“We see no difference between one of those nude figures commonly called _artistic_ and an anatomical plate. There is, on the other hand, an enormous difference between one of these nude figures and our futurist conception of the human body. “Perspective, such as it is understood by the majority of painters, has for us the very same value which it lends to an engineer’s design. “The simultaneousness of states of mind in the work of art: that is the intoxicating aim of our art. “Let us explain again by examples. In painting a person on a balcony, seen from inside the room, we do not limit the scene to what the square frame of the window renders visible; but we try to render the sum total of visual sensations which the person on the balcony has experienced; the sun-bathed throng in the street, the double row of houses which stretch to right and left, the beflowered balconies, etc. This implies the simultaneousness of the ambient, and, therefore, the dislocation and dismemberment of objects, the scattering and fusion of details, freed from accepted logic, and independent from one another. “In order to make the spectator live in the center of the picture, as we express it in our manifesto, the picture must be the synthesis of _what one remembers_ and of _what one sees_. “You must render the invisible which stirs and lives beyond intervening obstacles, what we have on the right, on the left, and behind us, and not merely the small square of life artificially compressed, as it were, by the wings of a stage.” [This feeling of transparency is fundamental to the theory.] “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.’