object passed before the plate. . . . Each picture showed 
     the object in an isolated phase as arrested by each 
     camera. (p. 107)

That is to say, the object is translated out of organic or 
simultaneous form into a static or pictorial mode. By revolving 
a sequence of such static or pictorial spaces at a sufficient 
speed, the illusion of organic wholeness, or interplay of spaces, 
is created. Thus, the wheel finally becomes the means of 
moving our culture away from the machine. But it was by 
means of electricity applied to the wheel that the wheel merges 
once more with animal form. In fact, the wheel is now an 
obsolete form in the electric-missile age. But hypertrophy is the 
mark of obsolescence, as we shall see again and again. Just 
because wheel is now returning to organic form in the twentieth 
century it is quite easy for us to understand how primitive man