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"In mechanics, a material is called plastic if it cannot return to its initial form after undergoing a deformation.1 ‘‘Plastic’’ in this sense is opposed to ‘‘elastic.’’ Plastic material retains an imprint and thereby resists endless polymorphism. This is the case, for instance, with sculpted marble. Once the statue is finished, there is no possible return to the indeterminacy of the starting point. So plasticity designates solidity as much as suppleness, designates the definitive character of the imprint, of configuration, or of modification. According to this first limit or semantic extreme, plasticity, though not altogether assimilable to rigidity, marks a certain determination of form and imposes a (very strict) restriction on the capacity for deformation, re-formation, or explosion." Catherine Malabou
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"Synaptic efficacy grows or declines under the impact of strictly individual experience. The synapse—from the Greek sunapsis, ‘‘liaison, juncture’’—is the region of contact or connection between two neurons. The neuron, an elementary unit of nervous tissue, can be divided into three parts: the cellular body (protoplasm), the dendrites, and the axon, which are its extensions. It is by means of these extensions that connections (synapses) are established between two neurons. Dendrites, along with the cellular body, constitute what we call the postsynaptic side of the neuron. (This is where connections coming from ‘‘upstream’’ neurons arrive.) The axon constitutes the presynaptic part of the neuron: its endpoints are in contact with other ‘‘downstream’’ neurons. Marc Jeannerod explains:
If a synapse belongs to a circuit in frequent use, it tends to grow in volume, its permeability increases, and its efficacy increases. Inversely, a little-used synapse tends to become less efficacious. The theory of synaptic efficacy thus allows us to explain the gradual molding of a brain under the influence of individual experience, to the point of making it possible for us, in principle, to account for the individual characteristics and particularities of each brain.
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We have an innate capacity for remembering and imagining formation. perception, memory and imagination are in constant interaction; the domain of presence fuses into images of memory and fantasy. We keep constructing an immense feeling of evocation and remembrance. Literature and cinema would be devoid of their power of enchantment without our capacity to enter a remembered or imagined formation. The spaces and places enticed by a work of art are real in the full sense of the experience.
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