By the way, those who claim that the product structure of music have musical value, just do not know how to be good real music ( «The Goli Dance» people Baule, «Cans on Windows» La Monte Young or modern American hits «Sweets for My Sweets »group The Drifters). As soon as you will make this substitution, the structure will turn into ideas, and in front of you will be the conceptual art. By the way, there is another, less important art form, which on closer inspection turns out to be a concept – it allows the game to their notions of “score”, “artist and the listener,” “execution of works”. In this case, a structural criticism of art, with all the amendments, it is pertinent.
The second important precursor to conceptual art – it is mathematics. That is my revolutionary discovery in mathematics, it is described in detail in the application, I shall confine myself here a brief summary of their thoughts. The revolution began in the first place, because, for reasons of taste I wanted to belittle the importance of mathematical discoveries – the area of mathematics, which consists entirely of theorems and proofs. I have not been successful and it missed. The first way is to move the focus to the discoveries in mathematics to something else I came up no later than the summer of 1960; pure mathematics beginning regarded as an aesthetic category at a time. Why, I thought, do not start coming up with the aesthetic of the theorem, it is not important whether they will be fair. Around the same time came and the second path, and lay it to a philosophy of products to ensure that the common assertion of the validity of the theorems proved incorrect, – for the same reason the word “idea” would lose its meaning, as I wrote above. The essence of the third method which appeared to me in the autumn and winter of 1960, was to develop an unexplored area of formalist mathematics. This is based on the mathematics of the same theorems and proofs, which, however, were discovered some special, unconventional way. So, my attempt to rearrange math, expanding understanding of its capabilities, takes us beyond the traditional idea of it; category of “mathematics” as part of the philosophy of Plato treated as “unnatural.” My work in the field of mathematics displays a new category of “conceptual art”, in which the traditional foundations of mathematics as a field discoveries get a new reading.
Now I want to return to the question, why conceptual art – it’s “art”, and not a new practice, which denies the aesthetics and artistry? The answer is that the roots of conceptual art, as a rule, go to the aesthetic, artistic practices; at the deepest level of interest, self-contained idea, especially math, often referred to as “beautiful”. Describing his practice of “art”, I make clear its relationship with the structural art and mathematics. However unfair to separate the emotional pleasure of (this) music and intellectual pleasure derived from ideas and concepts – they exist on an equal footing. On the other hand, if we consider all the conceptual art that kogda-libo called “music”, even the music that you can not feel as such, it may be better to leave the concept of “art” to the world of emotions, and my practice to allocate as an independent, new, nesootnosimuyu with art and the world of knowledge.