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

the carcrashes of Ballard):
delirious machinery that
revises the anomalos, the ssev~ia, and the clinamen through
its own machinic paralogy of shock, noise, and speed.
Marinetti drives an automobile recklessly in order to
declare that poetry must surrender itself to the Unknown:
"[such] words were scarcely out of my mouth when 1 spun my
car aroundl ...], and there, suddenly, were two cyclists
coming toward me, shaking their fists, wobbling like two
equally convincing but nevertheless contradictory arguments"
(1991:48). The cyclists pose a "stupid dilemma" (48),
requiring the motorist to swerve awey from them into a
ditch--an abject locale, where the poet in euphoria
proclairns a manifesto in favour of such disasters.
The
carcrash provides an allegory for an exorbitant spectacle of
avoidance, in which every poetic device must act like an
updated machine (a roadster) thet veers away from the
pass(ism- of an outdated vehicle (a bicycle): ''[ploetry must
be conceived as a violent attack on unknown forces" (49).
Marinetti invokes the tropes of Jarry in order to fuse
science with poetry, but ironically enough, Jarry is himself
a notorious cyclist, who portrays a pair of supermen on