few years ago, in 2007, I had the opportunity to interview Carlos Cruz Diez for the magazine Literal
a visit to Houston for the opening of his exhibition at the gallery
Sicardi 
. The interview would take place when the teacher was available and that given the conditions of travel and the need for their presence in the gallery, we had no set itinerary. María Inés Sica called me one Saturday and I said, "the teacher has time for the interview, come now." I was eating with my family, we just ordered some dishes for the table center, so they stand at present, could be seen as an act of bad taste. Still I tried to be as gentle as possible and with the bit still in the mouth, I stood on the table and ran with my daughter to the car, she would record the entire conversation on video. We arrived at the gallery, Mary Agnes had arranged everything so that the interview would take place where it had made an installation for the chromatic motion is expose in just a few hours, we bathe with their colors during the whole conversation. I started the questions a bit nervous, after all, one does not always have the opportunity to talk with artists of this caliber. The warmth of the teacher I was calming down and the result was a dialogue by other profits and enlightening. Then share a snippet of that conversation, however, the full interview can be found here
. . The interview would take place when the teacher was available and that given the conditions of travel and the need for their presence in the gallery, we had no set itinerary. María Inés Sica called me one Saturday and I said, "the teacher has time for the interview, come now." I was eating with my family, we just ordered some dishes for the table center, so they stand at present, could be seen as an act of bad taste. Still I tried to be as gentle as possible and with the bit still in the mouth, I stood on the table and ran with my daughter to the car, she would record the entire conversation on video. We arrived at the gallery, Mary Agnes had arranged everything so that the interview would take place where it had made an installation for the chromatic motion is expose in just a few hours, we bathe with their colors during the whole conversation. I started the questions a bit nervous, after all, one does not always have the opportunity to talk with artists of this caliber. The warmth of the teacher I was calming down and the result was a dialogue by other profits and enlightening. Then share a snippet of that conversation, however, the full interview can be found here 
Rose Mary Salum: In the distance, as Cruz Diez art can transform not only in Venezuela but in the world, we know that his pictorial language is the result of years of research, to display color throughout its motion. How does Cross Ten to create his pictorial language? How plasma in a canvas the changing condition of color experience? Carlos Cruz Diez: Having given these solutions, with these results, it is the product of a lengthy discussion, very costly in time, in lectures and in failure because you get to the perfection of what to do with accumulation of multiple failures. To find suitable solutions that you believe you have to experiment a lot, really hesitate to find a structure to confirm and which form the concepts that one has made the art or what they think may be the art. For me, art was to be painter. I am a painter, I trained as a painter and call myself a painter. And the key instrument of a painter is the color: it was there where I could find some possibilities for changing concepts because the artist, making throughout his career is precisely to find new outlets, new concepts for the spirit and openness knowledge. Because art, as I have said great artists, is knowledge, is true knowledge. The color is not permanent or eternal
as the notion that we in the West that all is eternal. The color is a factor and all my work demonstrates that changing condition, which is constantly changing and ephemeral world of color. RMS
. The pointillist used the point, why Ten Cross
uses the line?
CCD.
One point of departure for my research were the impressionists, post-Impressionism, Fauvism l, all artists like Delacroix, ue saw the possibility of changing color painting, the art itself. The pointillist and post-impressionism, discovered and put into evidence that the color was changing but precisely in its contradiction, because every generation creates contradictions, impressionism creates a contradiction, establishing the color changing status, but expressing it in a static support. The Impressionist wanted to express the fragility of the light, but did on a stand eternal: not modified. Pointillism did the same. What I tried to do to move beyond Impressionism, was to investigate in a paradox. In this alteration of Impressionism led to a contradiction, like Malevich's White on White. That is, is contradictory to have a metaphysical concept and manifestations in a box. However, these contradictions gave me the clue to find a medium that was also a creator of ephemeral situations. And from that moment, all my work is based on creating situations to give the color ephemeral its true condition is unstable, changeable.
RMS. But why what line? Do you pay for these purposes?
CCD. The line is not an aesthetic element at all, is an element of efficiency. I created dots or circles because the line is essential and concise, only to highlight the metamorphosis, the transformation of color. If these were curved or zig zags, not add anything to the discourse
color, color in your situation mutant.
RMS. Then the art
Cruz Diez gives victory to Heraclitus who said that everything is moving.
CCD.
Everything is moving. Color is not static, it has movement. One of the things I structure my work is not to give significant. The forms are significant. For me the only thing significant is the dialectic established between the viewer and the work. When you look at those straight lines which have no significance, but are the most basic objects, this creates a situation. And this is the situation created by parallel lines which causes the multitude of feelings, perceptions and points of departure for myth-making because they are carriers
an event and are the linchpins of a myth. These objects serve as a kind of light trap to provoke other
notions about color and things.
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Is there free will? "Our decisions are determined by past actions? Joshua Knobe, who recently published an article entitled 
"scientists in brain studies indicate that the freedom to choose is an illusion. We felt we were free when we are able to act the way our body determines us to act. This is the soft 
Mexican pianist Mauricio Nader Schekaibán born in the city and from the nineteen-year-old made his debut at the Palacio de Bellas Artes as soloist with the National Symphony Orchestra. Since then he has been a soloist in all major orchestras in his country, as well as orchestras in Europe, Middle East, Central and South America, working under the direction of major Mexican and foreign directors. Her warmth interpretive the power of his artistic personality and his ability to address a vast repertoire ranging from baroque to contemporary music have allowed him to become one of Latin American musicians who attracted the most attention of the organizers of festivals in Mexico and abroad. We recently had the opportunity to speak during one of his essays. 
If there is something dangerous in this discipline is to put your emotions above the music. It's dangerous because you get out of control. It's like when you declare your love to a person, your enthusiasm is both frighten him. Be very careful because the music is from notes rhythms, phrases. The excitement must go along with what you're playing. For example, the emotion that one must have to Shubert or Zimmerman is very different. Shubert is almost classical, eighteenth century Vienna. It can be emotional, but if you go over emotional sounds and XX century. You have to imagine the context touching faith that the artist lived. We will never know what a composer felt. We will never know and it's not worth wasting time on that. What we know is imaginary, within the historical references we have, how far the feeling invested in this piece and move it around. With Zimmerman, something else happens, if you play as Schubert is out of place. A mole poblano can not know chicken soup. The mole should be strong and aggressive and smoother soup. 
In conclusion, a concept such as responsibility cannot be applied to business just because a business is an entity that functions in a realm where responsibility does not exist. To use the language of the question, corporations do not have a responsibility to society that extends beyond merely maximizing profit, ideally, they need only function within what their interests require them to. Yet, just when one begins to feel free of the burden of answering such a question, we are reminded that we do not live in an ideal world, and we cannot ignore the damages that WalMart, Enron, Tyco etc. have inflicted on the society that contains them. I would argue that, by the definition above, all of these companies ceased to be businesses, and became a front to the greed and irresponsibility of the people in charge of them. It is fair to call these companies irresponsible, because they have assumed human qualities not normally present in a true business. So the real conclusion, if I can manage to write it before I am stoned by an angry mod of disgruntled Enron employees, would Be That Corporations Do not have a Responsibility to Society That extends Beyond Merely Maximizing profit, and downsizing and outsourcing Do Not Qualify as unethical practices; However, if a business Cease to Be a Business and Become an agent for a human's negative Ambitions, Then yes ; full Responsibility Is To Be Expected From These new business-like Entities. Simón José Antonio