As an introduction to the Futurist manifesto Marinetti recounts a night spent discussing, debating, scribbling, and driving with his friends. At the opening the traditional sounds of their city, canals and creaking timber, are juxtaposed with the roar of automobiles and the might of a passing tram. Suddenly, inspired to "shake at the gates of life," Marinetti leads his companions to their cars and they take off on a joyride through the city.
Disaster strikes, however, and in order to avoid two cyclists Marinetti rolls his car into a mud filled ditch. He survives and surfaces to feel "the white-hot iron of joy deliciously pass through my heart." A crowd assembles and together they rescue the car from what they assume to be its grave. Marinetti has more confidence and is vindicated and excited when it starts first try. They take off again, having gotten what they desired, danger, but like addicts only desiring more.
In the manifesto itself the Futurists make explicit their love of danger and "speed." They don't love technology itself, but rather the "speed" it makes possible. Really, they're expressing love for excitement and risk. "Speed" functions to describe experiences defined by these two things, and is synonymous with anything adrenaline inducing. Both when Marinetti himself emerges and when his car is rescued and revived, the joy he expresses is actually excitement at being able to do it all again. He is not celebrating the events themselves, but the potentially for more "speed," more adrenaline.
Likewise, the love Marinetti feels for his car, which is rooted in the possibilities it creates, is only strengthened by its survival and thereby the survival of these possibilities. In demonstrating its robustness the car, already portrayed as a beast greater than man in its strength, endears itself to its owner and driver. The windows it opens remain open.
Disaster strikes, however, and in order to avoid two cyclists Marinetti rolls his car into a mud filled ditch. He survives and surfaces to feel "the white-hot iron of joy deliciously pass through my heart." A crowd assembles and together they rescue the car from what they assume to be its grave. Marinetti has more confidence and is vindicated and excited when it starts first try. They take off again, having gotten what they desired, danger, but like addicts only desiring more.
In the manifesto itself the Futurists make explicit their love of danger and "speed." They don't love technology itself, but rather the "speed" it makes possible. Really, they're expressing love for excitement and risk. "Speed" functions to describe experiences defined by these two things, and is synonymous with anything adrenaline inducing. Both when Marinetti himself emerges and when his car is rescued and revived, the joy he expresses is actually excitement at being able to do it all again. He is not celebrating the events themselves, but the potentially for more "speed," more adrenaline.
Likewise, the love Marinetti feels for his car, which is rooted in the possibilities it creates, is only strengthened by its survival and thereby the survival of these possibilities. In demonstrating its robustness the car, already portrayed as a beast greater than man in its strength, endears itself to its owner and driver. The windows it opens remain open.
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