[312] but so that we always recognize it. And now the artist uses that as his symbol for something far beyond it. The very well known traits of the face now represent something which goes beyond THlS moment, beyond THESE lights shining on it, these colors of his or her clothes, THESE surroundings, THIS age---all this is transcended. . .  Or human relations can become symbols^a, human relations painted in terms of couples or

groups which are in vital movement, or in intellectual relationship to each other---political, scientific. And there is, going through such a group, a dynamic power which the artist brings out, using the dances or movements or intensities of attention or other relations---love relations---as symbols to express not something which can be defined, but which isin [sic.] and . . . this reality, the vital reality of a group, and this again an expression of the foundations of all reality. Then in modern non-representative art---cubes, planes, lines, color relationships---without naturalistic contents, which are symbols for those fundamental powers of reality which are, so to speak, the stones of the universe---not in terms of atoms, in scientific consideration, but in terms of power of being, even of that which is not organic and which has NOT YET the form of daily life encounter.

Sometimes---and this is perhaps the most dangerous thing---EVENTS, because events have the disagreeable character to keep by themselves, and the stories which they tell, a battle or a political scene---as long as they do that, they are not symbols. They become symbols in the moment in which they express a historical event as embodying meaning of existence. And then,