Concrete Art develops a habit in man to relate directly to things, and not to the fiction of things.
Precise technique for precise aesthetics. The aesthetic function against "good taste". White function. 
Neither search nor find: create". 

 

CREATION, BEAUTY AND ITS JOY

Upon completion of Raúl Lozza’s research, Abraham Haber, in his book "Raúl Lozza and Perceptivism", would develop the concept of the joy of creation by stating: 
"It is not about denying man’s feelings unrelated to his aesthetic experience. We simply believe that the feeling aroused by the new art pervades and raises them to a higher stage, in which problems do not scare him and feelings do not devastate him".

This small book, which Haber discussed with Lozza, line by 

line, has, among other qualities, the merit of being the first book in dealing with the specific laws of concrete art applied to the bi-dimensional aspect. It is also the first work to approach, openly, the issue of aesthetic pleasure in a different dimension: 

"Classic painting awakens the emotion related to the knowledge of the figurative thing, and the strictly pictorial values are grasped later on by a discursive process in which the observer seeks the application of aesthetic concepts known beforehand. This task will arouse a secondary feeling which does not correspond to the intellectual perception of beauty itself, but to the mental process of a thought about such beauty. 
Beauty must yield itself without restraint to emotional channels regardless of temporal development. 
To sum up, the painter realizes rationally a particular expression of beauty, which the recipient receives through emotional intuition and which represents the subject of knowledge for intellectual intuition. 
We are faced with the advent of a different emotion from the one aroused by the knowledge of nature or by the object created by man outside the artistic field. And that emotion, which constitutes genuine aesthetic pleasure, is different from any other emotion...it is a feeling that rises above the distressing and painful chaos, and that surpasses mere contemplation".
So, to achieve such "genuine aesthetic pleasure", the rules of the game in painting had to be drastically changed, and the traditional concepts deeply rooted through centuries and generations had to be plucked. Other ways of feeling, acting, thinking and participating were needed. The roads of creation, argued Lozza, were not to be found in the dematerialization, in the desperate search for the complex and so often distraught inner self, but in nature,