Published as a leaflet by Direzione del Movimento Futurista (Milan) January 11, 1913 (a reply to press comment on lectures given by the writer at the 1912 Futurist exhibition in Brussels and Paris)
This English-language translation COPYRIGHT ©1973 Thames and Hudson Ltd, London. All rights reserved.
Source for translation by J. H. Higgitt reproduced below:
Apollonio, Umbro, ed. Documents of 20th Century Art: Futurist Manifestos. Brain, Robert, R.W. Flint, J.C. Higgitt, and Caroline Tisdall, trans. New York: Viking Press, 1973. 70-74.
Futurist Manifesto of Lust by Valentine de Saint-Point
A reply to those dishonest journalists who twist phrases to make the Idea seem ridiculous;
to those women who only think what I have dared to say;
to those for whom Lust is still nothing but a sin;
to all those who in Lust can only see Vice, just as in Pride they see only vanity.
Lust, when viewed without moral preconceptions and as an essential part of life’s dynamism, is a force.
→→Lust is not, any more than pride, a mortal sin for the race that is strong. Lust, like pride, is a virtue that urges one on, a powerful source of energy.
→→Lust is the expression of a being projected beyond itself. It is the painful joy of wounded flesh, the joyous pain of a flowering. And whatever secrets unite these beings, it is a union of flesh. It is the sensory and sensual synthesis that leads to the greatest liberation of spirit. It is the communion of a particle of humanity with all the sensuality of the earth.
→→LUST IS THE QUEST OF THE FLESH FOR THE UNKNOWN, just as Celebration is the spirit’s quest for the unknown. Lust is the act of creating, it is Creation.
→→Flesh creates in the way that the spirit creates. In the eyes of the Universe their creation is equal. One is not superior to the other and creation of the spirit depends on that of the flesh.
→→We possess body and spirit. To curb one and develop the other shows weakness and is wrong. A strong man must realize his full carnal and spiritual potentiality. The satisfaction of their lust is the conquerors’ due. After a battle in which men have died, IT IS NORMAL FOR THE VICTORS, PROVEN IN WAR, TO TURE TO RAPE IN THE CONQUERED LAND, SO THAT LIFE MAY BE RE-CREATED.
→→When they have fought their battles, soldiers seek sensual pleasures, in which their constantly battling energies can be unwound and renewed. The modern hero, the hero in any field, experiences the same desire and the same pleasure. The artist, that great universal medium, has the same need. And the exaltation of the initiates of those religions still sufficiently new to contain a tempting element of the unknown, is no more than sensuality diverted spiritually towards a sacred female image.
ART AND WAR ARE THE GREAT MANIFESTATIONS OF SENSUALITY; LUST IS THEIR FLOWER. A people exclusively spiritual or a people exclusively carnal would be condemned to the same decadence—sterility.
→→LUST EXCITES ENERGY AND RELEASES STRENGTH. Pitilessly it drove primitive man to victory, for the pride of bearing back a woman the spoils of the defeated. Today it drives the great men of business who run the banks, the press and international trade to increase their wealth by creating centers, harnessing energies and exalting the crowds, to worship and glorify with it the object of their lust. These men, tired but strong, find time for lust, the principal motive force of their action and of the reactions caused by their actions affecting multitudes and worlds.
→→Even among the new peoples where sensuality has not yet been released or acknowledged, and who are neither primitive brutes nor the sophisticated representatives of the old civilizations, woman is equally the great galvanizing principle to which all is offered. The secret cult that man has for her is only the unconscious drive of a lust as yet barely woken. Amongst these peoples as amongst the peoples of the north, but for different reasons, lust is almost exclusively concerned with procreation. But lust, under whatever aspects it shows itself, whether they are considered normal or abnormal, is always the supreme spur.
→→The animal life, the life of energy, the life of the spirit, sometimes demand a respite. And effort for effort’s sake calls inevitably for effort for pleasure’s sake. These efforts are not mutually harmful but complementary, and realize fully the total being.
→→For heroes, for those who create with the spirit, for dominators of all fields, lust is the magnificent exaltation of their strength. For every being it is a motive to surpass oneself with the simple aim of self-selection, of being noticed, chosen, picked out.
→→Christian morality alone, following on from pagan morality, was fatally drawn to consider lust as a weakness. Out of the healthy joy which is the flowering of the flesh in all its power it has made something shameful and to be hidden, a vice to be denied. It has covered it with hypocrisy, and this has made a sin of it.
→→WE MUST STOP DESPISING DESIRE, this attraction at once delicate and brutal between two bodies, of whatever sex, two bodies that want each other, striving for unity. We must stop despising Desire, disguising it in the pitiful clothes of old and sterile sentimentality.
