from The Research Institute for the Unification of World Thought was officially established in December 2000 in order to encourage academic research on fundamental philosophical issues in a way that is both non-sectarian and respectful of the spiritual and intellectual traditions of the world. 

VI. Unity In Art
There are several pairs of correlative aspects (elements) involved in artistic activities, such as creation and appreciation, content and form, universality and individuality, eternity and temporality. Originally, these correlative aspects (elements) were not separated but united. In artistic activities up to the present, however, there has been a tendency to separate these correlative elements, or to emphasize only one element or the other. Thus, the Unification Theory of Art clarifies the nature of unity of these correlative aspects.

A. The Unity of Creation and Appreciation
Usually it is considered that creation is undertaken by the artist, while appreciation is undertaken by the general public. In the view of Unification Thought, however, the two are merely two moments in the activity of dominion. In order to exercise dominion over something, the correlative aspects of cognition and practice are necessary, and the cognition and practice that Like place centering on emotion are precisely appreciation and creation in the field of art. Cognition and practice form the two reciprocal circuits of give-and-receive action between the subject (human being) and the object (all things). Thus there can be no practice without cognition nor any cognition without practice. Therefore, in the relationship between creation and appreciation in art, there can be no appreciation without creation nor any creation without appreciation.

While engaging in creation, artists appreciate their own work; while appreciating a work of art, appreciators, engage in creation. Creation in appreciation refers to subjective action as additional creation, as mentioned above.

B. The Unity of Content and Form
Certain schools of art, such as classicism, attach importance to form, and other schools disregard form and attach importance to content. But, since content and form in art are in the relationship of sung-sang and Hyungsang, originally they should be united. That is to say, the Sungsang content (such as motif, theme, and conception) and the form in which they are expressed with materials (Hyungsang) should be in accord with each other. The Japanese aesthetician Tsutomu Jima said, “Form is actually the form of content, and content is none other than the content of form.” 16 This means that content and form should be united.

C. The Unity of Universality and Individuality
Just as, in all created beings, the universal image and individual image are united, likewise, in art, universality and individuality are united. First, there is the unity of universality and individuality in the artist. Artists have their own unique individualities, and at tile same time they belong to a certain school or have a certain method of creation in common with their specific region or period of time. The former is individuality, the latter, universality.

Since artists have universality and individuality in this way, their works necessarily come to manifest the unity of universality and individuality. Thus, in a work of art, individual beauty and universal beauty are manifested in a united manner.

In culture as well, there is unity between universality and individuality. That is, while the culture of a certain region has tile special characteristics of that region, it also has characteristics common to the culture of an even wider region to which it belongs. For example, the statue of Buddha in the Seoggul-am grotto in Korea is a representative work of Shilla culture. It is also known that this work was influenced by the international fine art of Gandhara, which fused Greek art and Buddhist culture. Hence in the Buddha statue of Seoggul-arn grotto, both national elements (Shilla culture) and international elements (Gandhara fine art) are united.

Here a question arises concerning national culture and the Unification culture. What will become of the traditional national culture of each nation when the Unification culture is formed in the future? Concerning this, let us think about the position of Communism. According to the basis-superstructure theory in historical materialism of communism, art is part of the superstructure; therefore, as the economy (the basis) develops, art (superstructure) must also change. Accordingly, in principle, traditional cultures do not need to be preserved. When there is a need for them to be preserved, it cannot but be seen that communists only try to preserve them from the viewpoint of their tactics because they are useful for their communist propaganda. But that will not be the case with Unificationism.

Unificationism seeks to form a unified culture while preserving national cultures. This means that Unification culture will be formed through gathering the essences of the different national cultures, each with its own individuality, and then raising them to a higher dimension.

D. The Unity of Eternity and Temporality
Every created being is a being uniting the identity-maintaining (static) four-position base and a developmental (dynamic) four-position base; therefore each created being exists as the unity of immutability and mutability-hence, as the unity of eternity and temporality. Likewise, in a work of art, the eternal element and the temporal elements are united.

For example, the Angelus by Millet pictures a church, a farmer and his wife in prayer, and a countryside landscape, which we can regard as the unity of-eternity and temporality. The church and the image of people in prayer transcend the ages and are eternal, but the countryside landscape and the clothes worn by tile husband and wife are temporary, unique to that particular period of time.

For another example, we can cite flowers arranged in a vase. The flowers themselves represent something eternal, which has existed from a long time ago, but the way of arranging the flowers and the vase itself are characteristic to a given period. Accordingly, tile unity of eternity and temporality is expressed there. The beauty of a work of art will become even more striking if we grasp and appreciate a “moment in eternity,” or “eternity in a moment,” as described above.

Cavolo -example

Ricardo Cavolo is the best example for COLLABORATION / CONNECTIONS. (my main focus)
Now on his personal website, the main page consists of two distinct universes : ART or BRAND.

Apart from illustration, Ricardo Cavolo is also a painter of murals, has collaborated with a number of brands and has designed various album covers. He is also the author of a graphic novel and a fantastic “Illustrated History of Music” in which he talks about the “100 artists he couldn’t live without”.

