Gong * * * and Comprehensive Art

Public sphere is one of the commonly used concepts in academic circles in English-speaking countries in recent years. This kind of public space characterized by openness, free participation and public recognition is called public space, and public art refers to artistic creation and corresponding environmental design in this public space. The public environment of human beings is an activity stage with the image of social groups and tribes, and it is the living environment of people who are inextricably linked with landform, race, context and ecology. Considering and treating the public environment from the artistic point of view is an important aspect for human beings to optimize their living conditions and their own situation. Looking back on the development of social history, we can read such a story about the development of environmental art and public art.

If the meaning of public * * * in public art is only "public * * *" in the sense of "group", then almost all arts have this publicity. Then, discussing from the spatial sense is an attempt to define public art. All public art is called public art because it first exists in public space, that is, it must exist in a public way. Even if the sculptures used by sculptors in public places are only placed in private spaces before their creation is completed, they are only private works of art and cannot become public. Of course, with one exception, private space can also be transformed into public space under certain circumstances, although it is short-lived. So we can draw a conclusion that the concept of * * * is also variable in space. One of the simplest examples is that the same sculpture is placed in private space and public space, and their attributes are inconsistent. In private space, we can't call it public art.

According to this definition, all works of art placed in public space can be counted as public art. Obviously, all the arts and artistic styles we discussed earlier can be classified as this kind of art, but the problem is that the meaning of the word Gong * * * will change with time, because it will continue to develop with the development of history. Due to the change of ownership in ancient private or royal gardens, a large part of them have been opened to the public today, and the expansion of the audience has transformed the garden art from serving the private family and the royal family into a public one. This art, which once belonged to a certain class, is widely publicized today. This proves that public space can be changed.

Space is a relative philosophical term, as opposed to time. Public space is an important part of urban space. According to the theory of Anceres Schneider and others, public space can be divided into several different levels: 1. Physical public space, 2. Social public space and 3. Symbolic public space. The first relates to the existence of its materials, the second to the spatial relationship between norms and society, and the third to commemorative activities and local "atmosphere". They believe that, whether objective or subjective, every kind of public space can be determined by one or more of these definitions, and the understanding of the meaning of public space has changed the way we look at public space. It should be pointed out that although we are willing to regard the three public spaces as three different types, each public space has one or more types. Streets, squares, grasslands, beaches and other physical public spaces can be formed through urban design. Social public spaces such as cafes, restaurants, bars, newspapers and other forms of media, internet and private houses. Physical public space is the most obvious and romantic ... it is determined by the type of ownership and is related to architecture and "natural environment".

Social public space is the most interesting of the three forms, because it has the potential to deform or redefine ownership and give new meaning to urban space. Social public space is constantly redefined, through which the conflict between use value and exchange value can be completed in a real place. Symbolic space is completed through norms and people's collective memory, because contrary to the material of physical public space, this form of determining public space can hardly be attributed to "real place". In most cases, symbolic public space is a short-term survival experience, and it is limited to a certain group of people. If the symbolic space becomes a part of general history, it is easy to be transformed. In this transformation, the meaning of this space and related things begin to be related to a mainstream historical method. This is enough to explain why our prehistoric rock paintings, sculptures, religious art and tomb art can all be classified as public art today and can be regarded as an art in symbolic public space.

Obviously, the public space we discussed earlier should belong to the second kind of space, that is, social space. Social space is variable and can be transformed between public and private. Therefore, the public * * * space we are discussing will touch a wider range of art that can be attributed to the public * * * space, but from the spatial level, the space where public * * * art is located can include physical public space, social public space and symbolic public space, which are isomorphic to each other in the information age.

The spatial difference between urban and rural areas is very obvious. The publicity and privacy of space complement each other, and * * * comes from * * *. Without absolute private space, there can be no absolute public space, and without open and free public space, there can be no secret and safe private space. In this sense, only cities have such characteristics, and rural areas do not. First of all, the whole space in the countryside is not very big, and people are familiar with it. Coupled with blood, family, customs, traditions and other reasons, personal space is transparent, privacy is difficult to be respected and protected, and the corresponding public space is not very clear. However, due to the large population and huge space in the city, from flat bungalows to towering buildings, although people may work in a certain area, the division of labor between people is becoming more and more detailed, and there are fewer and fewer situations in which different cultures, education, interests and occupations hinder people from understanding and communicating with each other. It can be said that "to a large extent, people live in relatively unfamiliar groups, which protects privacy well." In addition, the pattern of urban living is small-sized housing, which is very different from that in rural areas. In this way, personal space has been more protected. However, people have the desire and need to communicate. When this private space is strictly established, they will find another place to communicate, which requires a relatively public space. "