It is not lust that disunites, dissolves and annihilates. It is rather the mesmerizing complications of sentimentality, artificial jealousies, words that inebriate and deceive, the rhetoric of parting and eternal fidelities, literary nostalgia—all the histrionics of love.
→→WE MUST GET RID OF THE ILL-OMENED DEBRIS OR ROMANTICISM, counting daisy petals, moonlight duets, heavy endearments, false hypocritical modesty. When beings are drawn together by a physical attraction, let them—instead of talking only of the fragility of their hearts—dare to express their desires, the inclinations of their bodies, and to anticipate the possibilities of joy and disappointment in their future carnal union.
→→Physical modesty, which varies according to time and place, has only the ephemeral value of a social virtue.
→→WE MUST FACE UP TO LUST IN FULL CONSCIOUSNESS. We must make of it what a sophisticated and intelligent being makes of himself and of his life; WE MUST MAKE LUST INTO A WORK OF ART. To allege unwariness or bewilderment in order to explain an act of love is hypocrisy, weakness and stupidity.
→→We should desire a body consciously, like any other thing.
→→Love at first sight, passion or failure to think, must not prompt us to be constantly giving ourselves, nor to take beings, as we are usually inclined to do so due to our inability to see into the future. We must choose intelligently. Directed by our intuition and will, we should compare the feelings and desires of the two partners and avoid uniting and satisfying any that are unable to complement and exalt each other.
Equally consciously and with the same guiding will, the joys of this coupling should lead to the climax, should develop its full potential, and should permit to flower all the seeds sown by the merging of two bodies. Lust should be made into a work of art, formed like every work of art, both instinctively and consciously.
→→WE MUST STRIP LUST OF ALL THE SENTIMENTAL VEILS THAT DISFIGURE IT. These veils were thrown over it out of mere cowardice, because smug sentimentality is so satisfying. Sentimentality is comfortable and therefore demeaning.
→→In one who is young and healthy, when lust clashes with sentimentality, lust is victorious. Sentiment is a creature of fashion, lust is eternal. Lust triumphs, because it is the joyous exaltation that drives one beyond oneself, the delight in possession and domination, the perpetual victory from which the perpetual battle is born anew, the headiest and surest intoxication of conquest. And as this certain conquest is temporary, it must be constantly won anew.
→→Lust is a force, in that it refines the spirit by bringing to white heat the excitement of the flesh. The spirit burns bright and clear from a healthy, strong flesh, purified in the embrace. Only the weak and sick sink into the mire and are diminished. And lust is a force in that it kills the weak and exalts the strong, aiding natural selection.
Lust is a force, finally, in that it never leads to the insipidity of the definite and the secure, doled out by soothing sentimentality. Lust is the eternal battle, never finally won. After the fleeting triumph, even during the ephemeral triumph itself, reawakening dissatisfaction spurs a human being, driven by an orgiastic will, to expand and surpass himself.
→→Lust is for the body what an ideal is for the spirit—the magnificent Chimaera, that one ever clutches at but never captures, and which the young and the avid, intoxicated with the vision, pursue without rest.
→→LUST IS A FORCE.



Hi Jessica!
I’m Leo, the italian comicbook artist, do you remember of me?
This blog is very cool and interesting!
Nice job!
Cheers!
Great. I love how the poliziotto takes a photo. The Trevi Fountain stun was cooler. I suppose the question is, which came first – this, or the Sony commercial?
http://www.youtube.com/watch?v=YvgXXazRGHQ
I think I’d go for the Alcoholic Joust. Fire In The Mouth sounds a bit much.
I volunteered during PERFORMA 07, and while I got to take part in Yvonne Rainer’s “Ros Indexical” at the Hudson Theatre (where I saw Baryshnikov for the first time), and helped consruct a rectangular, roofless igloo in Cooper Square, I also had to sit through a lot of stuff which was at best ridiculous nonsense (He Yunchang’s naked “Mahjong”), at worst pretentious and lazy drivel (Ulla Von Brandenburg’s “La Maison”). Let’s hope PERFORMA 09’s more defined manifesto weeds out some of the lesser works ensuring a more coherent event.
Futurist Nikes? Personally I still prefer Marty McFly’s…
http://www.mcfly2015.com/
Well, how did it go?
Locals in Vigevano say the town’s long main square is Italy’s second most beautiful piazza after “Il Campo” in Siena — suggesting its inhabitants are proud but also realistic. I went to Vigevano a few times when I was living in Pavia, and while it is a nice baroque square (with an arcade running on three sides), I can think of a couple more piazze in Rome that would shunt it even further down the list.
