This is a text that analyzes the interferences among the arts. It relates music to painting by noting, in the first place, the correspondence between the application of the tonal scales and the laws of perspective to be followed between dodecaphony and Concrete art. It also establishes links to architecture, even though it suggests that—although a synthesis of the arts as proposed by Le Corbusier is desirable—it would be damaging for painting and sculpture to lose their quality as autonomous creations.

Gillo Dorfles is an Italian painter and theoretician, founder of the Movimiento de Arte Concreto [Concrete Art Movement] together with other artists such as Bruno Munari. In 1949-50, he had a solo exhibition at the Salto bookstore in Milan; moreover, he took part in several group exhibitions of the Movimiento de Arte Concreto [Concrete Art Movement]. In Latin America, Dorfles was also part of the traveling exhibition of the trend in Chile and Argentina (1952), both presented with a prologue of his authorship. The nine issues of the journal nueva visión [New Vision], designed as a space for the redefinition and dissemination of Concrete art, circulated between December of 1951 and 1957. It was directed by Tomás Maldonado. Although throughout the years the Editorial Staff varied in its composition; the participants were: Carlos Méndez Mosquera, Juan M. Borthagaray, Francisco Bullrich, Jorge Goldemberg, and Jorge Grisetti, in addition to Rafael E. J. Iglesia, Mauricio Kagel, Guido Kasper, Alfredo Hlito, architect Horacio Baliero, and Edgar Bayley.This text has been selected because it shows the esteem that the journal’s editorial staff had for the thinking of this Italian artist and theoretician. Such interest was corroborated through the publication in 1958 of his book Constantes técnicas de las artes [Technical Constants of the Arts], within the context of the collection Art and Aesthetics of the Nueva Visión publishing house.