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Mecánico Hijo de Marinetti (traducción de texto en el progreso)

Filippo Tommaso Marinetti (Alejandría, Egipto, 22 de diciembre de 1876 – Bellagio, Como, 2 de diciembre de 1944)

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Las obras escritas en este momento - en particular, Mafarka Le Futuriste [1910]- abundan con de las imágenes a la procreación non sexual, de manera coherente en la eliminación de la figura de la madre feminiza. Esta tendencia se expresa mediante programación en duras críticas de Marinetti "Contra Amore y el Parlamentarismo", en "La Guerra - única Higiene del Mundo" Bueno, entonces: Confieso que antes de un espectáculo tan embriagador de que pronto nos fuertes Futuristas, de repente nos encontramos separados de las mujeres, que de repente a ser demasiado terrenal, o por mejor decir, se han convertido en un símbolo de la tierra, que debemos abandonar. Incluso hemos soñado una día ser capaces de crear un hijo mecánico, fruto de la pura voluntad, una síntesis de todas las leyes que la ciencia está al borde de descubrir. "(Marinetti SW, p75)

FT Marinetti's "Mechanical Son" and Manifesto of Tactilism (1921)

Likewise, works written at this time - most notably, Mafarka Le Futuriste - abound with images and nonsexual procreation, consistently eliminating the figure of the effeminizing mother. This tendency is expressed programmatically in Marinetti's railings "Against Amore and Parliamentarism" in "War, the World's Only Hygiene": Well then: I confess that before so intoxicating a spectacle we strong Futurists have suddenly felt ourselves suddenly detached from women, who have suddenly become too earthly, or to express it better, have become a symbol of the earth that we ought to abandon. We have even dreamed of one day being able to create a mechanical son, the fruit of pure will, a synthesis of all the laws that science is on the brink of discovering." (Marinetti SW, p75)   

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The regulation  of sexuality envisaged in this early work, written in the heyday of the productive model of the machine metaphor, is extremely strict: sex serves the function of procreation. Desire is machinic insofar as it motivates (re-)production. 

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Again, it is with a reference to the organizing metaphor of the machine that one can begin to understand the shift to a degenitalized sensuality. If the early machine concentrates sexual energies on the act of procreation, then the dissociation of the machine from the act of production - its utilization as a model of order rather than as a principle of proliferation - results in a celebration of the technology of creation and necessarily dissociates sexuality from the act of procreation. Sexuality itself becomes the exercising of a power rather than the creation or regeneration of a power in the act of procreation. Thus the "dispersed" sexuality of the Tactilism Manifesto [1921] - though subversive or progressive when viewed purely in terms of discursive divisions that take no account of the subjugation of ideology to the machine metaphor - corresponds to a shift in Marinetti's understanding of the function of the machine and gives expression not to liberational impulses but to an ideology of control at the level of the body. The "efficiency" of the body as machine does not consist, here, in its productivity, but in its full utilization, its functioning at full capacity, every orifice plugged and every inch of epidermis aroused.

Fascist Modernism: Aesthetics, Politics and the Avant-Garde by Andrew Hewitt. Pg 150 - 51. ISBN#