Intervention 5.0 “The creative process”

This intervention was the most important one.
I went to see the process and finalize this collaboration between Deborah Lyons & Yulia Iosilzon.

I went to the Royale College of Art, at Battersea, in Yulia’s studio.
As my question is : How can the process of creative management develop a platform that combines artistic and brand identity ?
We wanted to add an artistic touch to the brand DL.

From A1 and A2 simple posters we went to masterpieces.
Yulia asked me to describe the brand in a few words, and then she let her imagination flow.

For the 1st poster : It was a rock n’roll stylish woman, waiting for her tube. With oil painting, she created a curtain made with a mix of colors, as the picture is very dark it brings some light and a unique originality to the poster.

For the 2nd poster : Yulia used some different sort of chalks, the model on the poster is sitting on a yellow sofa and it’s a very classic picture.
She made a very colorful world out of this, she added a vase next to the model ; where colors come out of it. From classic to a modern piece.

For the 3rd poster : She used again oil painting but with less colors this time. The model is in the center of the poster with a black leather dress. She made some sorts of flowers with red color (I find that red suits this image very nicely) and with pink hands that want to catch the model. From simplicity to originality.

In this context, Yulia integrated in her creative process an aesthetic of emotion, forms already invented belonging to a collective memory to create empathy of the viewer. This posters are a nice result between Fashion and Art, consumers nowadays are looking for unique and intimate experiences, which art makes possible through the enrichment of the imaginary and symbolic brands.

By linking fashion to the art world ”you jazz it up, you provide spectacle” says Lisa Koenigsberg, the director of programs in the arts at the New York University. ”And when it comes to that dazzling spectacle, who doesn’t want to be included?”




I also learned that incorporating ART everywhere could lead to excellent results.
With Maya and Estela, we wanted to do a photo shooting, as I’m passionate about photography.(and they are as well)

BUT what happens when we include something artsy to it ?
Some colours to the original picture ?
Some sparkles in our faces/ or part of our bodies ?

It just makes it more original, stylish, unique,… MEMORABLE


What I discovered, is that art brings 3 fundamental aspects
(for our professional life but also for ourselves in general) :
– Open mindedness (avoids prematurely discouraging other good wills, a bad idea sometimes serves as a stepping stone to a good one)
– Curiosity (raises sometimes useful questions)
– General Culture (provides an arsenal of potentially useful archetypes)

Evolution of question(/project)

Since the beginning of this MA, my questions were always about :

–> What is memorable for people ?
–> How can we create a powerful mix between art and fashion ?
–> How can fashion become even more artsy than it is ?
–> How can you break the codes of advertising by mixing fashion and art ?
–> How can we make memorable advertising by creating an original world with fashion and art combined ?
–> How can creative management be the main asset for reinventing and producing more imaginative work in advertising ?
–> How art could help to manage creative thinking in advertising agencies in order to create memorable brand experiences ?
–> Can contemporary art help advertising to get more positive reflections and a better experience for consumers ?
–> How can we aid upcoming artists in gaining exposure by creating a platform that connects them with brands ?

–> How can the process of creative management develop a platform that combines artistic and brand identity ?

The changes – BrandTist

My Learnings from this result;

“Beauty will save the world,” said Fyodor Dostojevski, an illustrious Russian writer, in “The Idiot” (1868). Theologian, Serge Bulgakov, will add: “Art is an instrument”.

This connection was efficient because both parties benefit from this relationship. Art is a creator of meaning and, as a result, it gives brands a symbolic dimension.
Like with this example/intervention from Valentina Arno and Diana d’Orville.

Sometimes a vector of creativity, sometimes a tool of differentiation or an instrument of fusion, art is certainly, which makes it best, in our time, to endow the brands with additional originality. Why ? Quite simply, because art makes it possible to create a universe centered around the product, to make forget the commercial universe in which the brands evolve, by attributing to them an unquestionable singularity.

Evidence of intervention testing & outcomes

This digital connection between Valentina Arno and Diana d’Orville showed a good result.
At the beginning, this collaboration was aimed for a better communication of the brand, Valentina had to create a digital poster but after many thoughts, the brand decided to use her help from for the design of the clothes instead. The brand is focused on silk material, so to add an original pattern on it gives an artsy touch.

This connection couldn’t have been made without this facilitation/network between brands and artists. (BRANDTIST)
Diana d’Orville didn’t know that Valentina Arno was an artist, and that she would love to collaborate with the fashion world, and the other way around as well.


In June 2017, at Shanghai Fashion Week, Chinese designer brand Sankuanz invited Swiss artist duo Supermafia/Encor Studio and collaborated on a light installation performance which replaced the fashion show Sankuanz usually delivers in Paris.

As the crowd gathered in a circle surrounding a projector light, the show started. The light began to swing more dramatically, following greater intensity of the space-zoom sound, until it shot light beams at the audience from every conceivable angle. It was so bizarre – and so memorable.