fascinating historical actors. We don’t encounter Klüver until he’s already a thirty-year-old engineer at Bell Labs. This misses how he cultivated a deep interest in the arts, his fascination with experimental cinema while a student in Stockholm, or his early friendships with future curator Pontus Hultén and artists Jean Tinguely or Öyvind Fahlström. As Klüver wrote in his personal papers, his mental template for how to link artists and engineers was already well in place before he started at Bell Labs. I found it hard to accept the claim, moreover, that Klüver’s strategy “remained an individualistic one” (p. 105). For two years, E.A.T. collaborated with PepsiCo to build a pavilion for Expo ’70 in Osaka. This enterprise required scores of engineers, technicians, and artists (as well as $1.2 million from Pepsi), making it the art world’s analog of Big Science. Any book that covers such a wide swath of territory might be excused for a few errors. Some are minor: John R. Pierce did not supervise the transistor’s invention and Jerome Wiesner did not create MIT’s Radiation Laboratory, for example. Others, however, trip up the authors’ argument. MIT’s Media Lab did not open its doors in 1980 (the claim appears twice on p. 74) but was dedicated five years later. This becomes an issue as the authors situate the Media Lab’s compromised academic mission with the increased commercialization of university research vis-à-vis the passage of the Bayh-Dole Act in 1980. This latter example suggests ways that historical narrative is sometimes sublimated to support authors’ social critiques of market-driven ideologies. [End Page 987] And one can ask how these apply outside the United States. The art-and-technology movement was decidedly international, with activity across Europe as well as parts of Asia and South America. Moreover, artists like Gustav Metzger, Hans Haacke, and Carolee Schneemann challenged militarism and corporatism. For all this book’s references to markets and neoliberalism, the authors do not detail the art-and-technology movement’s finances. This seems...

Characteristics of contemporary fashion shows affected by intermedia

Intermedia is a term that refers to the convergence of different media. It has not only enabled the delivery of brand message but also developed interactive communication in a contemporary fashion show context. This study investigates the presentation methods of contemporary fashion shows affected by intermedia. We examined the research and theory related to intermedia and fashion shows by accessing articles since the 2000s concerning 252 shows by 30 designers that tended to demonstrate the use of intermedia. Our analysis highlighted four particular characteristics: “medium scalability” (the unity of art and fashion and the unity of life and fashion); “synesthetic flow” (the audience’s emotional immersion, represented by the actual performance and performances of the models); “participatory accessibility” (performance participation through action and instrumental support); and “immaterial symbolization” (an intuitive symbol that emphasizes both the direct outward appearance and the metaphorical symbolism so that the object is expressed in a figurative sense). From these results, we identified considerable synergy between the characteristics of intermedia and contemporary fashion shows. Therefore, it might be useful to conduct an experimental study on this area of research.

“...Friend of My Youth”: Image of a Dog in the Lyrics of S. A. Yesenin

The article examines the artistic and functional status of the image of a dog’s motive in Yesenin’s lyrics in the context of the idea of an organic unity of art and life, which largely determines the poet’s creative philosophy. Three poems are considered in which the image of a dog is the central figure of the text and the constructive basis of its ideological and artistic content: “Song of the Dog” (1915), “Son of a Bitch” (1924), and “Kachalov’s Dog” (1925). The analysis of the subject-figurative structure of each of the poems is carried out, while they selectively comment on individual elements of the poetics of the text, which contributes to a detailed understanding of the role of the studied image. In the analysis of “Songs about a Dog”, attention is drawn to the peculiarities of interaction in the text of image and expression plans, cinematography as the main extra-subjective form of author’s consciousness in the poem, and also to the functional heterogeneity of the lyrical narrative. When considering the work “Son of a bitch”, the emphasis is on the specifics of the space-time structure of the text, namely on the special movement of time initiated by the subject of speech - from an uncertain future to a certain past. When studying the poem “The Dog of Kachalov”, attention is focused on the distinctive features of his genre solution, which is characterized by a synthesis of various genre elements of lyrics: dedication, message, elegy, confession. It is argued that in all three poems the image of a dog serves as a mediator (guide), the semantic variations of which depend on the poetic context and come from the ontological relationship of the world of everyday ideas and the world of spiritual revelations of a person, which determines the main content of Yesenin's artistic philosophy.

