“We have declared in our manifesto that what must be rendered is the dynamic sensation, that is to say, the particular rhythm of each object, its inclination, its movement, or, to put it more exactly, its interior force.
“It is usual to consider the human being in its different aspects of motion or stillness, of joyous excitement or grave melancholy.
“What is overlooked is that all inanimate objects display, by their lines, calmness or frenzy, sadness or gaiety. These various tendencies lend to the lines of which they are formed a sense and character of weighty stability or of aerial lightness.
“Every object reveals by its lines how it would resolve itself were it to follow the tendencies of its forces.
“This decomposition is not governed by fixed laws but it varies according to the characteristic personality of the object and the emotions of the onlooker.
“Furthermore, every object influences its neighbour, not by reflections of light (the foundation of impressionistic primitivism), but by a real competition of lines and by real conflicts of planes, following the emotional law which governs the picture (the foundation of futurist primitivism).
“With the desire to intensify the aesthetic emotions by blending, so to speak, the painted canvas with the soul of the spectator, we have declared that the latter ‘must in future be placed in the center of the picture.’
“We may further explain our idea by a comparison drawn from the evolution of music.
“Not only have we radically abandoned the motive fully developed according to its determined and, therefore, artificial equilibrium, but we suddenly and purposely intersect each motive with one or more other motives of which we never give the full development but merely the initial, central, or final notes.
“As you see, there is with us not merely variety, but chaos and clashing of rhythms, totally opposed to one another, which we nevertheless assemble into a new harmony.