1912 __ « Technical Manifesto of Futurist Literature » — Wireless imagination
‣ Original excerpt : « (7.) [...] Analogy is nothing other than the deep love that binds together things that are remote, seemingly diverse or inimical. The life of matter can be embraced only by an orchestral style, at one polychromatic, polyphonic, and polymorphous, by means of the most extensive analogies. [...] Images are not flowers to be chosen and gathered with parsimony, as Voltaire said. They constitute the very lifeblood of poetry. Poetry should be an uninterrupted flow of new images, without which it is merely anemia and green-sickness. The vaster their affinities, the more images will retain their power to astound. One must -- people say -- spare the resaer an excess of the marvelous. Bah ! We should worry instead about the fatal corrosion of time, which destroys not just the expressive value of a masterpiece, but its power to astound. Too often stimulated to enthusiasm, haven't our old ears perhaps already destroyed Beethoven and Wagner ? It is imperative, then, to abolish whatever in language has become a stereostyped image, a faded metaphor, and that means neraly everything. [...] (10.) As every kind of order is inevitably a product of the cautious and circumspect mind, it is imperative to orchestrate images, distributing them with a maximum of disorder. [...] All of you, Futurist poets, who have loved and followed me until now, have been frenzied builders of images and bold explorers of analogies, just as I have. But the narrow nets of metaphor are, unfortunately, too weighted down by the plumb line of logic. I urge you to make them lighter, so that your immensified gesture can hurl them farther, cast them out over a vaster expanse of ocean. Together we will discover what I call the wireless imagination [The phrase "wireless imagination" translates the term "imaginazione senza fili", which can be more literally translated as "imagination without strings", in which sense it refers to an imagination freed of the "plumb lines" or "strings" of logic. But just as the word "wireless" -- it was an abbreviation of "wireless telegraphy", the early term for radio -- in British usage became the everyday term for radio, so in Italian "senza fili" (literally "without wires") also became a common name for radio. The term "wireless imagination" is more suggestive of these multiple connotations than either "imagination without strings" or "radio imagination", though nobody today uses "wireless" to mean a radio). One day we will achieve an art that is still more essential, the day when we dare to suppress all the first terms of our analogies in order to render nothing other than an uninterrupted sequence of second terms. To achieve this, it will be necessary to forgo with being understood. It isn't necessary to be understood. We have already dispensed with that privilege anyway even when we have written fragments of a Futurist sensibility by means of traditional and intellective syntax. Syntax has been a kind of abstract cypher which poets have used in order to inform the masses about the color, the musicality, the plasticity and architecture of the universe. It has been a sort of interpreter, a monotonous tour-guide. We must suppress this intermediary so that literature can directly enter into the universe and become ine body with it. [...] And don't forget : microbes are necessary for the health of the sotmach and the intestines. Just so there is also a species of microbes that are necessary for the health of art -- art, which is a prolongation of the forest or our arteries, prolongation which flows beyond the body and extends into the infinity of space and time. [...] » (Translated by Lawrence Rainey)
‣ Source : Marinetti, F.T. (1913), "Technical Manifesto of Futurist Literature", In "Modernism: An Anthology", Edited by Lawrence S. Rainey, Blackwell Publishers, 2005, pp. 15-19.
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