"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."

“However, Man as the appearance of utmost internality, of spirit, does not possess any point in front, at the side or the back, no fixed point at all towards which he could define a dimension. This explains why in expressing the spiritual, in making spirit an artifact, he will be forced to a moto-stereometric form of expression. This moto-stereometric form of expression represents the appearance of a 4-n dimensional world in a world of three dimensions.”

“Dada is able to mobilize the optical and dimensional static viewpoint which keeps us imprisoned in our illusions. Thus it became possible to perceive the entire prism of the world instead of just one facet at a time. In this connection Dada is one of the strongest manifestations of the fourth dimension, transposed onto the subject.. ..Dada is 'yes-no', a bird on four legs, a ladder without steps, a square without angels. Dada possesses as many positives as negatives. To think that Dada simply means destruction is to misunderstand life, of which Dada is the expression.”

“Marinetti's Tactilism can be seen as an instinctive effort in this direction even if it presents only the sensuous-tactile expression of space through using various materials. Picasso's earlier compositions in various materials also concerns us here. The Russian artists also appreciated the exterior quality of the plane, not only optical, but also in a tactile manner.. .Intuition already produced a foreknowledge of these new realms, but they can be established fully only by science.”

“'Art' is a Renaissance invention which has been carried to a state of extreme refinement in the present day. This is the so-called 'abstract art'. The production of good works of art was achieved only at the cost of an enormous concentration upon certain matters. This concentration could be achieved only through neglecting 'life', through the very loss of life- just as religion had experienced before. 'Today this situation is no longer tolerable'. Today life is paramount. Modern life in general rejects all tendencies towards isolation and ivory tower-like exclusiveness. It is absolute un-modern to concentrate upon just one thing Modern life is based upon the construction, which is to say, upon a system of tensions or the neutralization of the system of carry and support. In agreement with this concept we too must distribute our vitality over the whole range of life taken in the broadest possible sense. All other attitudes towards life produce tragedy.”

“To be white, red, yellow, or black is to be a painter. Today it is not sufficient for the painter to think of colour; he should be colour, feed on colour and transform himself into painting. That is the essential thing. To feel like colour means to carry within oneself the entire range of colours, not as a treasure, but as a trust.”

“Plastic expression in architecture is inconceivable without colour. Colour and light complete one another. Without colour architecture is expressionless, blind.. .If the Functionalists wish to suppress colour completely, then this merely proves that they never understood the importance of colour as an ‘architectural’ element, as a means of plastic expression, no matter whether used with iron, glass, or concrete.”