This traversing of each object by the planes occupied by all other objects is called in the transcendental terminology of Futurism, “Compenetration of planes.” (Here Futurist and Cubist again meet.)
2. A Futurist sculptural composition will contain in itself the marvellous mathematical and geometrical elements of modern objects. These objects will not be placed close to the statue, like so many detached explanatory attributes or decorative elements, but according to the laws of the new conception of harmony they will be embodied in the muscular lines of the body. For example, we may see the wheel of an automobile starting out of the body of a chauffeur, the line of a table traversing the head of a man who is reading, and the pages of his book may project through his chest.
3. The abolition complete of the line finished and the statue isolated! Throw open the figure like a window and make part of it the surroundings in which it exists. The sidewalk may extend to your table; your head may traverse and include the street, and at the same moment your lamp may unite house to house by its searching rays.
The entire world precipitates itself upon us, amalgamates with us, creating a harmony that will not be controlled except by creative intuition.
4. Do not be afraid to go outside one art and receive assistance from others. There is no such thing as painting alone, sculpture alone, music alone, poetry alone; there is simply creation.
Hence if a particular sculptural composition needs some special movement to augment or contrast the rhythm of the ensemble, there is no reason why one should not make use of a small motor to secure the effect.
5. It is necessary to get rid of the idea, purely literary and traditional, that marble and bronze are the materials that must be used in great sculpture. The sculptor may use twenty materials in one work if required to express his idea. He may use glass, wood, cement, cardboard, leather, cloth, mirrors, electric lights, etc.
6. It is only by choosing subjects absolutely modern that one can discover new motives and ideas.
7. It is necessary to abandon the nude and the traditional conception of the statue and the monument.
8. What the Futurist sculpture creates is, in a way, the ideal bridge that unites the infinite plastic exterior with the infinite plastic interior. That is why the objects never finish, but they intersect with endless combinations both sympathetic and averse. The feeling of the spectator is at the center of the work, not aloof and outside, as with traditional sculpture.