relativist phantomogeny

Pessoa addressed a letter to Marinetti, and since I’ve posted on both of them, thought it might be nice to end the Pessoa postings on this note.

Pessoa formulates his critique of Marinetti around a conception of history and the Infinite: “It seems to me that your idea of history is too little futurist, and that you figure to yourselves a far too regular historic development. In evolution we do not find a regularly ascending line; on the contrary, development takes place in a violent and cataclysmic manner, in which gains are acheived only through fundamental losses. And all this occurs in a very labyrinthic manner which produces vvertigo: Here you have real futurism in history. In the Infinite, which is the supreme futurist aspiration, all values should be realized without the possibility of the loss of any of them […] It is therefore necessary that the Future should be the supreme synthesis of all that has been lost and of all that exists still, so that it may engender the Infinite.”

It goes on like that for a bit, the point being that futurism has been too “exclusive” and that the Infinite all elements must be included becasue the “Infinite is continuous, is pure Unity all through the fact of being Multiplicity.”

This leads Pessoa to a definition of Life (and he goes completely over the edge) : “a relativist phantomogeny where there is but Indecision, where there is but Vertigo, impregnates itself with Void as well as with Absolute, which is pure Existence, pure creative animism […] This Astral Void, this altogether animistic Void-Infinity, this Void-Phantom in Vertigo (in labyrinthizing-Vertigo) is as awful as it is sublime, being the pure Essence of Life […] The rule of the Void in a pure spirit of Relative-Creating, the Indecision-Vertigo of all, the pure gliding of forms-phantoms which are lost each in another in an altogether labyrinthic manner, in a manner distinctly vertigic, all this is markedly futuristic.”

YEAH. Perhaps we can push here: the heteronyms as an attempt towards inclusivity, to engender the Infinite and be truly “futuristic” – the “supreme synthesis” that is dramatized by the heteronymic project, which embodies the “relativist phantomogeny” of self and concsiousness of self (sensation).

His critique of Marinetti:

“Like you, I condemn simple rationalism; yet me opinion is that we must beyond it. Now to go beyond it, and thus to attain the Infinite, we must traverse it first. The simple intuition, or rather the simple immediate impression of things, is not enough. We must know, understand, feel altogether purely the intimite (inner) reason of things, and how they are engendered (produced). Futurism seeks […] only their physical, outer, superficial and empirical reason, and not their metaphysical, intimate, deep abysmic one!”

The futurist sensibility betrays the “futurist aspiration” of attaining the Infinite because it does not consider all thoughts. The heteronymic project, on the other hand, aims to dramatize – in its “Relative-Creating” – the inclusion of the relative phantoms (the others that the I is in its levels of lyric becoming) into a labyrinthine engendering of the truly futuristic.

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