"As a result of the decline and negative nature that comprises the whole world of representation and interpretation in figurative art. 
Perceptivism presents to the observer a dynamic attitude towards the action and exaltation of its active power, embracing new creations for the aesthetic vision and emotion, and surpassing in the act of artistic contemplation the old temporary process established for visual perception, which entails the conquest of the creating power of man as well as of the planes and the relationships in the reality itself of art. 
In my book about color I point out that for an art space it is essential to exalt objectively the feeling of visual perception by means of the structure of the perceptive matter. It consists in achieving, through the knowledge that both our feelings and our mental power provide us, a visual objectivity. In figurative painting, the visible means that 

condition the structure are not sustained in the qualities   of color and shape themselves. Instead, the object  represented, its tri-dimensional aspect known by us by our general experience, plays the role of weight and balance. 
That is why art as it abstracted itself from representing the object known to the world that surrounds us, encountered a new dilemma moving those material elements of painting closer through an intuition of its values. 
Perceptivism goes beyond that intuitive stage still existent in abstract and concrete painting, and eliminates the dualism between color and shape, By revolutionizing the old rules, it creates a new realistic concept of functional structure. Upon surpassing the old contradiction of shape and content, it resorts to the dialectic method that recognizes the process of material elements. 
Idealists have endeavored to unify form and content in figurative art, without surpassing representative shapes, the symbol or plastic anecdote expressed on a plastic background. However, they have not succeeded in conciliating what is irreconcilable. In my conception and practice of art, shape and content constitute a single real fact, indivisible, as a result of the artistic material visible in the process of creation and invention itself. 
An art of imitation, not of transformation, does not deserve to be called art. Perceptivism does not complement with the environment. Instead, it fosters its development. It is not the product of the environment but it is conditioned by its renovating power. 
With the new concept of structure and measurement of perception of the plastic values of relations, I have not discovered the philosopher’s stone of art, but that all that represents the practical reality of an objective and materialistic philosophy of aesthetics. The technique consubstantiated with the same process of creation