Developed in the early part of the twentieth century, Cubism introduced a reconstruction of space and the idea of ​​space composed of geometric and mathematical forms. Because artists no longer reflected real subjects and observations, it was common for people to reject changes in art, as a new reality was introduced into the world that was not easily understood. On the other hand, it could be said that instead of introducing new interiors, Cubism examined the notion of space as multidimensional and multidural. Qualities of interiority were also challenged by Cubism, as people's sensory experiences changed visually. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Breaking with the traditional painting technique of one-point perspective, the Cubist movement offered a new reality of space; one focused on the human experience. As was the principle of drawing, spatial perceptions were demonstrated through geometric figures, leading to an abstraction of what viewers had previously been taught to see. Rather than a literal representation of a subject, this abstraction involved an emphasis on the qualities of space, mass, and volume; whose concept was considered a "revolutionary approach to representation". The French poet Guillaume Apollinaire (1880-1918) argued that it was due to the artist's intention '...to find a pleasure other than that which the spectacle of natural things could equally well furnish' that literal representation no longer mattered . Ultimately, Cubism stands as "not a pictorial art, but an art of conception", referring to the concept of reality, or one that was fabricated to express three dimensions. The movement emphasizes the idea that three dimensions cannot be shown by rendering reality as it is, rather, it requires the qualities of forms to be disfigured and rearranged. In terms of revolutionary approaches, Cubism also offered a new vantage point of height. In the new age of machines, the Eiffel Tower was a structure that became a kind of monument for people, offering them a different view of the world, since before everything was one-dimensional and at one level. The new age of the machine meant that there was significant interest in alternative ways of seeing, as Robert Delaunay's 'Windows' (1912)' reflects. Inspired by the light refractions of the Eiffel Tower, the painting does not capture a "real subject", but rather the atmospheric changes of light over time. The idea that space is composed of multiple moments and visions in time emphasizes the interactive and continuous quality of time that can reveal beyond what the eyes already see. In turn, the dissection of space introduced by the Cubists revealed surfaces and facets that combined to create a fragmented image or composition that became more recognizable to the viewer. This facet meant that space could be taken apart to reveal other material qualities and points of view, rather than having a singular volume of space. Through this method of arrangement, Pablo Picasso and Georges Braque were able to further analyze shape and form, leaving the final image open to interpretation for the viewer. It is to the spectator that they have left the responsibility of '...worrying about possible new measures of space'. Consequently, it could be said that Delaunay's painting reflects the analytical phase of Cubism (1908-1912), which saw a superposition of views and angles of the Eiffel Tower, so as to capture all sides. The variations in transparency, as well as theintersecting lines suggest that space is infinite and encourage alternative readings of the painting. Alternatively, the ambiguity left by the Cubists also results in a lack of understanding of the end point and what the viewer is appreciating. As expressed by critic Pierre Reverdy in 1917, "this confusion has now lasted long enough... not only among the public, but among the artists themselves," emphasizing that the movement has never been coherent. This new perception introduced by the Cubists posed the problem that the viewer is able to see art through the perspective of an artist, however, they may have no other perception of the world and humanity other than through that new art. Contrasting emotions expressed by the artists, de Saint-Marceaux and Denys Peuch, who respectively referred to the movement as "an invasion of systematic ugliness in art" and that "to wish to express life with geometric forms is to defy common sense", highlights the problem was that the men of the time could not reach the same conclusion if they were not capable of sharing the same mentality as the new painters. However, Cubism encouraged that freedom to represent reality as artists wanted, which intrigued others as well. Furthermore, Cubism's multidimensional depiction of interiors altered the way people experienced space. Apollinaire states that these new "painters offered us works that were more cerebral than sensual,"8 with the implication that Cubist art requires the viewer to make sense of what they are seeing. Compared to traditional art, it allows the viewer to feel a certain way. As shown by the complex shapes of the Eiffel Tower in Figure 1, this challenges the initial thought that art simply evokes emotion. However, once this notion is rejected, the viewer is better able to have a different kind of sensory experience that influences thought and reason, as opposed to aesthetics, which was a notion that the Cubists also prioritized. Similarly, an interior is a condition that triggers a response from the viewer, rather than a condition influenced by external factors. You could say that Cubism sought to challenge the viewer's intangible responses so that they would see something different. Rather than simply feeling a certain way, "... the Cubist image acts both as a source of intense visual stimulation, and – like any developing language – stretches the mind in response to its new and fruitful idioms." Referencing Braque's "Mandora" (1910), the muddy brown aesthetic encourages the viewer to see things as the eyes see them, but not as the mind processes them. What is initially seen as a musical instrument can also be interpreted as a fragmented series of reverberations created by the mandora and perceived by the viewer. Cubism therefore introduced an embodied experience through viewing art. Rather than creating a physical interior, the movement encouraged sensory experiences that are significant in creating interiority, as intimacy is the physiological factor that can allow people to experience feelings. Upon closer consideration, Cubism had less to do with the introduction of new interior designs. Rather, he implemented the idea of ​​flattening space. However, it in turn created many points of view. The subsequent phase of "synthetic" Cubism (1912-1914) is characterized by the decomposition of individual elements and the reconstruction of shapes and tactile surfaces through collage. Although it made the subjects and the reading of the images clearer, it raised the question of what kind of meaning the artists intended to express. Picasso's "Violin on the Wall"..