He said, "It expresses movement, because it presents objects directly as cutting across many planes. To do this you have to break up objects into the lines and masses that compose them, and project those lines and masses into space on any curve, at any angle, according to the planes you mean them to cross, otherwise the movements you mean them to express. The more planes intersected the more movement you get. By decomposing figures you compose movements. By decomposing groups of figures you compose groups of movement. Nothing but a cinema can represent objects as intact and as at the same time moving; and even the cinema only does this by a series of decompositions so minute as to escape the eye. "You want to draw a battle-piece or the traffic at Hyde Park Corner. It can't be done unless you break up your objects as Mitchell breaks them up. You want to carve figures in the round, wrestling or dancing. It can't be done unless you dislocate their lines and masses as I dislocate them, so as to throw them all at once into those planes that the intact body could only have traversed one after another in a given time. "By taking time into account as well as space we produce rhythm. "I know what you're going to say, Stephen. The Dancing Faun and the Frieze of the Parthenon express movements. But they do nothing of the sort. They express movements arrested at a certain point. They are supposed to represent nature, but they do not even do that, because arrested motion is a contradiction in terms, and because the point of arrest is an artificial and arbitrary thing. "Your medium limits you. You have to choose between the intact body which is stationary and the broken and projected bodies which are in movement. That is why we destroy or suppress symmetry in the figure and in design. Because symmetry is perfect balance which is immobility. If I wanted to present perfect rest I should do it by an absolute symmetry." "And there's more in it than that," said Austen Mitchell. "We're out against the damnable affectations of naturalism and humanism. If I draw a perfect likeness of a fat, pink woman I've got a fat, pink woman and nothing else but a fat pink woman. And a fat, pink woman is a work of Nature, not a work of art. And I'm lying. I'm presenting as a reality what is only an appearance. The better the likeness the bigger the lie. But movement and rhythm are realities, not appearances. When I present rhythm and movement I've done something. I've made reality appear."