The Lab's Quarterly, 2008, n. 1

Page 122

Il Trimestrale. The Lab's Quarterly, 1, 2008 122

In another article, Kandinsky does not define his art as abstract, but as concrete, interior sound that involves all the senses. At this point, we have a basilar question: how can abstract art be concrete? The problem can be found in the conception of abstraction. All information, here described, does not seem quite rigorous from a logic point of view; therefore, it is necessary to redeem the whole matter. If, in

absolute

terms,

common

sense

makes the following equalities: objective = figurative, non- objective = abstract, logically this is not correct. Both modalities of representation are visions of the world in total, weighted through the artist's deformed mirror. In order to define more coherently what both terms really mean, it is necessary to have a different horizon. The figurative artist wants to represent the external world as he perceives it, by connoting it of detailed aspects, which can not be pointed out by others, while the abstract artist wants to represent the influence that the world exercises on the subject through symbolic systems, which do not refer directly to the exterior element, but that represent it indirectly. The problems is again in the field of perception. The main difference between these two elements takes place, in particular, in levels of complexity, placed inside the work. Therefore, the reason for the accessibility to the work is the result of Eysenk's reduction law of tension, explained in the second paragraph. The heart of the matter is in the grade of entropy, present in the work in comparison with the public's. Therefore, we have a mechanism that brings about a relationship of inverse proportionality between the grade of entropy, present in the work and in the public. In other words, if the construction is more complex, a minor part of the public will be able to understand the work in itself, and to appreciate it. The matter, considered in these terms, brings us to an obvious conclusion: what changes inside the two works is only the shape, not the meaning. But the meaning being the centre of the art universe, we can define the abstract concretely (in the form here considered) as a sort of a figurative elsewhere. We can have a demonstration of this, by making a simple statement: abstract will not follow a coherent current, which will have its natural course, but which will remain something jagged, read through different symbolic keys by many artists. In


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