Martin, F. David.  “The Persistent Presence of Abstract Painting.”  The Journal of Aesthetics and Art Criticism 28 (Fall 1969): 23-31.

Abstract

Abstract painting persists because it fulfills a fundamental need--the enjoyment of the sensuous in all its qualitative infinity abstracted from objects and events.  Abstractions are experienced primarily in the mode of presentational immediacy, following Whitehead's theory of perception, whereas music is experienced primarily in the mode of causal efficacy.  Thus any theory that stresses the close identification of abstract painting and music is mistaken.  Furthermore, the meanings of an abstraction, following the usage of Leonard Meyer, are embodied, uncontaminated by designative references.  Thus any theory that stresses the associative suggestions and dramatic literary capacities of abstract  painting is also mistaken.  [Abstract from The Philosopher’s Index]