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In this study, it is aimed to gain the ability to transform what nature offers into a work of art by using traditional methods. The study has two main aims. Its first purpose is to present ways to transfer environmental literacy skills through art education, as a value that should be acquired at an early age. The second is to contribute to the development of hand skills, to gain creativity, to acquire individual skills and to develop basic social skills such as self-confidence, through artistic activities to be applied to the target audience. The participants of the research were carried out with 124 students studying in the 7th and 8th grades of Süleyman Demirel Secondary School located in Gonen District of Isparta. The analysis of the data was carried out using the SPSS 25.00 statistical program using descriptive statistics and simple correlation analysis. In the study, the application methods of traditional handicrafts were combined with materials obtained from nature for the purpose of the study. According to the results obtained; It has been observed that awareness about how nature is transformed into an art object through artistic activities. The activities within the scope of the study were planned as a result exhibition and a total of 13 activity titles under two categories, conceptual and artistic. In artistic activities, it is planned to carry out activities for the transformation of materials collected from nature by using the methods and techniques of traditional handicrafts. In addition to materials that can be collected from nature such as mud, stone and cones, art materials such as felt, wool, natural stone and similar art materials obtained from nature were used in the activities. [For the complete proceedings, see ED631021.]

In this groundbreaking book David Roberts sets out to demonstrate the centrality of the total work of art to European modernism since the French Revolution. The total work of art is usually understood as the intention to reunite the arts into the one integrated whole, but it is also tied from the beginning to the desire to recover and renew the public function of art. The synthesis of the arts in the service of social and cultural regeneration was a particularly German dream, which made Wagner and Nietzsche the other center of aesthetic modernism alongside Baudelaire and Mallarmé. The history and theory of the total work of art pose a whole series of questions not only to aesthetic modernism and its utopias but also to the whole epoch from the French Revolution to the totalitarian revolutions of the twentieth century. The total work of art indicates the need to revisit key assumptions of modernism, such as the foregrounding of the autonomy and separation of the arts at the expense of the countertendencies to the reunion of the arts, and cuts across the neat equation of avant-gardism with progress and deconstructs the familiar left-right divide between revolution and reaction, the modern and the antimodern. Situated at the interface between art, religion, and politics, the total work of art invites us to rethink the relationship between art and religion and art and politics in European modernism. In a major departure from the existing literature David Roberts argues for twin lineages of the total work, a French revolutionary and a German aesthetic, which interrelate across the whole epoch of European modernism, culminating in the aesthetic and political radicalism of the avant-garde movements in response to the crisis of autonomous art and the accelerating political crisis of European societies from the 1890s forward.

In this groundbreaking book David Roberts sets out to demonstrate the centrality of the total work of art to European modernism since the French Revolution. The total work of art is usually understood as the intention to reunite the arts into the one integrated whole, but it is also tied from the beginning to the desire to recover and renew the public function of art. The synthesis of the arts in the service of social and cultural regeneration was a particularly German dream, which made Wagner and Nietzsche the other center of aesthetic modernism alongside Baudelaire and Mallarmé. The history and theory of the total work of art pose a whole series of questions not only to aesthetic modernism and its utopias but also to the whole epoch from the French Revolution to the totalitarian revolutions of the twentieth century. The total work of art indicates the need to revisit key assumptions of modernism, such as the foregrounding of the autonomy and separation of the arts at the expense of the countertendencies to the reunion of the arts, and cuts across the neat equation of avant-gardism with progress and deconstructs the familiar left-right divide between revolution and reaction, the modern and the antimodern. Situated at the interface between art, religion, and politics, the total work of art invites us to rethink the relationship between art and religion and art and politics in European modernism. In a major departure from the existing literature David Roberts argues for twin lineages of the total work, a French revolutionary and a German aesthetic, which interrelate across the whole epoch of European modernism, culminating in the aesthetic and political radicalism of the avant-garde movements in response to the crisis of autonomous art and the accelerating political crisis of European societies from the 1890s forward.