In particular, the apparent contrast between the continuous onward flow of associative thinking and the preservation of the unity of the personality exhibits a suggestive analogy with the relation between the wave description of the motions of material particles, governed by the superposition principle, and their indestructible individuality.
[…] a “phenomenon” is the description of that which is to be observed and of the apparatus used to obtain the observation.
Je sais qu’on ne peut jamais se connaitre mais seulement se raconter.
It seems to me that our perception of things is determined by the ideas that we have about them. It’s a case of a certain mental space that one has for both seeing and thinking. We like to feel that they are separate, but they are not - they overlap. They overlap in our conception of things, and consequently, our experience of them.
El Lissistky, 1925.
The seduction of relevance is always around. The temptation of technology is always there […] a romance with communication. Many artists conduct a flirtation with the culture. And the culture presupposes a right that art be understandable. However, there is no reason that an artist’s work be understandable to anyone else, because there is no reason that it be understandable to him.
The artist can be a creator only when the forms in his picture have nothing in common with nature.
I invented nothing, but only felt in myself night and saw in it the new, and this new I named Suprematism, and it expressed itself in me as a black plane that has formed a square.
I have a confidence in my understanding of formal esthetics and I don’t want to be aware of it or make it my problem. That is not the problem. Those things are solvable. I solve them beautifully. what makes a tight circle or a tight little square box more of an intellectual statement than something done emotionally, I don’t know. Art is an essence, a center. I am interested in solving an unknown factor of art and an unknown factor of life. My life and art have not been separated. They have been together.
To me the square is sufficient because of its exact quality. The rectangle and the curved form are dictated by sensitivity. the square is in the present tense, unchanging.
The best that can be said for either the square or the cube is that they are relatively uninteresting in themselves. Being basic representations of two- and three- dimensional form, they lack the expressive force of other more interesting forms and shapes. They are standard and universally recognized, no initiation being required of the viewer; it is immediately evident that a square is a square and a cube, a cube. Released from the necessity of being significant in themselves, they can be better used as grammatical devices from which the work may proceed. The use of a square or cube obviates the necessity of inventing other forms and reserves their use for invention.