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The Cubists, to be objective, restrict themselves to considering things by turning around them, to produce their geometric writing. So they remain at a stage of intelligence which sees everything and feels nothing, which brings everything to a standstill in order to describe everything. We Futurists are trying, on the contrary, with the power of intuition, to place ourselves at the very centre of things, in such a way that our ego forms with their own uniqueness a single complex. We thus give plastic planes as plastic expansion in space, obtaining this feeling of something in perpetual motion which is peculiar to everything living.
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‘Piani plastici come espanzione sferica nello spazio’, Carra, March 1913; as quoted in “Futurism”, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 146

 

Carlo Carra

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I know now that I shall. But all Actual Knowledge brings with it, by its formal nature, its schematised apposition; — although I now know of the Schema of God, yet I am not yet immediately this Schema, but I am only a Schema of the Schema. The required Being is not yet realised.
I shall be. Who is this I? Evidently that which is, — the Ego gives in Intuition, the Individual. This shall be.
What does its Being signify? It is given as a Principle in the World of Sense. Blind Instinct is indeed annihilated, and in its place there now stands the clearly perceived Shall. But the Power that at first set this Instinct in motion remains, in order that the Shall my now set it (the Power) in motion, and become its higher determining Principle. By means of this Power, I shall therefore, within its sphere, — the World of Sense, — produce and make manifest that which I recognise as my true Being in the Supersensuous World.

 

Johann Gottlieb Fichte

 

A thought that has found a plastic expression must continue to expand in keeping with its own plastic idiom. A plastic idea must be expressed with plastic means just as a musical idea is expressed with musical means, or a literary idea with verbal means. Neither music nor literature are wholly translatable into other art forms; and so a plastic art cannot be created through a superimposed literary meaning. The artist who attempts to do so produces nothing more than a show-booth. He contents himself with visual story-telling. He subjects himself to a mechanistic kind of thinking which disintegrates into fragments.

 

Hans Hofmann

 

The universe is composed of matter, and, as a system, is sustained by motion. Motion is not a property of matter, and without this motion the solar system could not exist. Were motion a property of matter, that undiscovered and undiscoverable thing, called perpetual motion, would establish itself. It is because motion is not a property of matter, that perpetual motion is an impossibility in the hand of every being, but that of the Creator of motion. When the pretenders to Atheism can produce perpetual motion, and not till then, they may expect to be credited.

 

Thomas Paine

 

As to that which is called nature, it is no other than the laws by which motion and action of every kind, with respect to unintelligible matter, is regulated. And when we speak of looking through nature up to nature's God, we speak philosophically the same rational language as when we speak of looking through human laws up to the power that ordained them.
God is the power of first cause, nature is the law, and matter is the subject acted upon.
But infidelity by ascribing every phenomenon to properties of matter, conceives a system for which it cannot account, and yet it pretends to demonstration. It reasons from what it sees on the surface of the earth, but it does not carry itself on the solar system existing by motion. It sees upon the surface a perpetual decomposition and recomposition of matter. It sees that an oak produces an acorn, an acorn an oak, a bird an egg, an egg a bird, and so on. In things of this kind it sees something which it calls a natural cause, but none of the causes it sees is the cause of that motion which preserves the solar system.

 

Thomas Paine

 

Since one cannot create "real depth" by carving a hole in the picture, and since one should not attempt to create the illusion of depth by tonal gradation, depth as a plastic reality must be two dimensions in a formal sense as well in the sense of color. "Depth" is not created on a flat surface as an illusion, but as a plastic reality. The nature of the picture plane makes it possible to achieve depth without destroying the two-dimensional essence of the picture plane. ... A plane is a fragment in the architecture of space. When a number of planes are opposed one to another, a spatial effect results. A plane functions in the same manner as the walls of a building. ... Planes organized within a picture create the pictorial space of its composition. ... The old masters were plane-consciousness. This makes their pictures restful as well as vital...

 

Hans Hofmann