91ÇÑ×Ó

2018: An Entangled World

Art & Music

Braving the Distance

91ÇÑ×Ó

Introductory Questions

    • Do you tend to listen to music or appreciate art (from sculptures to Snaps) by yourself, or is there always an impulse to share what you enjoy with others?
    • How do different media express emotions like fondness and love in different ways? Is there a best way to evoke them? What about negative emotions, such as dislike?
    • In what ways can art and music allow people to connect and interact across cultures, or even across time?
    • When exploring each of these selected works, consider the contexts in which they were created. How can art and music reflect the culture and society of the times in which they were created?
    • Is it possible to "own" an doodle, or a melody, or a sketch? To what extent are laws about intellectual property and fair use able to be upheld justly?

Set I | Everyday Entanglement

    • Art
      • | Frida Kahlo
      • | David Hockney
      • | Edward Hopper
      • | Marc Chagall
      • | Mark Hansen and Ben Rubin
      • | Jacques Louis-David
      • | Marcus King
      • | xkcd
      • | Juana Gomez
      • | Chris Fox
      • | Alighiero Boetti

    • Music
      • | Ludwig van Beethoven
      • | Georges Bizet
      • | Najwa Karam
      • | Miriam Makeba
      • | Teresa Teng
      • | Silvio Rodriguez
      • | Haddaway
      • | Dean Martin
      • | Sister Sledge
      • | Hello Saferide
      • | Jack Johnson

Set II | Beyond Space and Time

    • Art
      • | KLM
      • | Fra Mauro
      • | shinli-art
      • | Hunter-Gatherers
      • | Residents of Cologne
      • | MIT
      • | David Buckley Borden & Aaron Ellison
      • | M.C. Escher

    • Music
      • | Plain White T’s
      • | The Lucksmiths
      • | Billy Joel
      • | The Avett Brothers
      • | Brad Paisley
      • | Green Day
      • | Dear Evan Hansen
      • | Elton John

Set III | When Worlds Collide

    • Art
      • | Banksy
      • | Cesar Santos
      • | Nastya Pitchek
      • | Mark Bryan
      • | Daniel Libeskind
      • | The Singh Twins

    • Music & Dance
      • | The Beatles
      • | The Winstons
      • | Lin-Manuel Miranda
      • | Liquid Blue
      • | Matt Harding
    • Case Studies
      • | Holland Cotter
      • | Kirby Ferguson

Set IV | Caught Up in the Knots

    • Art
      • | Alice Maher
      • | Joshua Allen Harris
      • | Jean Simon Berthélemy
      • | Wenqing Yan
      • | Pawel Kuczynski

    • Music
      • | Jean Sibelius
      • | Bob Dylan
      • | The Killers
      • | The Police
      • | Anastasia
      • | Cats
      • | New Order
      • | Yothu Yindi

Guiding Questions

    • Consider . How can art be used to depict memories, and can different styles of art evoke the past in different ways?
    • Take a look at of a classic artwork, and discuss: does such a recreation honor and immortalize the original work, or does it diffuse its cultural impact? If you were in Vermeer’s position, would you be happy with it?
    • Look through created by two artists and lovers. Note how, on their about page, they say that “the message inside each artwork becomes stronger as it is reproduced by the audiences”. Is this true? Is art more powerful when it’s not just relatable, but potentially recreatable?
    • Are there any downsides to the —and is it right for cities to encourage such installations?
    • Over the years, the song has been translated into dozens of languages, permeating into different cultures worldwide. How did this process take place? What is unique about each version, and what (if anything) do they all share?
    • The is only the most famous musical sample of all time, having inspired everything from the entire genre of drum ‘n’ bass to the Powerpuff Girls theme song. What is it about this drum fill that inspires people to sample it in so many styles? And is it ethical to do so, considering the original drummer never received any royalties for it?
    • Is your city featured in ? Watch this man goofily dance in cities across the world (including some of our Global Round locations!) and discuss the implications of the fact that so many people from disparate cultures came together to make this happen. Can we consider dance to be a universal language?
    • Listen to , and discuss with your team: what does it mean to need to be found? Would something like the Connor Project be realistic in today's world, and how can (and should) we use social (or other forms of) media to help those who might need to be found?