The Plasticity of my Emotions : the soul Art

“If one is interested in another, then one does not hurt the other.”[1]

 mandala 3



“We will be interested in not hurting one another, therefore we will make clearer judgments about whether expressing emotion would do all persons involved more harm than good.”[2] P.47

This is what it should happen in the art process, especially when one’s express emotions. When we give our art it is in order to help someone, this information is only useful if it doesn’t diminish him or her, if it allows him or her to solve a problem that he or she is failing to solve by sharing with her an experience of deep interest in our human condition. If the truth expressed through art helps the person to succeed during one’s living process, then, we can say that this art is deeply “true”. If the art is given with interest and affective attunement it will surely encourage a living process. The way the art is done and given, during the living process, can be a startle for interest and joy-excitement or on the contrary awake painful shame, dissmell and disgust and a self-punishment process. The connection between the plasticity of our emotions and art is a crucial factor to encourage evolution in the situation of a living process. In fact our emotions have to “mute” so that we are able to transform and overcome a painful script into a script that allow us to go on. We need to overcome shame, disgust and dissmell, the feeling of being somehow rejected through the label “bad” or “ wrong” thanks to the  art experience of mutual interest and affective attunement that creation allows us.


“Having people around you with whom you can begin to express emotion in more modulated and healthy ways will heal the brain.”[3]

According to the transdisciplinary research, Art, Sciences and Philosophy are interconnected. There are indeed several paths to express and understand our emotions, the Art path, the Yoga path, the philosophical or spiritual path, and the therapy path, the affect psychology path… Those paths are today closely interdependent; they refer to a “ soul body” approach in which all those knowledge’s are nowadays more and more transdisciplinary connected. They all encourage an emotional plasticity, the ability to change the script: to let go the old, and to let come the new. Of course it is very difficult to change a painful script alone. The fact of experiencing success instead of failure in art situations, sometimes in a new context, with different persons, a context of mutual interest, shared joy and fully understanding, will be very important to evolution.

However, periods of calm, the capacity of being alone and to develop an inner life in order to change the perceptions of oneself is also very important in the field of the plasticity of emotions. The art path can be very helpful to let go the label “bad”, and let come the label “learning”, to let go the shame belonging to our past memory feelings, and let come the affective attunement that allows interest and joy to be again part of the script.

“ (…) Everything, including ourselves, is eternally changing.”[4]  Being fully present to our emotions, sense the shame, the fear, the guilt, the dissmell, the disgust, let them be present is important to be able to transform those emotions:

There are tree sorts of feelings- pleasant, unpleasant and neutral. When we have an unpleasant feeling, we may want to chase it away. But is more effective to return to our conscious breathing and just observe it, identifying it silently to ourselves: “ Breathing in, I know there is an unpleasant feeling in me. Breathing out I know there is an unpleasant feeling in me. Calling by its name such as “anger”, “sorrow”, “joy” or “happiness”, helps us identify it clearly and recognize it more deeply.Our feelings play a very important part in directing all of our thoughts and actions. In us, there is a river of feelings, in which every drop of water is a different feeling, and each feeling relies on others for its existence. To observe it, we just sit on the bank of the river and identify each feeling as it surfaces, flows by, and disappears.

We can use our breathing to be in contact with our feelings and accept them. If our breathing is light and calm- a natural result of conscious breathing- our mind and body will slowly become light, calm and clear. Mindful observation is based on the principle of non-duality: our feeling is not separate from us or caused merely by something outside us, our feeling is us, and for the moment we are that feeling. We are neither drowned in nor terrorized by the feeling, nor do we reject it. Our attitude of not clinging to or rejecting our feelings is the attitude of letting go, an important part of meditation practice.

If we face our unpleasant feelings with care, affection, and nonviolence, we can transform them into the kind of energy that is healthy and has the capacity to nourish us.

By the work of mindful observation, our unpleasant feelings can illuminate so much for us, offering us insight and understanding into society and ourselves.”[5]

We can refer to “ many levels of acceptance”[6], of openness, of generosity towards the others and ourselves. In fact there are many levels of acceptance because there are many levels of perception, when one reaches the level of understanding, one’s opens his heart and his mind, and it is not simply in a cognitive level or in an emotional level, one’s matches both… Most often “We and our minds and bodies did the best they could under the circumstances”[7] But sometimes, not intentionally, their best is consider as the worst…So we have to work out with  the meaning of the  art script that guides the whole living process, thanks to our emotional plasticity in order to figure how to change a  painful script into a script of learning together, of sharing again joy and mutual interest.

