Page 29 - Studio International - March 1972

disunified entities (matter) which defy clear does not lie in the phenomena of nature (which this corresponds to Malevich's 'variable
definition. Malevich objects to imitative art man is unable to perceive as it is), but rather in synthesis of its interpretation', a changing
because 'the elements of reality... are subject the essence of nature. This essence Malevich complex of creativeness. The world is not
to one kind of distortion or another' (i.e. what defines as indestructable and 'invariable'70 and, known by things, but by what can be said about
man perceives) 'in the mirror of our by man's own definition, equal to God. In The those things. The problem of reality is that
consciousness'.57 Hegel finds imitation 'a Non-Objective World, he states that 'this things can always be talked about, but nothing
superfluous labour... a conjuring trick'," while unchanging synthesis of nature' cannot initiate can be said about what a thing really is in itself.
Malevich compares it to theft" and Kandinsky a creative element because creativity implies a For Worringer too it is the consciousness of
to 'the actions of an ape'.60 Worringer agrees movement towards a state and therefore not `the thing in itself' that lies at the beginning and
that 'the primal artistic impulse' has nothing to perfect in itself. As a result, this 'unchanging end of the world process.
do with the rendering of nature.61 The synthesis' is the essence of nature, a state from
relationship between creator and model is not which man has departed and seeks again. In 2 THE ADDITIONAL ELEMENT
the enjoyment of the concordance between the meantime he sees only the chaos of the form Malevich most fully examines the variable
rendition and object but 'a conflict between of nature, rather than its essence. But through creative interpretation of nature in his theory
man and the natural object'. The object itself active creativity the spirit comes to comprehend of the additional element. On the one hand,
has to be wrested from 'temporality and the essence, for the creative element can only spirit, like matter, is subject to change, for as
unclarity', Worringer continues, for only exist in 'the variable synthesis of its (i.e. Sloviev has remarked, 'every thought, every
through 'pure abstraction' is repose possible nature's) interpretation', that is, in the precise sensation is a new phenomenon'.78 On the other,
within the confusion of the world picture." act of interpretation moving towards an life desires to be at rest but is condemned to
For N. A. Berdyaev, a contemporary of awareness of reality. Here again Malevich is movement. Worringer explains that it is this
Malevich, creation is like knowledge, not merely Hegelian: Hegel states categorically that 'only mutability of the phenomenal world that urges
an imitative process (a 'reflection of reality') in those changes which take place in the region of artistic volition to 'create resting-points,
but 'an absolute addition to being'," a view spirit does anything new arise'71 and it is the opportunities for repose, necessities for the
Malevich shares when he insists that the artist active creation of the 'new' which distinguishes contemplation of which the spirit exhausted
who creates expresses himself rather than the spirit from the static perfection of nature as by the caprice of perception could halt
reflecting nature, since he creates new realities spirit moves away from imitation towards an awhile'.79 The desire for rest is so strong that
which are `no less significant' than the reality interpretive understanding. as an artistic norm is established, Malevich
of nature itself. Worringer starts his own What Malevich means by the variable says, everything which does not conform to it is
investigation in Abstraction and Empathy with synthesis of nature's interpretation can be eliminated as a 'living' element. The additional
the assumption that a work of art is autonomous explained further by a passage from God is not element is just such a living element, producing
and 'stands beside nature on equal terms', so cast down: life is divided into three `states'; new forms, evolving from old ones, or destroying
that the laws which control art have nothing, in `stimulus', 'thought in what is real', and 'reality and recreating anew, only to be overthrown as
principle, to do with 'the aesthetics of natural in what is natural'. Man proceeds through another norm is established. Creation, as
beauty'.64 activity to a process of self-conscious Berdyaev says, is a definite addition to being.
There is a similar tendency in mystical deliberation into the nature of reality, a process The additional element is not only an additive
writing to decry imitation. Jacob Boehme warns which, according to Hegel, distinguishes us constantly being imposed upon the norm, but a
against being 'greatly enticed to draw Matter from nature. This second state is the same as progressive element in the evolution of the
and to gather that which the world calls `the variable synthesis' of nature's interpretation, world spirit, and its function is to guide the
Substance ... for in so doing thou wilt infallibly for it is here that the creative element functions. norm to a state of rest. For Jacob Boehme, rest
obscure the Divine Light in thee'.65 From the The final state is the awareness of the perfection is next to Godliness, for when Lucifer fell he
religious point of view the gradual denial of of nature, the comprehension of the 'invariable' entered a 'state of eternal unrest." In a similar
material things enables the mind to prepare essence. Just as Hegel, and Marx, understand way, Worringer argues that pure abstraction
itself for the spiritual world—in his poem The reality only through what has been aims to purify the object of 'all its dependence
Preparative, Thomas Traherne states that "Tis comprehended," the experience of the reality of on life' (restlessness) thus approximating it `to
not the Object but the Light that maketh nature's essence for Malevich comes about its absolute value'.81 It is only when the
Heaven'.66 Plotinus describes the mystic only after the act of comprehension and spectator is confronted by the Absolute (rest)
philosopher as he who presses forward into the interpretation. that 'tranquility and felicitation could make
inner sanctuary leaving behind him the statues This view of reality has something in their appearance'.82 For Berdyaev, 'the
in the outer temple,67 and in his Aesthetics of common with Wittgenstein's distinction dynamic in creation began only with man's
1929-30, Malevich laments that the spectator between 'objects' and 'facts' in Tractatus fall'.83 As Malevich points out, it is this
sees only 'an image, an event' (the statues) Logico-Philosophicus of 1921.73 'Objects,' he restless creation which is an integral part of the
while 'the light behind the event' (the says, 'make up the substance of the world'74 — additional element, for since 'falling
sanctuary) is rarely noticed. For the rational the substance of the world here corresponds to overboard' from perfection, man now moves
and objective mind only reflects reality, and Malevich's synthesis of nature. Not only are towards it again in search of rest that is
derivation and imitation merely relay objects 'subsistent', but they are also Godhead. It is this state of rest through pure
impressions, holding 'as 'twere, the mirror up `unalterable',75 in the same way in which abstraction for which Malevich aims in
to nature'," in the way in which Aristotle Malevich's synthesis of nature is unchangeable. Suprematism.
believed dramatic poetry should. Like the Wittgenstein then says that it is the To some extent, the theory of the additional
mystic philosopher, the artist should turn away `configuration' of objects that is 'changing and element is derived from Futurist manifestoes
from the fallibility of reason, and resort instead unstable'.76 He explains that it is this with their arrant hatred of anything
to 'our subconscious (or superconscious) mind' configuration which produces 'states of affairs' traditional to be overthrown eventually by
for 'this subconscious mind is more infallible and the existence of states of affairs that those 'younger and more valiant'84 and their
than the conscious'" or rational. constitutes the world, a world composed of a desire for new forms of art which casts them
For both Hegel and Malevich, imitative art `totality of facts, not of things'.77 In other forward in 'violent gushes of creation and
is valueless because appearances, like matter, words, the world is not composed of things or activity'. Malevich once described life as a huge
are permanently in a state of flux. The inherent their substance but rather the way in which these nursery where children play games at
perfection of nature, which the spirit aspires to, things are configurated or interpreted—and experiencing reality, building towns and

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