O Hal Foster, Prosthetic Gods, 4 5, 20 , , Marshall McLuhan, . Foster, , , , , 1. , , , , , , 2. Foster , , 3, . Foster, , .4 Foster , . , , , , , , , . , , , , Foster . , , , Laszlo Moholy-Nagy, , , . , , , , , . Bauhaus .

, , 3, . Foster, , .4 Foster , . , , , , , , , . , , , , Foster . , , , Laszlo Moholy-Nagy, , , . , , , , , . Bauhaus . Foster, Bauhaus , , , , 6. , ,

1 2

Foster, Hal, Prosthetic Gods, Cambridge: The MIT Press, 2004, . 109 .., . 110 3 .., . 110 4 .., . 110 5 .., . 113 6 .., . 113

 . , Foster , 7. Foster, , F. T. Marinetti Wyndham Lewis , . Marinetti Lewis, Foster , , , , , , [] .8 Marinetti, Foster, . , , Marinetti : Technical Manifesto of Futurist Literature (1912) , Geometric and Mechanical Splendor and the Numerical Sensibility(1914) (M 97), Tactilism(1924) .9 , Foster , parole in liberta or words-in-freedom (fig. 3.4), Marinetti , , .10 Foster, 11. , , Marinetti , , (M 144), Multiplied Man and the Reign of the Machine War, The Worlds Only Hygiene (1911-15) , .12 , Marinetti Jean-Baptiste Lamarck (1744-1829), .13 Foster Marinetti, ,
7 8

.., . 149 .., . 118 9 .., . 121 10 .., . 122 11 .., . 122 12 .., . 122 13 .., . 122

 , , : (M 91).14 , Wyndham Lewis . The Physiognomy of Our Time Lewis , (CD 7778). Foster Lewis , , .15 Lewis , , (CD 7374). Foster, , . Marinetti , , Foster, () , , .16 Marinetti , .17 , Lewis , . . , , Lewis. , Foster, , , .18 Marinetti Lewis . Foster : - - , , , . (figs. 3.8, 3.9), (fig.

3.10).19 Foster Lewis

. The Vorticist (1912; fig. 3.11), , ( ), Vorticist Design (c. 1914; fig. 3.12), -
14 15

.., .., 16 .., 17 .., 18 .., 19 ..,

. . . . . .

122 143 119 125 134 131

 , The Enemy of the Stars (1913; fig. 3.13) : Foster, , , .20

In this way Marinetti conceives technology not as a violation of body and nature but as a means to reconfigure both as better than new, more than whole. Again, this is a fetishistic operationto turn an agent of a trauma into a shield against this same traumabut as such it presents Marinetti with a problem. 124 .
(high) : . 21 (embrace technology), , : , .
Nevertheless, both positions, left and right, have one thing in common: they all appear to be haunted by the spectre of the damaged body of the worker-soldier. The same is true of the interwar critique of technology in the dysfunctional male figures of Dada and the dismembered female figures of surrealism (the former sometimes evokes this damaged body almost directly).13.
22

Marinetti Lewis . Marinetti , - Lewis , , , , (fig. 3.5).23 [].

24

In the same period, Freud used the terms binding (Bindung) and unbinding (Entbindung) to describe the different states of instinctual energy in the human subject: bound, submitted to control, or unbound, open to discharge. In his account of the individual, the first object of binding is the ego, which in turn becomes the primary agent of further binding. If the ego is breached in situations of shock, the process of integration is threatened: hence the imperative to shield the ego before its breaching, or to shore it up afterwards. It is largely in relation to such shock, real and fantasmatic, experienced and imagined, that Marinetti and Lewis develop their early models of art and subjectivity. But binding and unbinding not only concern the ego understood as an energistic entity under pressure from within and without; they also bear on the ego understood as a bodily image whose inside and outside are always in doubt. For Freud the ego is first and foremost a bodily ego . . . a projection of a surface; the subject is founded in this projection, in an identification with this body image.15 Lacan pushes this account further: as this bodily image is external, it is seen as somehow other, and an identification with it is also an alienation from it. This alienation prompts a kind of aggressivity, which is the the correlative tendency of the narcissistic founding of the ego. On the one hand, the ego is constituted in part as armouring (Lacan uses this term in The Mirror Stage);on the other, it is driven in part by aggressivity.16

20 21 22

.., . 137

.., . 113-114 .., . 114 23 .., . 115 24 .., . 118

For both men this tension between binding and unbinding is often figured in the machine: it attracts them not for its utilitarian and productive possibilities but for its imagistic and energistic qualitiesand perhaps because it can image both the dynamism of the drives and the aggressivity of the ego.20