Lauschen als Bildungserlebnis Nietzsches Vorträge Über die Zukunft unserer Bildungsanstalten

My reading of Nietzsche’s lectures On the Future of our Educational Institutions argues that Nietzsche’s praise of the Greek genius as a role model for the unity of art and life does not provide a solution for the educational problem of art’s transition into life and personal transformation. The problem is first demonstrated by an analysis of Schiller’s Letters on the Aesthetic Education of Man that leave the subject in a problematic intermediate zone between art, politics, and life. Subsequently, I identify narrative details of successful transitions in Nietzsche’s Lectures such as the metaphor of the dream (which envisions this desired unity) and in instances of indirect learning through overhearing. (MC; in German)

The Role of Arts in Promoting Tourism: A Case of tourism Development in Thamel Area

Thamel is a touristic area in Kathmandu which has become the main attraction for tourists for the last more than three decades. It is popularly known as the heart of tourists industry in Kathmandu. It was developed along with the arrival of hippies, many of them were artists too. Before that, the tourist attraction was concentrated in Jhonchen area. Hippies came to Nepal in search of enlightenment and spent weeks in Thamel. Along with the tourism promotion through arts and culture, there are lots of challenges in promoting arts and tourism in Thamel which needs special attention from the government of Nepal. It is crucial to recognize the important role that arts play in the positive and healthy tourism development of any society. Government needs to have strategies for partnership between arts, tourism and economic development because it is the key to foster a strong tourism destination. The union of arts and tourism celebrates human authenticity, and increases opportunities for self improvement and creates more genuine experiences along with the employment opportunities directly and indirectly.

СТИЛЬОВІ ОСОБЛИВОСТІ ДЕКОРАТИВНО-УЖИТКОВОГО МИСТЕЦТВА УКРАЇНСЬКОГО КОЗАЦТВА

Purpose. The aim of the study is to prove the world-view significance of the Cossack spiritual culture in the cultural and art processes in XVII-XVIII centuries that took place in Ukraine under the influence of all-European Baroque trends and phenomenon of Ukrainian Cossacks and to define genre-thematic and artistic-imaginative features of the Cossack decorative and applied arts, which stay in the area of the existing prejudices in the context of general trends of style development of the Ukrainian art of the period under consideration. Methodology. The methodology of the research consists in the use of comparative, historical-cultural and hermeneutic methods. Mentioned above methodological approach allows to study stylistically the monuments of the Cossack decorative and applied arts, thanks to which one could affirm its authenticity and originality. Scientific innovation. The scientific novelty of the research is related to the inclusion of the Cossack decorative and applied arts into the cultural context of Baroque, with analysis of art and plastic embodiment of spiritual values in the applied art of the Ukrainian Cossacks. Because of insufficiently study of the Cossack spiritual culture and also because of the fact that there are very few relevant theoretical sources on the Cossack Art we have studied the samples of decorative and applied arts of XVII-XVIII centuries on the territory of Zaporozhia`s vast of land. While studying these cultural artifacts we were proceeding from the fact that the religious- ideological and artistic and stylistic features of the Cossack`s Baroque could be derived from art symbols, which in Cossack Baroque style were based on the unity of art and religion. Conclusion. The author concludes that the decorative and applied arts of the Ukrainian Cossacks of XVII–XVIII centuries are a vivid example of a syncretic mix of original folk basis of Ukrainian ethnic culture founded on the harmonious combination of local artistic traditions with religious principles and aesthetic characteristics of the Cossack Baroque.

Painting realism and medicine: the two surgical clinics of Thomas Eakins

Realism is a painting style that began with Millet and Courbet in politically convulsed France in the middle of the nineteenth century. In the second half of that century, the pragmatic and democratic tradition of the United States fostered the careers of many realist painters, including that of Thomas Eakins. Eakins, trained in France, developed his career completely associated with Philadelphia at a time when this city was in the vanguard of American emerging industry, culture and medicine. Eakins "The clinic of Dr. Gross" and the "The clinic of Dr. Agnew" are icons of these developments and symbolize a perfect union of art and medicine. Both paintings permit the viewer to appreciate the artist's mastery, originality and Americanism while simultaneously tracking the progress of surgery as evidenced by the introduction of asepsis, anesthesia and nursing. Eakins mastery is revealed by its use of some European Old Masters approaches to portray medical professionals undertaking their daily duties in their work environments with critical and unadorned vision. This combination of vision and skills led Eakins to create a highly original yet analytical art. Unfortunately, his representations were far ahead of his time and resulted in under appreciation of his paintings and a censorious reaction to their content. His contemporaries rejection of Eakins work negatively affected his career as a painter, as a teacher and even his private life. This judgment was overturned in subsequent years and by the twentieth century Eakins was recognized as an American master without parallel.

