The ultimate metaphor of this process, a continuous rotation of perception and creation, where art and thought spiral into one another, endlessly renewing their orbit.

It changes the conception of the work of art: from being representational it becomes a creator of objects, whose nature, departing from the canonical, allows the realization—within realistic terms—of forms autonomous in both structure and function. Severini’s Dynamic Hieroglyph of the Bar Tabarin (1912) has yet to find its architectural counterpart; its mental dynamism, like that of Michelangelo, floods the space of architecture, assuming the guise of an ideal dynamic.

The material texture of Gaudí’s works, impetuous and vibrant, anticipates the “sculptural” achievement of architecture: forms shaped by undulating flows that annihilate the straight line and advance toward the ultimate threshold of meanings that past art could still offer. Architectural Cubism unfolds within the first material superimpositions, from which all other movements allow their future micro-explosions to seep through. Once the Cubist concept is assimilated, uncontrolled abstractions find their development.

Paul Klee, Wassily Kandinsky, and Piet Mondrian mark the stages of a new control over time and space, pertinent to the modern era, coinciding with the split between matter and antimatter, between the organic and the spiritual universe. Science and art converge and mutually disintegrate. Art can reach science and become science of itself: a new science of cognitive consciousness.

Picasso’s words “a picture is not thought out and settled beforehand; while you work it changes in step with your changing thoughts” affirm the dynamism of the pictorial act. Futurist photodynamics impress photographic paper with the dynamics of movement applied to bodies, often human, drawn from reality. Thus, the fact that thought is in continuous transformation is confirmed. Picasso, instead, focuses on representing the model created specifically within painting.

Les Demoiselles d’Avignon opens a decisive chapter in the evolution of the concept of thought. The very dynamism of the pictorial action produces the snapshots of the frame-canvas: characters in search of a Nature wander through the pictorial space of rhythmic decompositions of time. Even in this work, fruit of perspectival exaltations, transfiguration is not the central theme. What emerges is the new object, visualized together with all its exterior and interior sensations.

These are truly new lives: body-forms of rediscovered perceptual levels. The faces do not speak of a ruthless resemblance to humanity, but of their very birth as "new" forms of a "new" perceptual order. Matter, in contact with antimatter, generates an immense explosion.

From "Design of New Words"
The Sphere and its Motion by Filippo Lo Presti 1989