, words-infreedom (fig. 3.4). , , . Marinetti -, . / (physicalizing) . on declamation(1916) Marinetti , , (semaphores) (M 144). Multiplied Man and the Reign of the Machine War, the Worlds Only Hygiene (191115), , . Jean-Baptiste Lamarck (17441829), . Marinetti , : M 91)25 Marinetti , Lamarck, . , , , . Beyond the Pleasure Principle (1920), / . / (fiction) ( Freud Benjamin). , Georg Simmel, The Metropolis and Mental Life: (intellectuality) (The Sociology of Georg Simmel, ed. Kurt H. Wolff [New York:Macm illan, 1950], 410). , Ernst Junger (Bltter und Steine, 200). [ Marinetti Lewis Simmel Junger .] .
26

25 26

.., . 122 .., . 386

 Marinetti , :
27

Marinetti Beyond the Pleasure Principle . Marinetti , [] , . , (M 87), Marinetti . , , , . , - [] Marinetti , , , 28. , . (1867), : , . - , History and Class Consciousness (1923), Georg Lukacs - , : . Marinetti : , , (M 92), , 29. Marinetti [] 30. Marinetti , .31 Marinetti Beyond Communism (1920), , .
27 28

.., . 122 .., . 123 29 .., . 124 30 .., . 124 31 .., . 125

 , (M 148). Marinetti, , , . 32. , . Marinetti : , (M 149). .

In this way, the aesthetic of the phallus also becomes a politics of the fatherland in which the Italian peninsula is invoked as a libidinal image for a new collective ego In one word in- freedom titled Irredentismo (c. 1915; fig. 3.4), Marinetti shows the peninsula thrust north and east into Switzerland, Austria, and the Balkans, replete with futurist lines, battle cries, and patron names (such as Mazzini, the great leader of the Risorgimento). More than an irredentist Italy (with Italophonic regions absorbed into the nation), this is an Italy in aggressive advance (avanzata is typed across the arrows), even in ecstatic dissemination. Yet a tension remains between the demand for the firm circle of boundaries, individual and national, and the desire to exceed them. This tension is another instance of the double logic of discipline and transgression, defense and discharge, armoring and exploding, pronounced in Marinetti in particular and in fascism in general.50 Here, too, war is the primary resolution, psychic and political, that occurs to him: war, the worlds only hygiene. But who is to mold the flaccid human masses into this higher spiritual elegance of the fascist fatherland (M 154)? For Marinetti, the answer is obvious: We will have a race almost entirely composed of artists (M 156). The race is the fatherland, the fatherland is nothing but a vast party, and the party will solve the social problem artistically (M149, 156). This crossing of aesthetics and politics, of artistic purity and social hygiene, is ominous, especially where the language of spirituality is crossed with the technology of spectacle. Yet the party alone is not adequate as a libidinal object to mold the flaccid masses, for even fascist trappings need a particular body to hang on. This role must be assumed by the leader, and this is indeed how Mussolini was represented by artists, not all of them futurist, such as Alexander Schawinskyas a body who subsumes the body politic (fig. 3.6). This is how Marinetti celebrates him too, in Portrait of Mussolini (1929), where he identifies il Duce with Italy directly, because physically he is built allitaliana (M 158): carved out of the mighty rocks of our peninsula, his great gesture-fist-image-conviction embodies the cubic will of the state (M 159). Of course, Mussolini collaborated on this portrait with his self-conscious repertoire of phallic poses and dynamic expressions.51 Turgid torso, shaved head, a body like a projectile: if Italy is a militaristic peninsula, Mussolini is its warrior head, and he was imaged as such by R. A. Bertelli, E. M. Thayaht, and others (fig. 3.7). It is through this fetish of the body of the leader that the binding of the masses to the party and the fatherland is clinched. A marvelous Futurist temperament, Mussolini is here made a marvelous art work as well (M 159).52 sel.127

Marinetti, Lewis . Marinetti, , , , Lewis . Marinetti, Lewis , , Lewis . , , , , . , , , . , . , Lewis . , , : Marinetti , Lewis . : , ,
32

.., . 126

(figs. 3.8, 3.9). , , . , . : Marinetti , Lewis 33. , Marinetti , Lewis , : . , . , , (B 148).

( ), , .
, Worringer, , , [], , , - , , .. Worringer . Marinetti Lewis, / 34. , , (B 141)35.

, , , .
This tension is difficult to maintain, and especially in the early designs Lewis stresses the binding of the body image. At times this hardening seems to come from without, outside in, as in The Vorticist (1912; fig. 3.11), in which the body, pressed by external geometries, is abstracted as if under the stimulus-shock of the external world that defines it. At other times this hardening seems to come from within, inside out, as in Vorticist Design (c. 1914; fig. 3.12), in which the body is abstracted even further as if by its own internal drives. In one concentrated figure, The Enemy of the Stars (1913; fig. 3.13), these two hardenings seem to converge: on the one hand, with a head like a receiver, the figure appears reified from without, its skin turned into a shield; on the other hand, stripped of organs and arms, it appears reified from within, its ossature turned into a few abstract mechanical relations; in either case it looks the part of an enemy of the stars.65 .140

33 34

.., . 128,131 .., . 135 35 .., . 136

65. In a short play of the same title published in Blast, Lewis writes of the fate of personality: It is the one piece of property all communities have agreed it is illegal to possess. When mankind cannot overcome a personality, it has an immemorial way out of the difficulty. It becomes it. It imitates and assimilates that Ego until it is no longer one. . . . This is success (B 66).