(Re)constructing Utopia

The union of art and politics has endured down the centuries, looking to the past, through memory, and to the future, through desire. The memory of what was or could have been provides a utopia to be celebrated or mourned, and since 1948 Palestinian and Israeli art has reflected on loss and gain, sacrifice and security, and presence and absence in the land. Contemporary Palestinian and Israeli art has converged, seeking peace, critical reflection and an acknowledgement of the impact of the years of unrest that has been borne by both sides, while technology has afforded a means to trace heterotopias in the spaces between possession and dispossession. Drawing on Luisa Passerini, Michel Foucault and Maurice Halbwachs, this article maps the land, utopia and heterotopias in Israeli and Palestinian artistic practices, and explores the performativity of silence, loss and remembrance through the works of Sliman Mansour, Reuven Rubin, Tamam al-Akhal and Yael Bartana.

Tension in the Union of Art and Sport: Competition for Ownership of the Baseball Statuary and its Influence upon Design

Tension in the Union of Art and SportCompetition for Ownership of the Baseball Statuary and its Influence upon Design Christopher Stride (bio) and Ffion Thomas (bio) "Public monuments do not arise as if by natural law to celebrate the deserving, they are built by people with sufficient power to marshal (or impose) public consent for their erection." Kirk Savage, author1 "The purpose is not to make art; it's to show real people as they really were." Henry Thomas, statue subject's relative2 "This is not just about sports; it's about art." Omri Amrany, sculptor3 introduction For professional sports organizations in North America, Europe and Australia, player recruitment is no longer limited to sportsmen and women. Since the early 1990s, stadium precincts and downtown plazas have been adorned with figurative sculptures of athletes, cast in heroic action or imperial eminence. The USA's national pastime of baseball has embraced this fashion enthusiastically. By 1 January 2016, 218 figurative statues of specific baseball players, managers, executives, broadcasters and even fans were in situ across North America. Such ubiquity reflects how sport sculpture now forms one of the most visible interactions between the cultural communities and businesses of art and sport.4 In this study we investigate the concept of ownership of sport statues, their role in proclaiming ownership of territory, history and a distinct identity, and [End Page 1] the interaction of ownership and design. Focusing upon baseball, we examine the tension between an artist's desire to express creativity and the often countervailing push of the commissioning organization's commercial imperative. We posit that the balance of power between the businesses and cultures of sport and art with respect to the construction of sport statues will contribute to homogeneity of design. However, through a close inspection of two recently-erected statues of atypical appearance, we argue that where the balance of project ownership departs from the norm, a greater degree of design innovation may occur. Furthermore, we consider the implications of recent commercial trends and legal developments on the future commemoration of sport stars and explore how changes in funders' profiles and motivations may result in a parallel reappraisal of design aesthetics. the business of sculpture meets the business of sport Sculptures of athletes are both an ancient art form, pioneered in life-size or greater by the Greek and Roman civilizations—yet also a modern phenomenon.5 The unveiling of over 150 statues of baseball players within the US since 1990 represents the first cohesive integration of public figurative sculpture and a contemporary professional sport, simultaneously sustaining a flourishing sport sculpture industry. Yet to what extent has this union been an appropriation of sport by art, of art by sport, or a meeting of equals? Spotlighting figurative sculpture within baseball reveals the primacy of artistic inspiration over external commissioners in the infrequent early examples, which date from the dawn of the professional game.6 The first such monument located away from a grave was conceived and sculpted by Douglas Tilden: "The Ballplayer" was exhibited in Paris, New York and San Francisco.7 Early 20th century sculptures of Christy Mathewson and Babe Ruth also debuted as gallery pieces, with subject and design choice resting with the sculptors. The genesis of the modern ballpark statue honoring a franchise's baseball hero can be seen in "Honus Wagner" (Forbes Field, Pittsburgh, 1955) and "Stan Musial" (Busch Stadium I, St. Louis, 1968).8 However these unveilings were interspersed with sculptor-led gallery-sited pieces (e.g. Rhoda Sherbell's "Casey Stengel," 1965); and civic commissions such as Joe Brown's monumental "The Batter" and "The Play At Second" (Veteran's Stadium, Philadelphia, 1975–77).9 It was the arrival of retro-styled ballparks, heralded in the major leagues by the success of Baltimore Orioles' Camden Yards, and accompanied by a cornucopia of similarly nostalgic decoration adjacent to and inside such facilities, that kick-started statue production on a far greater scale.10 [End Page 2] There has been minimal academic discourse on sports statues until recently, in part due to the contemporary nature of this phenomenon, but also reflecting a broader lacuna of reference to visual artefacts amongst...

