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The other profound aspect of this sculpture is the added dimensions of experience. Not only can the sculpture be seen, the fresh pollen fills the air of the room, resulting in a sensual experience. When first being observed, it is easy to simply become overwhelmed in the experience and most viewers simply have the desire to slowly take it in and contemplate the beauty.
While the overall purpose of "Pollen in Hazelnut" is transcendatory and ahistorical, it is still important to consider the function and context that inspired Laib. "Pollen from Hazelnut" is a late 20th century piece. Germany is an established country and one on the cutting edge for technology and innovation, the very opposite of Laib's work. Whereas so many pieces from Germany during this time still possess insertions of the pain and struggle that Germany endured in the mid 20th century, "Pollen from Hazelnut" removes all forms of industry, war, conflict, and pain....
"Pollen from Hazelnut" reminds viewers that nature and the natural world transcend all human struggle and exist in spite of destruction.
The overall meaning and message of Laib's piece becomes even more clear when his biography and background are added into the equation. Laib lives in a remote region of Germany's Black Forest where he is surrounded by nature and cut off from the political and technological world. While his education is in medicine, he turned to art in the 1970's after a trip to India inspired his creativity and desire to reconnect with nature. All of these impacts can clearly be seen in his "Pollen from Hazelnut" which is a large, bright and overwhelming presentation of the natural world. An absolute contrast to the overwhelming world outside of the exhibit where technology and politics drown out so much of humanity's need for reconnection with nature.
Laib's work falls within the artistic concept of ritualistic spiritual works. By using forms from nature, his art is intentionally looking beyond the culture of his home country, Germany, and instead revealing the universal beauty and awe inspiring brilliance of nature. "Pollen from Hazelnut" is bright yellow, much brighter than any artificial paint. By using this medium, Laib is demonstrating the profound power and unique beauty found in nature. Where most consider nature to be fundamental, Laib expresses the truth that many things found in nature are more beautiful than anything man can make. The other profound aspect of this sculpture is the added dimensions of experience. Not only can the sculpture be seen, the fresh pollen fills the air of the room, resulting in a sensual experience. When first being observed, it is easy to simply become overwhelmed in the experience and most viewers simply have the desire to slowly take it in and contemplate the beauty.
While the overall purpose of "Pollen in Hazelnut" is transcendatory and ahistorical, it is still important to consider the function and context that inspired Laib. "Pollen from Hazelnut" is a late 20th century piece. Germany is an established country and one on the cutting edge for technology and innovation, the very opposite of Laib's work. Whereas so many pieces from Germany during this time still possess insertions of the pain and struggle that Germany endured in the mid 20th century, "Pollen from Hazelnut" removes all forms of industry, war, conflict, and pain. It is this characteristic that attracts viewers to his works. "Pollen from Hazelnut" reminds viewers that nature and the natural world transcend all human struggle and exist in spite of destruction.
The overall meaning and message of Laib's piece becomes even more clear when his biography and background are added into the equation. Laib lives in a remote region of Germany's Black Forest where he is surrounded by nature and cut off from the political and technological world. While his education is in medicine, he turned to art in the 1970's after a trip to India inspired his creativity and desire to reconnect with nature. All of these impacts can clearly be seen in his "Pollen from Hazelnut" which is a large, bright and overwhelming presentation of the natural world. An absolute contrast to the overwhelming world outside of the exhibit where technology and politics drown out so much of humanity's need for reconnection with nature.
Art of War by Niccolo Machiavelli Niccolo Machiavelli understood the relationships between politics and war very well, and believed that there was a causal relationship between these two crucial pillars of society. An examination of the author's 16th century text, The Art of War, readily demonstrates as much. In Machiavelli's view, war was an essential function of politics as manifested by the state. As such, the author had very opinionated beliefs
Art of War by Sun Tsu What are the main points of the Art of War by Sun Tsu? Sun Zi Art of War (? ) is the most well-known Chinese military treatise that is known to the Chinese as well as the western world. Written around the 4th to 5th century B.C. And consisting of only 13 chapters, its value in influencing military thinking and war strategies has seldom being questioned.
Art of War Antoine-Henri Jomini, the Art of War Jomini's the Art of War is based on the authors experiences in the Crimean War and the Napoleonic Wars. War is presented as an art, and yet Jomini's emphasis is on strategy and decisiveness. Author's Identity: Antoine-Henri Jomini was born in Switzerland in 1779. He came of age during the French Revolution, and understood well the fusion between politics, diplomacy, and military tactics. Jomini
In Chapter Six "Weak Points and Strong," Sun Tzu declares that the first combatants in the field who awaits the arrival of the enemy "will be fresh for the fight," while those that arrive later will be exhausted and unable to fight properly. Therefore, "the clever combatant imposes his will on the enemy, but does not allow the enemy's will to be imposed on him." This type of advice could
Summary/Abstract The subject of terrain is covered exclusively in one of the thirteen chapters in Sun Tzu’s The Art of War. In fact, terrain is addressed throughout The Art of War, so critical is positioning to tactical advantage and strategy. For example, the fourth chapter on “Tactical Dispositions” addresses positioning prior to Sun Tzu’s more formal “Classification of Terrain” in Chapter Ten. Whereas “Tactical Dispositions” covers defensive options, and relative positions
Careful, well-considered, and disciplined application of knowledge gained from experience, observation, and study can combine to create optimal conditions for success, in war and in business. Further, according to Sun Tzu, commitment to remaining focused on one's strategic objectives is also very important. Toward that end, attention from those strategic objectives should not be dissipated. One should therefore avoid petty distractions from the goals and tasks at hand, or building unnecessary