All art is largely an expression of the subconscious—of the world of dreams—-and it is obvious that the Cubist "distortion" of reality is in part of this "dream-world" kind. The disintegration of the "ego" in Cubist art—the presentation of reality from a multiple standpoint instead of that of the "I"—£lowed, paradoxically, from an aspect of Impressionism, which had emphasized the "I"-standpoint to an extreme degree. For in attempting to convey an impression of reality as it is actually experienced by the senses, the Impressionists had tried to penetrate to the inner mind, to the mind half-awake, to the mental realms beyond the conceptualizing, calculating intellect. But it is the intellect, not the senses as such, which measures distance, which notes perspective, and which places the "ego" in a fixed position in time and in space. It is the intellect which distinguishes the "I" from the "not-I", and in this sense preserves the boundaries and integrity of the "I". Consequently, in penetrating to the depths of the "I", the Impressionists threatened to destroy the sensation of its existence. This dream—world subjectivism and individualism in this way helped prepare the way for the Cubist transcendence of the "I".
However, dreams have always existed, and it is not possible to explain on this basis why Cubism arose at the moment in history when it did. The dream—world freedom from time—and—space dimensions was only one source of Cubism's inspiration. What was decisive was that, in the fullest waking state, it was obvious that the concept of the world as seen from an "ego" in a fixed point in time and in space was no longer an appropriate standpoint for art.
As the Cubist revolution took place, modern means of communication seemed to be promising the possibility of escape