, , . , Marinetti Lewis, . Lewis The Physiognomy of Our Time , , (CD 7778). , [] ( , , (CD 7374))36. , , , Lewis , : []37

Lewis
, . . . , , . Lewis : . , , , (WLA 210).38 Lewis , : . . , , , . Deadness is the first condition of art: the second is absence of soul, in the human and sentimental sense. With the statue its lines and masses are its soul, no restless inflammable ego is imagined for its interior: it has no inside: good art must have no inside: that is capital. Already in play here in 1914 are leitmotivs key to Lewis: the attack on psychological interiority as naked pulsing; the celebration of the uncanny deadness of the armored, the machinic, even the neoclassical (the statue);above all, the transformation of stimulus-shock into shield (hide, shell, feathers, machinery).

36 37

.., . 143 .., . 143-144 38 .., . 144

 Lewis , , / . , : , , . , : : , , (WB 158). Lewis : , . , , , . We are astonished and shocked, and we bark at himwe laughin order to relieve our emotion (MWA 95). , . Marinetti , Lewis [] , . .39 , Bauhaus[] , , , Marinetti Ernst Junger , . Max Ernst 1919-1920, / - (fig. 4.2). , Freud . (1914) (1920) Lacan. (1936/49) . 40 Hal Foster - 41. Max Ernst Some Data on the Youth of M.E. as Told by Himself (1942) [] . , Dadamax, . , , Ernst
39 40

.., . 149 Hal Foster, Prostetic gods . 153 41 . ., . 154

 /42. - , 43. Ernst - . : , , , , . [] , ,

44

, 1919, Schwitters: plates, pencil rubbings, , , and other stock elements of the printing trade, , . . - , 45. , , , , , , , , , Deleuze Guattari, . , Le Mugissement des froces soldats (The Roaring of Ferocious Soldiers) Trophe hypertrophique (Hypertrophic Trophy), - , (figs. 4.6, 4.7). , The Roaring of Ferocious Soldiers, , . , , . [] , Rube Goldberg , , - Marinetti Junger 47
42 43

46

. ., . 155 . ., . 156 44 . ., . 156 45 . ., . 161 46 . ., . 163 47 . ., . 163

 , Hypertrophic Trophy, . , , , - (hypertrophy) [] 48. - - [] ( ), [] 49. , Petite machine construite par lui-mme (Self-Constructed Little Machine) (fig. 4.2) () , , , print plates and pencil rubbings over blocks (letter and other), again all found at the Cologne printer. , . . Picabia Duchamp, Raymond Roussel. [] , , , . , , Marinetti50. , . Self-Constructed Little Machine , [] , [] . :
51

Ernst The Roaring of the Ferocious Soldiers Hypertrophic Trophy Self-Constructed Little Machine, That Makes Me Piss, and Farewell My Beautiful Land. , . Ernst : , - , [] .
52

48 49

. ., . 166 . ., . 166-167 50 . ., . 167-168 51 . ., . 168-169 52 . ., . 172

 Junger, Marinetti, Wyndham Lewis, [] , [] (general faith) 53 , . , , , [] , , , , . [] 54. Ernst , [] , . / (abstract) / , . , , . : (e.g. some of the late Architekton models of the suprematist Kazimir Malevich, or some of the New Babylon drawings of the situationist Constant). , Ernst, Marinetti Junger, Tatlin Lissitzky55

, , , . Ernst regressive , 56. , , , - -, . [] , [] : ,

53 54

. ., . 172 . ., . 173 55 . ., . 173 56 . ., . 173-174

, Lissitzky. , ( ) 57. , Lukacs History and Class Consciousness (1923) . [] Lukacs , , () . Fiat modes Ernst 58. Ernst. [] Ernst [] ( ;). [] : : (modality), . Ernst () , (assembly line) [] . . (fig. 4.2) [] , Self-Constructed Little Machine, vademecum mobile be all warned, and Canalization of Refrigerated Gas (c. 191920). , , . , , . Duchamp Andre Breton , , .

On Some Motifs in Baudelaire(1939), Benjamin ;. , : . , Benjamin. , , ,

57 58

. ., . 183-184 . ., . 184

, . Ernst , Self-Constructed Little Machine (fig. 4.2) , . 1870, , Ernst (in his later collagenovels he uses related illustrations drawn from the scientific magazine La Nature, where Marey published his images). , 19 20. Ernst - . , , . , \ , - / , , 59.

Once more, in the schizophrenic language of a subject damaged by the process, the inscription points to the evolution of a new kind of man, with a new sort of nervous system armored, mechanical, mass, sterile, constructed out of standard parts and commodity images, a mass ornament of one.59

59

. ., . 186