According to Dr. Lynch

“The two major emotions are interest and shame[8]: “I think we tend to avoid pain of emotional hurt at all costs. When people feel hurt they have four basic ways of avoiding and denying emotional hurt, no matter how small or how large. These four ways are 1) to go away; 2) to attack ourselves: blame ourselves. 3. To attack others; To avoid, by medicating ourselves with drugs or alcohol, or sleeping, or working to hard, or by the thousands of other distraction we invent.” Even “Fighting is a distraction”.

The other issue is changing the script through our emotional plasticity, establishing a soul and body connection, thanks to activities such as meditation or also the Art path.  Art gives the person the opportunity to decelerate, re-think and transform his perceptions of the others, or of themselves. Thanks to this openness dialogue may externally happens.

Wisdom is not simply being ready to accept new information: we need to open our   heart for the one we are giving the new information, we need mutual trust, we need “ affective attunement”, emotional and cognitive skills so that the new information can really brings evolution and joy.


Reason does what emotion asks[9].

“We should start to employ the key emotion of interest to help us know those and ourselves dearest to us.”[10]

Following my researches about the non intention self evaluations, the process of under evaluating (I am bad) or over evaluating (I am the best), through diminishing or idealizing oneself, is part of the learning disability script.  For instance, while facing a failure (the stimulus) we feel disgust and shame (the emotion), we evaluate that we are bad (non intentional evaluation based on our biographical complex memory- feelings). However while facing failure we can learn with the help of others and  the art process to change our emotions, our evaluation, and our response, thanks to our mind plasticity. We can while facing a failure, remain neutral and calm, evaluate: I am in a learning process and change the response: what can I do in order to understand my mistake and how can I change the script in order to succeed?

 In fact “When we are both calm we will come to be able to create new habits based on mutual interest that will lead to more and more times when will be able to help each other turn bad scenes into good ones we so dearly wants.”[11]

 Again calm is a very important condition in order to improve the plasticity of emotions in the process of changing the script of the play.

“The little things are symbols for the bigger things”[12]

According to my research the not intentional attitudes, driven by emotions and that might hurt oneself or the other and leads to attack, self attack, avoidance or withdraw, have dreadful consequences through negative evaluations, we under evaluate ourselves, and we interrupt the art process. So we must be very careful before we criticize someone during a creative process, and we must be very careful also with our self-punishing affects of shame and guilt while we fail..the evaluation process should also be very careful: because creating involves a lot of repetition, and demand second chances.

“The little things and the big things are nevertheless very connected”[13]

The consciousness of not intentional attitudes is a consciousness of the importance of the little thing and their impact on the big things. Evaluation can do a lot of damage in the learning field, and I guess in the mental health of a person. There is a very important connection between evaluation, memory and emotion.

“Interest often involves forgiveness”[14].

Mutual interest implies changing the way in which you evaluate yourself and the others and the importance of our not intentional attitudes should be discussed with persons aware of the possibility of changing, as therapists, educators, scientists, and philosophers…

We have to change the script together of

“A self-punishing machine that traps one in a shame bind.”[15]


 p.96 (…) « we are not only our memory : we do indeed have reason. We can learn and reason, and work with our memories and add to our memories and learning through the here and now. We will learn and reason much better if we pay attention to the feelings associated with our memories. »[16]

In the learning field we have to act in the label “bad” or “the best” associated to feelings of shame and pride and associated to our memories:

1)    Maximize positive interpersonal emotion. Through a fair and formative evaluation; one that allows people to achieve one’s goals, for instance in the ethical field with shared interest and enthusiasm.

2)    Minimize negative interpersonal emotion, avoid shaming critics, moved by emotions of guilt, shame, disgust, dissmell, avoid self-punishment affects in order to please others.

3)    Minimize the inhibition of interpersonal emotion,

Have a neutral field, where express our true emotions: a sacred space as described by the American Indians, safe and calm, a meditative space, that allows the open dialogue, affective attunement and mutual interest in order to repair the damages of a learning disability script.

