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Euphoritopia and the Temperamental​

Euphoritopia and The Temperamental

Neo-Plasticism

De Stijl

Art is higher than reality and has no direct relation to reality. To approach the spiritual in art, one will make as little use as possible of reality, because reality is opposed to the spiritual. We find ourselves in the presence of an abstract art. Art should be above reality, otherwise it would have no value for man.
Piet Mondrian, 1914
from Wikipedia; as cited by Michel Seuphor, in 'Piet Mondrian: Life and Work; Abrams, New York, 1956, p. 117
Since all preceding schools of painting have proved that the spirit of beauty does not lie in nature but in the 'I', now that painting in all its various expressions from Giotto to Cézanne has demonstrated that all beauty is in the 'I', that the 'I' is all emotion and that beyond the 'I' nothing can exist because all being exists only in relationship with the 'I', now the time has come to develop from this 'I' a new style. As soon as this 'I' becomes the general, universal 'I' instead of the individualistic or the rationalistic one, the new style will be a general style.
Theo van Doesburg, 1916
'The new Style in painting.' De Avondpost. May 2, 1916.
Euphoritopia and The Temperamental
Euphoritopia and The Temperamental

PLASTIC-ABSTRACT

My attempt to explore and collect sources on plasticity of the mind vs. neo-plasticism of art and its role in the modern age. 

As a pure representation of the human mind, art will express itself in an aesthetically purified, that is to say, abstract form. The new plastic idea cannot therefore, take the form of a natural or concrete representation – this new plastic idea will ignore the particulars of appearance, that is to say, natural form and colour. On the contrary it should find its expression in the abstraction of form and colour, that is to say, in the straight line and the clearly defined primary colour.
Piet Mondrian
'Neo-Plasticism in Pictorial Art.’ De Stijl.
Since all preceding schools of painting have proved that the spirit of beauty does not lie in nature but in the 'I', now that painting in all its various expressions from Giotto to Cézanne has demonstrated that all beauty is in the 'I', that the 'I' is all emotion and that beyond the 'I' nothing can exist because all being exists only in relationship with the 'I', now the time has come to develop from this 'I' a new style. As soon as this 'I' becomes the general, universal 'I' instead of the individualistic or the rationalistic one, the new style will be a general style.
Theo van Doesburg, 1916
'The new Style in painting.' De Avondpost. May 2, 1916.
Philos Trans R Soc Lond B Biol Sci. 2014 Jan 5; 369(1633): 20130157.
doi: 10.1098/rstb.2013.0157
PMCID: PMC3843888 PMID: 24298158

Synaptic competition in structural plasticity and cognitive function

Connections between neurons can undergo long-lasting changes in synaptic strength correlating with changes in structure. These events require the synthesis of new proteins, the availability of which can lead to cooperative and competitive interactions between synapses for the expression of plasticity. These processes can occur over limited spatial distances and temporal periods, defining dendritic regions over which activity may be integrated and could lead to the physical rewiring of synapses into functional groups. Such clustering of inputs may increase the computational power of neurons by allowing information to be combined in a greater than additive manner. The availability of new proteins may be a key modulatory step towards activity-dependent, long-term growth or elimination of spines necessary for remodelling of connections. Thus, the aberrant growth or shrinkage of dendritic spines could occur if protein levels are misregulated. Indeed, such perturbations can be seen in several mental retardation disorders, wherein either too much or too little protein translation exists, matching an observed increase or decrease in spine density, respectively. Cellular events which alter protein availability could relieve a constraint on synaptic competition and disturb synaptic clustering mechanisms. These changes may be detrimental to modifications in neural circuitry following activity.

“We live in a world where there is more and more information​ and less and less meaning.”
Jean Baudrillard
Simulacres et Simulation
The new plastic idea [De Stijl / Neo-Plasticism] cannot, therefore, take the form of concrete representation, although the latter does always indicate the universal to a degree, or at least conceal it within. This new plastic idea will ignore the particulars of appearance, that is to say, natural form and colour. On the contrary it should find its expression in the abstraction of form and colour, that is to say, in the straight line and the clearly defined primary colour.
Piet Mondrian, 1917
'De Nieuwe Beelding in de Schilderkunst', Piet Mondriaan, in 'De Stijl' No. 1, October 1917; as quoted in Letters of the great artists, Richard Friedenthal, Thames and Hudson, London 1963, p. 236
The development of plastic art is determined by the will to visualize. Art of the past represented the subjective vision of 'naturalistic relationships'. Neo-Plasticism [= De Stijl ] embodies a subjective vision of 'plastic relationships'.. .Pure thought, which does not signify a concept derived from natural phenomena but which is contained in numbers, measures, relationships and abstract lines, is revealed conceptually (as Reason) by Chinese, Greek and German philosophy, and aesthetically by contemporary Neo-plasticism.
Theo van Doesburg, 1918
'Thought – Vision – Creation', published in art-magazine 'De Stijl' Vol ll, 2 December 1918; as quoted in Theo van Doesburg, Joost Baljeu, Studio Vista, London 1974, pp. 108-109

Citations + Related Articles

Contributed by These authors contributed equally to this study.
One contribution of 35 to a Discussion Meeting Issue ‘Synaptic plasticity in health and disease’.
https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3843888/
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