Reluctant Romantics – On the fairy tale poetics of the Brothers Grimm and their relationship to German Romanticism

The legacy of the Brothers Grimm continues to fascinate readers and researchers alike. The 200-year anniversary of the first publication of their fairy tales sparked a renewed interest in the life, work and times of the brothers. Fascinated by the past, by the political present and by the literary future of Romanticism, the Brothers Grimm stayed together in an unusual working union. They established what was to become German philology and published many invaluable works on language and history, myths and folk tales. This article will focus on the brothers’ place in German Romanticism through their contribution of fairy tales. The period was marked by political and philosophical thought that emphasised authentic experienced and the spiritual unity of art, science and philosophy. There was a strong call for national emancipation. Literature was required to embody this unity through an established national literature founded on German folk traditions. The Grimms seemed to have heeded that call. But a careful study reveals that their intentions were motivated less by the literary movement than by their own strong convictions which they upheld even at the cost of compromising the authenticity they claimed to uphold in their poetics. The many controversies regarding the origins, collection and editing of the fairy tales is inextricably linked to the brothers’ difficult relationship with the Romantic Movement. Two hundred years later, this article seeks to give an appraisal of the Brothers’ motivation for their poetics and of the research conducted thus far.

Research on Application of Design Semantics in Space Environment

Design semantics is an integration of human mode of existence and view on culture and art, which means it is a unity of art and science. Design semantics is the annotation of form and the reflection of its symbolic meaning, which means it is an explanation of the deposited human cultural spirit. Chinese art stresses Expression, Force and Qi. In China, people advocate “to learn from nature”, “to look up to observe the sun, the moon and stars, and look down to observe the surroundings”, and take “Nature and Man in One” as the highest state of spirit. Design semantics is expressed in space environment design through a symbiotic philosophical view that natural and artificial forms are complementary and interactive. This form of design leads humans back to a better state of living, i.e. Nature and Man in One.

Freedom? Nothingness? Time? Fluxus and the Laboratory of Ideas

At the 50-year anniversary of Fluxus, Ken Friedman looks back on the activities and achievements of a laboratory for art, architecture, design, and music. This article examines the political and economic context of the 1950s against which Fluxus emerged to become the most radical and experimental art project of the 1960s, thoroughly international in structure, with women as well as men in central roles. The article examines the hermeneutical interface of life and art through 12 Fluxus ideas: globalism, the unity of art and life, intermedia, experimentalism, chance, playfulness, simplicity, implicativeness, exemplativism, specificity, presence in time, and musicality.

Influences of ancient Greek spirit on music romanticism as exemplifies in Richard Wagner's Gesamtkunstwerk

The romantics' ideal of the arts' collaboration (Mischgedichte) finds its most substantial equivalent in Richard Wagner's (1813-1883) "total work of art" (Gesamtkunstwerk). This theory for the restoration of the 'lost' unity of arts was elaborated in many theoretical essays of Wagner and 'applied' in his music dramas. Unity of arts, as well as unity of arts with nature existed according to Wagner in Ancient Greece while drama was the epitome of all expressive elements of nature. This "new art of the future", which Wagner envisaged, would restore the 'wholeness' of ancient Greek drama. It is the purpose, therefore, of this study to analyze mainly from an aesthetic point of view the influences of ancient Greek spirit on romantic thought, by focusing on Wagner's work.