PATAPHYSICS-THE-POETICS-OF-AN-IMAGINARY- SCIENCE_C_Bok

(la scossa), its noise (le rumore), and its speed (la
velocitk).
Such an event implies that, from any havoc
wreaked by technology, there appears a route charted for
aesthetics.
Such a 'pataphysical epistemology values the
uniqueness, if not the randomness, of surprise itaelf.
Marinetti aligns Futurism with the modern advent of a
cyborganic philosophy, in which an industry for hybridizing
the anthropic and the machinic might parallel an artistry
for hybridizing the poetic and the noetic:
"[w]e cooperate
with Mechanics in destroying the old poetry" (1991:75) since
"[wle want to make literature out of the life of a motor"
(95)--"[t]o listen to motors and to reproduce their
conversation^'^ (96).
Futurism simply resorts to the
metaphor of the machine in order to depict metaphor as a
machine, arguing that, since "[nlothing is more beautiful
than a great humming central electric station[.. .,] panels
bristling with dials, keyboards, and shining commutators,"
literature must learn to embrace the novelty of such
technological modernization:
"[tlhese panels are our only
models for the writing of poetry" (106).
Metaphor quite literally becomes a literary device, a
mechanical conveyance, whose meaning descends etymologically
(if not metaphorically) from the concept of vehicle (as the