'The situation now is more complex and expanded.'

To talk of a bland, neutral-looking form as the vehicle for a hostile or

aggressive content derives from those artists who see themselves as

iconoclasts: they have hardly come to a realization about climaxes.

Confronting the work with expectations derived from and structured by

the cubist aesthetic, in which what is to be had from the work is located

specifically and in the specific object.

The unit and the relationship to the whole - to speak of an object and

remember that the only time the idea of movement entered was when it

was recognised that there were errors in calculation. There were no

mistakes. It was just that circumstances were so different from the

idea that was intended to cover them. And the idea was not an object -

rather a tool, an instrument. But it had all the elements (present only

as elements of measurement) that the object was to have. Getting to

work with tools that leave no traces. We are still dealing with things.

Considering being aware of the objects informed (intellectual) or uninformed

(emotional, critical, discursive, kinesthetic). Thus making possible a

transfer of experience (which was which ?) so: composition - that to be

direct it can be not preceded, etc. until which was which ? was crossed

out since nothing has been placed to be an object of awareness. This does

not involve a flexibility, optimal or minimal.