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Without doubt, the notion of form—the intangible that remains when all that is meaningful is removed—is one of the pillars of the cultural revolution of the first half of the twentieth century. Malevich—and with him many other artists—used it to liberate art from the chains of the past; Frege, Russell and Wittgenstein to address the fundamental questions of philosophy. It did not take long, however, before the focus on form also disclosed its limitations. Artistic manifestos, such as Malevich’s, came soon be to be regarded by many as instruments of authority, rather than liberation—norms of conduct determining mechanically the practice of those who endorse it. Similarly, the analytic approach to philosophy initiated by Frege was soon found to be subject to fatal logical flows. It is at this time that some of the most intricate paradoxes of logic and mathematics are formulated for the first time.