Page 3 - The Second Space . . .  / September

Addenda-In-General:

The absence of the object in art first shook the tyranny of art - history which burdened the artist with its historical-determinism of the object. The power of abstract art to provide us with completely original plastic experiences - without the object - creates our art of non-history. When knowledge of cause and effect and dialectic thinking is applied to our experience of any object, it can be said that the experience is impure - corrupted by history and applied knowledge.

This is the point: whether we should accept or reject the abridgement that history and its determinism brings to our experience. Abstract Art makes this decision clean - like a meat cleaver. The sense of second space itself becomes purer and more exposed only as it rejects the application of causes and effects (history). Non-history welcomes the turns, twists and surprises of spontaneity. Pure experience abolishes and transcends the dialectic of

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cause and effect. In short, pure experience is a no-cause and no-effect type of comprehension: NON-HISTORY, beyond and unbeholden to history. Is non-history another absolute? Does one single experience, complete in itself, with no double-or-triple abridged experiences before or after it, have a single impact? Is pure experience one-dimensional?

Has the new sub-space exposed the �texture� of the individual? Can this �texture� - which is tactile - be translated by the world of psychology? The individual�s texture revolts against the psychology of multiplicity. However American abstract art may differ from the art of the 200-year Italian Renaissance, they possess three qualities in common. Both believe in experience, the questioning of the problem, and the emphasis on the singularity of the individual in the face of history.

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