4)    Institute effective interpersonal processes that allow the first three rules to be used: change our relationship to the evaluation procedure.

If we feel safe then we will be able to experience the plasticity of emotions and change the disability learning script. This is what I call “ the ART BODY”, a soul body capable of creating a new vision about him, her and others, that allow the persons to learn together.

“I solve a problem by: 

  1. defining it
  2. evaluating it
  3. moderating it
  4. controlling it.”[1]

[1]  LYNCH, ibidem, p.101
So we could say that in order to achieve the plasticity of the learning script, We need to recognize the labels that are due to self- punishing affects, based on our biographical complex memory feelings, and thanks to our mind plasticity and the help of others through successful experiences modifies the label “bad” or “ the best” in to the label “learning”.

[1] LYNCH, ibidem 2 p.141
[2] LYNCH Brian, M.D Knowing your emotions, Ed. Interest Books, Inc., Chicago, USA, 2010 p, 47
[3]  Ibidem 1 p.47
[4]  ibidem 1 p.49
[5]Thich Nhat Hanh in Peace is every step, the path of mindfulness in Everyday life, Ed. Batam Books USA 1991 p.51,52
[6] Ibidem 1 p.51
[7]  Ibidem 1 p.51
[8] ibidem 1 p.53
[9] LYNCH, ibidem, p.194
[10] LYNCH ibidem p.70
[11] LYNCH, ibidem, p.95
[12] LYNCH ibidem p.73
[13]  LYNCH ibidem. P.74
[14] LYNCH, ibidem, p. 84
[15] LYNCH, ibidem, p.91
[16] LYNCH, ibidem, p.101 LYNCH,
[17]  LYNCH, ibidem, p.101


Mariana Yoga 1 Mariana Yoga 2 Mariana Yoga 3

Mariana Thieriot é instrutora de Yoga pelo Dynamic Yoga Center – São Paulo Brasil, onde Eduardo Henrique S. Caetano foi seu professor.

Mariana também realizou a tradução e interpretação de artigos dos Yoga Sutra de Patanjali a seguir:

THIERIOT LOISEL, Mariana in Sur les traces de Patanjali, Une relecture des Yogas- Sutras 15 à 20, Revue PLASTIR 28, Paris, Octobre 2012.
THIERIOT LOISEL, Mariana, Sur les traces de Patanjali (suite),(traduction du sanskrit du yoga sutra de Patanjali) Revue PLASTIR 20, Paris, Octobre 2010.
THIERIOT LOISEL, Mariana, Sur les traces de Patanjali, (traduction du sanskrit des yoga sutra de Patanjali) Revue PLASTIR 19, Paris, Juin, 2010.


Articles publiés dans des revues scientifiques et philosophiques

THIERIOT LOISEL Mariana Les racines de la science et de la théologie dans la philosophie classique: premiers éléments de réflexion sur la place du père dans l’élaboration du savoir
Revue Plastir 31 Juillet 2013  Paris

THIERIOT LOISEL, Mariana in Une saison chez Montessori, premiers éléments de la philosophie pour enfants, Site de Philippe Meirieu, France 2013.

THIERIOT LOISEL, Mariana in Sur les traces de Patanjali, Une relecture des Yogas- Sutras 15 à 20, Revue PLASTIR 28, Paris, Octobre 2012.

THIERIOT LOISEL Mariana, La femme et la pensée, vers une identité transculturelle,  revue Plastir n.26, Paris, mars 2012.

THIERIOT LOISEL Mariana, Société apprenante et écologie de l’esprit, revue Plastir 24, Paris, Octobre 2011. LOISEL Mariana, De la classe morte à la société apprentie, site du pédagogue Philippe Meirieu, rubrique forum,  France Mai  2011

THIERIOT LOISEL Mariana, DEBONO  Marc Williams,  L’intentionnalité de la conscience, revue PLASTIR, Paris, Mars 2011.

THIERIOT LOISEL, Mariana, Sur les traces de Patanjali (suite),(traduction du sanskrit du yoga sutra de Patanjali) Revue PLASTIR 20, Paris, Octobre 2010.

THIERIOT LOISEL, Mariana, Sur les traces de Patanjali, (traduction du sanskrit des yoga sutra de Patanjali) Revue PLASTIR 19, Paris, Juin, 2010.