From this point of view, real public space exists only in cities. But as mentioned above, the city is a way of human existence, and it is inseparable from the people who choose this way-the citizen class living in the city. Cities are used by and connected with citizens, which is the difference between urban citizens and rural farmers. Anthony giddens pointed out: "The establishment of civil society is directly related to the emergence of modern forms of the country, so it is connected with it in reference. In traditional countries, most daily life, at least in rural areas, is outside the administrative power of the family. Most local communities practice autonomy according to their traditional customs and lifestyles, and administrative agencies do not interfere in most forms of private activities. However, this external field is not civil society. This represents the reservation of a reflective lifestyle outside the political center. "

In fact, purely abstract urban public space does not exist, and each urban public space will eventually be combined with different social activities to produce different places, that is, public places. Every place has formed a different place spirit, which is closely related to its geographical location, social function and place function. It can be roughly divided into the following categories: 1. Political places, such as government buildings, city squares, courts and government agencies; 2 schools, museums, art galleries, scientific research institutions, historical memorial places and other cultural public places; 3. Commercial public places, including commercial streets and commercial cities; 4. General public places, such as railway stations, docks, airports, subway stations, squares, streets, etc. 5. Entertainment and leisure public places, such as squares, theme parks, green spaces, teahouses, cafes, sports and entertainment public places. The nature and function of these places determine the nature and function of public space, and also determine a kind of place spirit. However, on the whole, the historical culture and modern social consciousness of the large public spaces in the cities where these places are located also affect the differences in the spirit of places. Therefore, we prefer to regard these places as the spatial function differences of different cities and communities.

Fundamentally speaking, the public way of public art does not depend on the style, style and genre of art, but on the spatial spirit of a collective or group, which is the external condition for human beings to transform their living environment as a whole, as we have discussed before. The history and culture of human beings determine the artistic characteristics of the masses, and at the same time, mass art in turn directly or imperceptibly affects and transforms human cultural concepts and aesthetic models. In addition, as the highest form of human settlement-city constitutes a sub-cultural area-community, which is also an important condition to determine the way of mass existence. A city is "a human group is more or less fixed in one place, forming a * * * relationship within this group." The * * * relationship is "a relationship in which individuals are both independent and interdependent, and it is impossible for any individual to exist without other individuals." Large population, high population density and large population heterogeneity are the three basic characteristics of the city, which determine the social and psychological characteristics and lifestyle of citizens and create civic awareness and civic awareness. Citizens living in the same city need to live in the same environment. Although it will be divided into different small spaces and isolated, people in the city are increasingly interdependent, and only by reaching an understanding of a problem can we solve it.

Generally speaking, the biggest feature of public space is openness, that is, the openness of public space art venues and the resulting openness to the public. It is open to all the audience in this space, and the public can communicate with it and put forward opinions and suggestions. In a sense, the openness of public art lies in the openness of its space, which requires that once the public puts forward suggestions and opinions, the management institutions and production institutions of public art can evaluate and revise public art works. Public art is a special social aesthetic, and its standards must be explained and revised.

Public art is an art form of public display of artistic landscapes and facilities composed of various media, which is different from the non-public art form of a few people or individual groups in the general private field. The "Gong * * *" in the art of Gong * * is aimed at the big environment where people live, including natural ecological environment and humanistic social environment. In a broader sense, human society can be understood as a mosaic in the natural ecosystem.

Objectively speaking, public art is the product of modern urban culture and urban life form, and it is also a concentrated reflection of the ideals and passions of urban culture and urban life. Urban culture is a cultural form that grows under the nourishment of urban matrix. Culture refers to the cognition that human beings get rid of the shackles of pure natural attributes and their states and the behavior pattern that * * * follows (it presents its own internal identity and differences from other categories in specific regions and conditions), that is, culture presents a complex synthesis. It includes knowledge, belief, custom, religion, art, law, morality, taboo, understanding of the material world and creative technology formed in the long-term survival and development of a region or a nation, as well as all experiences, abilities and established habits gained by people themselves in social operation, which is the sum of all material and spiritual achievements created by human beings. Public art also belongs to this broad cultural category and is an organic part of human culture. Its publicity and its own urban cultural attributes determine that it is bound to be influenced by a specific social culture and way of thinking.

Early culture was produced in the process that human beings gradually got rid of the shackles of pure natural attributes and their States. In the struggle and compromise with the natural environment, human beings gradually accumulate experience, form ecological and cultural experience through primitive social interaction and practical test, and gradually breed specific culture through long-term social activities and historical accumulation. Any culture will provide individuals in the cultural circle with a cognitive model and behavior model to deal with the relationship between people and between people and nature. At this level, culture itself can be understood as a way for human beings to adapt to a specific environment. People with creative thinking will inevitably be influenced by the special cultural concepts and mindset of the country, society and nation where they live: for example, green, which North Africans and Arabs love, often appears on their national flags; Australian indigenous astronomers named the constellations in the sky with animals unique to the continent, such as kangaroos and cockatoos ... Like Greek mythology, they also have their own beautiful legends about the night sky. These cultural concepts and modes of thinking are derived from their specific natural ecological environment: for example, North Africans and Arabs live in arid and barren land for a long time, and the green of plants represents life and vitality. The Australian mainland is located in the southern hemisphere, and different geographical locations lead to different perspectives. In addition, isolated evolution has created a special species, so Orion is represented as an emu in their culture, which is quite different from the recognized hunter image in the northern hemisphere. Anam's Southern Cross is a stingray, the Milky Way is a river of fish and flowers, Magellan Cloud is an old man beside two fires, and the sun is an egg thrown into the sky. The specific natural environment in which people live has accumulated specific cultural and ecological experiences, thus affecting the individual way of thinking and values in this cultural circle.