Nice to hear that Futurism will be honored in the USA. Is it too late to participate in this annual conference? My interest in Futurism is limitless and I could propose a paper about Futurism in America 1915-1955. Please let me know Best to you. Dr. Jean-Pierre Andreoli-de Villers, University of Windsor.
I suppose that the city has never gotten over Marinetti, Boccioni, Carra and Russolo’s manifesto of April 27, 1910, “Contro Venezia passatista”.
Vuoi consultare il programma della manifestazione FUTUROMA comodamente sul cellulare a COSTO ZERO?
Collegati alla pagina
http://www.funweek.it/Home/Futuroma/?m=150
e scarica l’applicazione java dedicata al Futurismo con tutti gli eventi della manifestazione.
Il serivzio è totalmente gratuito!
Hi Jessica,
Happy Centenary. In honour of the celebration, we hereby share a small update on Thames & Hudson 1973 sloppy historiography and piss-poor translation.
Thames & Hudson 1973 claim, that the following is Marinetti’s seminal moment of conception of Futurism when his car overturns into a ditch,
“I gulped down your nourishing sludge; and I remembered the blessed black BEAST of my Sudanese nurse… ”
Alert readers will sense something wrong: reference to a wet-nurse is more likely to refer to a BREAST, not a beast. I checked the original; and indeed, Marinetti wrote ‘MAMELLE’ (in English: breast, mammary)
Original French text:
http://www.italianfuturism.org/fondation-et-manifeste-du-futurisme/
Reading the French, I was even more astounded the original is so much more sensual and full of graphic erotic detail,
“J’ai savouré a pleine bouche ta boue fortifiante qui me rappelle la sainte MAMELLE noire de ma nourrice soudanaise!”
A far more accurate translation of that would be:
“I SAVOURED FULLY IN MY MOUTH your fortifying mud that recalled to me the sacred black breast of my Sudanese wet-nurse.”
With an eye to historic, artistic, social and poetic purpose (not to mention transparency, critical integrity, and avoiding intentional malignance or negligent demeaning aspersion on Sudanese and female breasts), it’s fair to say ‘beast’ evokes vastly different connotations than ‘breast.’
(And make no mistake: there’re many good French words for beast, like ‘bête’ or ‘fauve’; certainly not ‘mamelle’.)
With an eye to Marinetti’s disdain of consider the irony of the translators and their times. It’s not impossible in 1973 that Thames & Hudson was still labouring under such extreme prurience that it could not bring itself to put into print such FUTURIST words as, well, ‘ breast’. T&H may have consciously explicitly chosen a well-serving typo and/or unconsciously been guided by prurience.
In all events, best wishes to one & all for a fulfilling futurist centenary.
In occasione del Centenario della pubblicazione del primo manifesto futurista, NetFuturismo ha steso e pubblicato sul sito http://www.netfuturismo.it il manifesto DOBBIAMO UCCIDERE IL FUTURISMO!, l’unica risposta credibile per rilanciare lo spirito futurista nel XXI secolo. Contro il recupero passatista del Futurismo del secolo scorso, contro il vuoto presentista delle attuali proposte avanguardistiche, NetFuturismo propone di aggiornare il Futurismo alla luce della rivoluzione neotecnologica in atto. Per questo motivo è necessario in primo luogo scrollarsi di dosso il ricordo nostalgico delle sperimentazioni futuriste, sperimentazioni adatte al mondo di 100 anni fa, non certo al nostro. Chiunque abbia compreso davvero la portata del messaggio del Futurismo, chiunque ami il Futurismo, oggi deve ucciderlo.
http://www.netfuturismo.it
Happy Centenary! Have been thinking of you all day — wish I could have gotten over to MoMA to mark the occasion!
http://www.bdgest.com/critiques/images/couv/72401.jpg
I expect photos.
Visit http://www.marchesacasati.com/ the official site of Futurist muse the Marchesa Luisa Casati.
Love the shoes… and the site’s new look!
Thanks for the shout-out JP! Can you divulge any on what might constitute Futurist wine?
Ci mancherai…LUCE
e con te tutti i futuristi che già se ne sono andati_ purtroppo.
Andrea Carlo Alpini
Alberto Rusconi
Andrea Galli
Mercoledì 24 giugno 2009
ORE 10.11
CIMITERO MONUMENTALE, Milano
CAMPO IV
di fronte
Tomba F.T. Marinetti
21 SECONDI DI SILENZIO PER LUCE
Andrea Carlo Alpini
Alberto Rusconi
Andrea Galli
eseguiranno il “Silenzio” per la recente scomparsa di LUCE MARINETTI,
ultima futurista vivente che ci ha lasciato nel giorno del Solstizio d’estate, il 21 giugno 2009.
