color, space and rhythm – were subjected to a fresh formulation in relation to the new suprematist ideals. Through his Prouns, utopian models for a new and better world were developed. This approach, in which the artist creates art with socially defined purpose, could aptly be summarized with his edict "" – "task oriented creation." Jewish themes and symbols also sometimes made appearances in his Prounen, usually with Lissitzky using Hebrew letters as part of the typography or visual code. For the cover of the 1922 book (; Four Billy Goats; cover), he shows an arrangement of Hebrew letters as architectural elements in a dynamic design that mirrors his contemporary Proun typography. This theme was extended into his illustrations for the (; Passenger Ticket) book. Return to Germany In 1921, roughly concurrent with the demise of UNOVIS, suprematism was beginning to fracture into two ideologically adverse halves, one favoring Utopian, spiritual art and the other a more utilitarian art that served society. Lissitzky was fully aligned with neither and left Vitebsk in 1921. He took a job as a cultural representative of Russia and moved to Berlin where he was to establish contacts between Russian and German artists. There he also took up work as a writer and designer for international magazines and journals while helping to promote the avant-garde through various gallery shows. He started the very short-lived but impressive periodical Veshch-Gegenstand Objekt with Russian-Jewish writer Ilya Ehrenburg. This was intended to display contemporary Russian art to Western Europe. It was a wide-ranging pan-arts publication, mainly focusing on new suprematist and constructivist works, and was published in German, French and Russian. In the first issue, Lissitzky wrote: We consider the triumph of the constructive method to be essential for our present. We find it not only in the new economy and in the development of the industry, but also in the psychology of our contemporaries of art. Veshch will champion constructive art, whose mission is not, after all, to embellish life, but to organize it. During his stay Lissitzky also developed his career as a graphic designer with some historically important works such as the books Dlia Golossa (For the Voice), a collection of poems from Vladimir Mayakovsky, and Die Kunstismen (The Artisms) together with Jean Arp. In Berlin he also met and befriended many other artists, most notably Kurt Schwitters, László Moholy-Nagy, and Theo van Doesburg. Together with