The Manifesto of Tactilism

In the same genre as: The Qualia Manifesto, Rainbow God, The Super-Shulgin Academy, Perfumery as an Art Form, and Harmonic Society. [April 13 Note: I’m sharing this manifesto because of the extraordinary extent to which it values an often-disregarded qualia variety in a systematic and enthusiastic way. It is in no way in support of the politics or behaviors of its author.]

The Manifesto of Tactilism

by F.T. Marinetti
Milan, 11 January 1921.

Read at the Theatre de I’Oeuvre (Paris), the World Exposition of Modern Art (Geneva), and published inComoedia in January 1921

Futurism, founded by us in Milan in 1909, gave to the world a hatred of the Museum, the Academy and Sentimentalism; it gave the world Action-Art, the defence of youth against all senility, the glorification of illogical and mad innovative genius, the artistic sensibility of mechanisation, of speed, of the music hall, and of the simultaneous interpenetration of modern life, words in freedom, plastic dynamism, noise-intoners, synthetic theatre. Futurism today redoubles its creative effort.

Last summer, at Antignano, where the street named after Amerigo Vespucci, discoverer of America, curvingly coasts along the sea, I invented Tactilism. Red flags waved from the workshops taken over by the workers.

I was naked in the silky water that was torn by rocks, foamy scissors knives razors, among the iodine-filled mattresses of seaweed. I was nude in the sea of flexible steel, which had a fertile and virile breathing. I drank from the goblet of the sea filled to the rim with genius. The sun, with its long roasting flames, vulcanised my body and bolted the keel of my forehead rich with sails. A working-class boy, Who smelled of salt and hot stone, looked, smiling, at my first tactile board:

Having fun making little boats?!

I answered: “Yes, I’m building a craft that will take the human spirit to unknown waters.” Here are my reflections, the reflections of a swimmer: The unrefined and elemental majority of men came out of the Great War concerned only to conquer a greater material well-being. The minority, composed of artists and thinkers, sensitive and refined, instead displays the symptoms of a deep and mysterious ill that is probably a consequence of the great tragic exertion that the war imposed on humanity.

This illness displays, as symptoms, a sad listlessness, an excessively feminine neurasthenia, a hopeless pessimism, a feverish indecision of lost instincts, and an absolute lack of will.

The rough and elemental majority of men tumultuously hurls toward the revolutionary conquest of the Communist paradise and definitively storms the problem of happiness, convinced that it has solved it by satisfying all material needs and appetites.

The intellectual minority ironically scorns this breathless attempt, and no longer enjoying the ancient pleasures of Religion, of Art, of Love, which previously constituted its privilege and its shelter, brings life, which it no longer knows how to enjoy, to a cruel trial, and abandons itself to refined pessimism, sexual inversions, and to the artificial paradises of cocaine, opium, ether, etc. That majority and this minority both denounce Progress, Civilisation, the mechanical powers of Speed, of Comfort, of Hygiene, Futurism in short, as being responsible for their past, present, and future misfortunes.

Almost everyone proposes a return to a savage life, contemplative, slow, solitary, far from the hated cities.

As for us Futurists, we who bravely face the agonising drama of the post-war period, we are in favour of all the revolutionary attacks that the majority will attempt. But, to the minority of artists and thinkers, we yell at the top of our lungs: Life is always right!
The artificial paradises with which you attempt to murder her are useless. Stop dreaming of an absurd return to the savage life. Beware of condemning the superior powers of society and the marvels of speed. Heal, rather, the illness of the post-war period, giving humanity new and nutritious joys. Instead of destroying human throngs, it is necessary to perfect them. Intensify the communication and the fusion of human beings. Destroy the distances and the barriers that separate them in love and friendship. Give fullness and total beauty to these two essential manifestations of life: Love and Friendship.

In my careful and anti-traditional observations of all the erotic and sentimental phenomena that unite both sexes, and of the no-less-complex phenomena of friendship, I have understood that human beings speak to each other with their mouths and with their eyes, but do not manage a true sincerity because of the lack of sensitivity of the skin, which is still a mediocre conductor of thought.

While eyes and voices communicate their essences, the senses of touch of two individuals communicate almost nothing in their clashes, intertwining, or rubbing. Thus, the need to transform the handshake, the kiss, and the coupling into continuous transmissions of thought.

