This collection of poetic, philosophical, and literary texts and full-color images offers an ATLAS of the Poetic Continent, a treasure to study, contemplate, and inspire action in the world. This ATLAS grew from of a social-sculpture process in a city that invited its citizens--individually and collectively--to enter a process of active reflection on this question: What am I doing in the world? This project confirmed that the connection between inner and outer work, and the inner work space, is central to all social-sculpture processes. The maps for this poetic continent open up pathways that enable us to come to our senses. Discovered only in our engagement with the world, and inspired by the constellations of the soul, they offer distilled understandings on the path to a new society: a viable future of free, humane, and ecological citizens.
Did Rudolf Steiner dream these things? Did he dream them as they once occurred, at the beginning of all time? They are, for sure, far more astonishing than the demiurges and serpents and bulls found in other cosmogonies.' -- Jorge Luis BorgesRudolf Steiner recorded his view of the world in numerous books. He also gave more than 5,000 lectures, in which he explained his ideas, using only minimal notes. When describing especially difficult subjects, Steiner frequently resorted to illustrating what he was saying with colored chalk on a large blackboard. After his earlier lectures, the drawings were erased and irretrievably lost. After the autumn of 1919, however, thick black paper was used to cover the blackboards so that the drawings could be rolled up and saved.The Trustees of Rudolf Steiner's Estate in Dornach, Switzerland, possess more than a thousand such drawings. A selection of these drawings was first shown to the general public in 1992, and since then, exhibitions in Europe, America, and Japan have generated much interest in Steiner's works.
How Beuys combined his political, scientific, spiritual and artistic concerns into a compelling vision of "social sculpture" This book examines the crucial period between Joseph Beuys' (1921-86) return to his hometown of Kleve after World War II at the age of 24 and his appointment as a professor at the Kunstakademie Düsseldorf in 1961. During this "incubation" phase, key themes relevant to his future work emerged, which structure this book: biography as material for artistic formation; poetry/romanticism; natural sciences: physics, chemistry, botany, zoology and geography; philosophy/anthropology and Steiner; economics, capitalism, labor, politics. The aim of this book, along with the 2021 exhibition of the same name at Museum Kurhaus Kleve for which it is the catalog, is neither to venerate a local saint of Kleve nor to topple an artist from an earlier generation. Instead it highlights the influences and ideas that saw Beuys develop from a "sensitive traditionalist" into a "visionary social sculptor.
A Sustainable Worldview' is a contribution to the work of the Joseph Beuys Cafe, Melbourne, an interdisciplinary school for humanity that provides a forum for conversations based on the concepts of Joseph Beuys, in particular his major themes of the 'Theory of Sculpture' and 'Social Sculpture'. The collection of essays brings the reader closer to the spiritual substance of Joseph Beuys and to the intentions of the Joseph Beuys Cafe. Spiritual energies were fundamental to the life and work of Beuys and he concerned himself with the complex interrelationships of these energies, which he described as being continually in 'movement' and only perceptible through an intuitive understanding of the world. Such energies were at the centre of his Theory of Sculpture and practise of Social Sculpture, concepts which he imagined would bring about fundamental social change, firstly by championing the transformation of our perception of the world and then eventually changing the world, hence his rallying cry, 'The Revolution is Us'. Beuys was resolute in his view that rational understanding is not the means through which art is experienced. From his perspective, the rational and intuitive worlds are held apart by an abyss, but this separation has a thin veil that can be bridged with what he described as 'new organs of perception'. The mystical poet Rumi implored, 'The breeze at dawn has secrets to tell you. Don't go back to sleep'. Beuys responded with a wondrous worldview built around an 'Energy Plan' that includes perspectives on spirit and matter, new concepts of world evolution, and a warmth theory built around human connection where, 'sociology is the science of love'. This book is an attempt to go deeper into Beuys's world and provide a more intimate understanding of the artist. A reading can be worthwhile. Consider that Andy Warhol, following Beuys's death in 1986, stated that his work, '... has only begun its captivating and potent hold on our minds. People will be discussing new beauty in Beuys as long as there are people'.
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