THIERIOT LOISEL, Mariana. Deux Pianos préparés: Essai  philosophique en quatre parties sur le dialogue entre la philosophie et les sciences.
Première partie, Revue PLASTIR 14  Paris, juin 2009.

THIERIOT LOISEL, Mariana. Deux Pianos préparés: Essai  philosophique en quatre parties sur le dialogue entre la philosophie et les sciences.
Deuxième partie, Revue PLASTIR 16  Paris, septembre 2009.

THIERIOT LOISEL, Mariana. Deux Pianos préparés: Essai  philosophique en quatre parties sur le dialogue entre la philosophie et les sciences.
Troisième partie, Revue PLASTIR 16 Paris, septembre 2009.

THIERIOT LOISEL, Mariana. Deux Pianos préparés: Essai  philosophique en quatre parties sur le dialogue entre la philosophie et les sciences.
Quatrième partie, Revue PLASTIR 17, Paris, Décembre, 2009.

THIERIOT LOISEL, Mariana, DEBONO Marc Williams, LOISEL Patrick, GHILS Paul, D’AMBROSIO Ubiratan, Philosophie et société, enjeux éthiques, PLASTIR, Paris, Septembre, 2008.

THIERIOT LOISEL, Mariana  SANTIAGO DE OLIVEIRA JONAS, Crises e desafios da liderança na gestao das Organizaçoes contemporâneas, Anais do V Seminario de  Robotica ABM.Vitoria, Brasil juillet 2007.

THIERIOT LOISEL, Mariana, Enfance et Plasticité, revue Plastir 6, Paris, 2007.

THIERIOT LOISEL, Mariana, Premiers éléments pour un dialogue sur le concept de sagesse, Plastir 7, Paris, Juin 2007

THIERIOT LOISEL, Mariana, poèmes illustrés, Journal des chercheurs, Paris,  de mars 2007 à juillet 2013.

THIERIOT LOISEL Mariana, SANTIAGO de OLIVEIRA Jonas, DE MELLO Maria, Des Machines et des hommes / Science, Technology and Human factor, Cosmopolitics Journal, Belgique, octobre  2007.

THIERIOT LOISEL Mariana Sur les traces de Patanjali, Science and Religion journal, Roumanie, octobre 2007.

LACOMBE, Mariana  Sens et Connaissance, Revue Plastir, Plasticité Science et Art, Paris novembre 2006

LACOMBE, Mariana  Pédagogie, Anti pédagogie et comportementalisme, à la recherche de l’action sensée, Revue   Psychologie et Motivation, Paris, n.41 Octobre 2006.

LACOMBE, Mariana  A interdisciplinaridade : reflexoes acerca do nao intencional em sala de aula, Revista UNIFIEO, especial educaçao, Osasco, 2006

THIERIOT LOISEL, Mariana  Connaissance et autorité : la place d’une conscience autonome dans un parcours de formation scientifique. Journal des chercheurs Paris 29 mai 2006

LACOMBE, Mariana. Les décollectioneurs : Pour une pédagogie du risque. Bulletin Interactif du Centre International de Recherches et des Études Transdisciplinaires, France, v. 18, 2005.

LACOMBE, Mariana Um galo sozinho não tece a manhã: primeiros passos de uma gestão interdisciplinar. Revista de Educação Continuada “Momento do Professor” – ano 2, v. 2, p. 49-56, outono de 2005. Universidade Anhembi Morumbi.

LACOMBE, Mariana. Apprendre à Être. Bulletin Interactif du Centre International de Recherches Et Études Transdisciplinaires, Paris, v. 15, 2004.

LACOMBE, Mariana. Perlaborer ou la conscience du non intentionnel Cahiers de Psychopédagogie, Sao Paulo, v.3 numéro 5 p.85-111,2003.

LACOMBE, Mariana. Qu’avons nous désappris le 11 septembre. Bulletin Interactif Du Centre International de Recherches Et Études Transdisciplinaires, França, v. 16, 2002.

LACOMBE, Mariana  et Al. Learning after September 11: a collaborative reflection, USA, 2001.

LACOMBE, Mariana, Apprendre: une composition en trois couleurs; le détachement, la confiance et le respect. UNIFIEO, Osasco, v1, n1,p.81,1999.