d of one.

"Violence," he continued, "is not a means; it's an end! Energy must be
got for its own sake, if you want to generate more energy instead of
standing still. The difference between Pastism and Futurism is the
difference between statics and dynamics. Futurist art is simply art that
has gone on, that, has left off being static and become dynamic. It
expresses movement. Owen will tell you better than I can why it
expresses movement."

A light darted from the corner of the room where Paul Monier-Owen had
curled himself up. His eyes flashed like the eyes of a young wild animal
roused in its lair.

Paul Monier-Owen was dark and soft and supple. At a little distance he
had the clumsy grace and velvet innocence of a black panther, half cub,
half grown. The tips of his ears, the corners of his prominent eyes, his
eyebrows and his long nostrils tilted slightly upwards and backwards.
Under his slender, mournful nose his restless smile showed the white
teeth of a young animal.

Above this primitive, savage base of features that responded incessantly
to any childish provocation, the intelligence of Monier-Owen watched in
his calm and beautiful forehead and in his eyes.

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
Fri