A seguire saranno proposti quattro brani futuristi:
L U C E
Poema e pianto per FT Marinetti
Rossi guanti di velluto
Figlia del cielo
un atto dovuto…
visto l’eredità che ci hanno lasciato, e la passione con cui continuiamo la loro opera…
Gent. Jessica Palmieri,
Vorrei segnalare agli studiosi di futurismo la raccolta di opere digitalizzate della Collezione ‘900 Sergio Reggi, che è pubblicata sul nostro sito del Centro Apice (Archivi della Parola, dell’Immagine e della Comunicazione editoriale) dell’Università degli Studi di Milano. Si tratta di circa 5000 pagine consultabili tra periodici, opuscoli e manifesti futuristi.
Ringraziandola per l’attenzione, invio cordiali saluti,
Valentina Zanchin
hallo Cinema Bizarre fans!!
meine tickets habe ich bei fanfusion.de gekauft!!
bei fanfusion.de findet ihr noch karten für alle konzerte!!
Quite interesting. Nice work done to the palace but without Peggy, something is missing!! I visited this place in the late seventies with Luce Marinetti. It was quite derelict but the art was then fantastic. A few more Futurist pieces, please!. Best. Jean-Pierre de Villers, Windsor.
I am so doing this.
Great idea, Jessica.
Hello, where can I get my hands on this book!!!! Writing my thesis this year on Umberto and would love to have this to add to my work.
Is it english or Italian?
thank you….
Wowza. Anyone who can procure all the ingredients for the More-Less-by-Division is a hero to me…
No Pan Galactic Gargle Blaster? For shame!
I love how there’s a restaurant in Florence called “Ganzo”…
Dear James,
Actually it is not only a restaurant, it is a cultural association of students attending both Apicius International School of Hospitality and Florence University of the Arts.
It is an ACLI association, and yearly membership is available for everybody.
For more information, pls contact: info@ganzoflorence.it or visit the website: http://www.ganzoflorence.it
Tnx and pass by if you wish – Molecular Cuisine is quite an experience…
Thanks for the link back to my blog’s links! I’ll have some more futurist stuff posted in the next few months.
Hello Jessica, I was on your site and on typing manifestoes, I did not see anything between 1916 and 1933 !! A lapse? A technical mishap????? Marinetti is not happy!. Please correct. J.P.
Hello,
Je trouve votre projet fantastique. Bonne continuation.
See you.
It is a strange story. Most of Marinetti’s papers are at Yale. These are easily available for consultation. Those at the Getty seem to be burried in a vault and no copies have been offered to the general public. Something needs to be done, especiallly the notebooks of the very young FTM. Most of the contents should be put on the internet. Free. JpdV
Fried Ilona, Modern olasz irodalom: Problémák, művek, dokumentumok, HEFOP pályázat, ELTE. BTK, Budapest, 2006, pp. 17-25
Fried Ilona, Száz év botrány – a futurizmus, „Élet és Irodalom”, 2009. augusztus 14, p. 17.
Fried Ilona, Sua Eccellenza Presidente. Pirandello and the Convegno Volta, „Pirandello Studies” n° 29, 2009
Fried Ilona, Beszélgessenek Marinettivel! Kiállítások a futurista kiáltvány 100. Évfordulóján,„Criticai Lapok” n° 12, 12/2009, pp. 1-3.
Still the nicest site about Futurism. Maybe you could add a section where people could upload documents about Futurism. I have a mountain of unpublished pages of FTM. Best to you. Jean-Pierre de Villers
ARCHIVIO DELLA DISLOCAZIONE/DISPLACEMENT’S ARCHIVES
Archivio della dislocazione documenta il trasferimento continuo di ognuno di noi. Ai partecipanti al progetto viene richiesto di realizzare fotografie personali nel contesto di altri panorami, esibendo nella mano la cartolina del proprio luogo di provenienza.Displacement’s archives document the continuous transfer of itself. To each of the participants to the project it is in demand to realize photos of itself in the context of various panoramas, exhibiting in the hand the postcard of his/her own place of origin.
ES PRODUZIONI 2009
http://dislocazione.altervista.org
My Father’s brother was Mario Buggelli,can you give me as much information
on him as you can.Thank you.
James Buggelli Houston Texas
Bonjour Jessica. Where in Brooklyn?? Best of best, JPadV University of Windsor, home of the Futurists.
Clinton Hill!