This influence permeates all levels of social life. In the process of long-term survival and development, specific social culture is gradually derived through the interaction between individuals, individuals and groups, and groups and groups. In early human society, due to the limitation of productivity and living environment, natural ecology and cultural experience were dominant and even sacred to primitive social culture.

With the development of human society and scientific and technological productivity, the ability of human beings to understand and transform nature has been significantly improved, and industry, transportation, service, finance and information industries have emerged outside the traditional agriculture and animal husbandry. Gradually, natural and primitive forests, grasslands, mountains, rivers and oceans are no longer the main space for human beings to engage in production activities and life. Larger and more complex cities are constantly being built, and more and more people are pouring into cities. They disdainfully erase the traces of ancient ancestors, and use their careers, honors, wealth, cement boxes and tin shells to accumulate a completely human survival mode for themselves. Compared with early human society, at this time, for social culture, the eco-cultural experience has been obviously hidden, and it seems that it can only be seen in casual words. But this information from history has not disappeared, and it has been integrated into human genetics through long-term evolution. If culture is compared to a leafy tree, then the ecological and cultural experience is the first seed to fall.

This kind of hidden influence is obvious in human's aesthetic appreciation of the ideal environmental model.

Any nation or culture has its unique ideal environmental model. Of course, this ideal model also contains some ideal characteristics that all mankind have. The formation of an ideal environmental model is inseparable from the ecological experience of a specific nation and culture. Why do people have special preferences for some landscape structures? This is because a turning point in human evolution is from forest to grassland. In the whole process, human beings spent150,000 years as hunters and prey. One of the main secrets of human success lies in being able to effectively use the environment and eventually create an environment that meets various ecological requirements, thus making up for its physiological and structural weaknesses. Cruel competitive experience, through the inheritance of experience, makes human beings particularly sensitive to some landscape structures with strategic significance such as hunting and escape, and evokes corresponding emotional reactions. This kind of reaction is direct and unconscious, and it is also owned by human beings. The inductive relationship and aesthetic relationship between modern people and landscape structure can be considered to be based on the above-mentioned human system development process and experience. By the same token, the survival and development of a country and a civilization depend to a great extent on some strategic landscape structures. From Yuanmou people, Lantian people to Beijingers, and then to cavemen, the landscape structure of China ancient human living space-"satisfactory ecological environment" contains some landscape structures of strategic significance for the survival and development of the group, such as paddocks, corridors, gaps and so on. The landscape (ecological) experience of ancient humans in China will profoundly affect the "selection" process of landscape background and the dependence on specific landscape structure in the development of ancient civilization in China. Yu believes that Guanzhong basin has far-reaching strategic significance for the development of Zhou nationality and even the cultural process of the whole Chinese nation. Seen from the spatial structure, Guanzhong Basin is a "satisfactory ecological environment" magnified by ancient people in China. Geographically, it is on the edge of many natural ecosystems and social systems, so it has many advantages in the sense of natural ecology and social competition. The strategic preference for different scale basin landscapes, represented by Guanzhong basin, has become one of the main characteristics of Chinese culture and ecological experience. Guanzhong basin is an ideal landscape of Peach Blossom Garden, which consists of pot cavity, pot mouth and corridor. The strategic preference for this kind of landscape has gradually evolved into an aesthetic preference through the process of cultural accumulation and super-utilitarian formalization.

Ecological and cultural experience has long been integrated into all aspects of social and cultural life. As an organic part of human culture as a whole, public art will inevitably show the influence from ecological cultural experience: that is, public art will be influenced by a specific social culture, which embodies the overall cultural values of society, and at the same time is saturated with the characteristics of natural original ecological environment and the specific ecological cultural experience derived from it (although this influence is often subtle and difficult to be detected).

The above discussion can be extended to a value orientation and aesthetic judgment standard of public art: from a cultural point of view, public art respects primitive nature and attaches importance to its heterogeneous ecological and cultural experience, which is a fundamental continuation of cultural context and an extension of its publicity in a broader sense. When some of our artists are still choosing the cultural symbols left by Qin Huang and Wu Han, should we focus on a broader level and dig deep into the connotation of national culture?