I started by submitting my sense of touch to an intensive treatment, pinpointing the confused phenomena of will and thought on various points on my body, and especially on the palms of my hands. This training is slow but easy, and all healthy bodies can, through this training, give surprising and exact results.

On the other hand, unhealthy sensibilities, which draw their excitability and their apparent perfection from the very weakness of the body, will achieve great tactile power less easily, without duration or confidence. I have created a first educational scale of touch, which is, at the same time, a scale of tactile values for Tactilism, or the Art of Touch.

First scale, level, with four different categories of touch.

First category: extremely confident touch, abstract, cold.

  • Sandpaper,
  • Silver-coated paper.


Second category: touch without heat, persuasive, reasoning.

  • Smooth silk,
  • Silk crepe.

Third category: exciting, lukewarm, nostalgic.

  • Velvet,
  • Wool from the Pyrenees,
  • Wool,
  • Silk-wool crepe.

Fourth category: almost irritating, hot, determined.

  • Granulous silk,
  • Plaited silk,
  • Spongy cloth.

Second scale, volumes

Fifth category: soft, hot, human.

  • Suede,
  • Horsehair or dog hair,
  • Human hair,
  • Marabou.

Sixth category: hot, sensual, spirited, affectionate.

  • Rough iron
  • Soft brush,
  • Sponge,
  • Wire brush,
  • Plush,
  • Human or peach fuzz,
  • Bird down.

Through this separation of tactile values, I have created:

1. Simple tactile boards that I will present to the public in our contactilations or conferences on the Art of touch.

I have arranged the previously catalogued tactile values in wise harmonic or antithetical combinations.

2. Abstract or suggestive tactile boards (hand journeys).

These tactile boards have arrangements of tactile values that allow hands to wander over them, following coloured trails and experiencing a succession of suggestive sensations, whose rhythm, in turn languid, cadenced, or tumultuous, is regulated by exact directions.

One of these abstract tactile boards made by me, and that has as a title Sudan-Paris, contains, in the part representing Sudan, rough, greasy coarse, prickly, burning tactile values (spongy material, sponge, sandpaper, wool, brush, wire brush); in the part representing The Sea, there are slippery, metallic, fresh tactile values (silver-coated paper); in the part representing Paris, there are soft, delicate, caressing tactile values, hot and cold at the same time (silk, velvet, feathers, down).

3. Tactile boards for the opposite sexes.

In these tactile boards, the arrangement of tactile values allows the hands of a man and a woman, tied together, to take a tactile journey together and evaluate it. These tactile boards are extremely varied, and the pleasure that they give is enriched by the harnessing of rival sensibilities, which will attempt to feel more acutely and better explain their rival sensations. These tactile boards are destined to replace the brutalising game of chess. [Emphasis mine]

4. Tactile pillows.

5. Tactile sofas.

6. Tactile beds.

7. Tactile shirts and dresses.

8. Tactile rooms.

In these tactile rooms, we will have floors and walls made of large tactile boards. Tactile values of mirrors, running water, rocks, metals, brushes, lightly electrified wires, marble, velvet, rugs that will give the bare feet of the male and female dancers varied pleasures.

9. Tactile streets.

10. Tactile theatres.

We will have theatres arranged for Tactilism. Seated spectators will rest their hands on long, running tactile ribbons that will produce tactile sensations with different rhythms. It will also be possible to place these ribbons on small rotating wheels, accompanying them with music and light.

11. Tactile boards for the improvisation of words in freedom.

The tactilist will express aloud the sensations that his hands’ journey transmits to him. His will be a free-word improvisation, that is, freed from all rhythm, prosody and syntax, an improvisation essential and synthetic and with as little of the human element
as possible. The improvising tactilist may be blindfolded, but it is preferable to wrap him in the light of a projector. The new initiates, who have not yet trained their tactile sensibilities, will be blindfolded. But, as for the true tactilists, the full light of a projector is preferable, since darkness has the drawback of concentrating sensitivity into an excessive abstraction.

The education of the sense of touch.

1. It will be necessary to keep the hands gloved for many days, during which the brain will attempt to condense in them the desire for varied tactile sensations.

2. To swim underwater, in the ocean, trying to distinguish tactilely the plaited currents and different temperatures.

3. Enumerate and recognise every evening, in absolute darkness, all of the objects in the bedroom. It was precisely with giving myself over to this exercise in the underground darkness of a trench in Gorizia, in 1917, that I made my first tactile experiments.

I never claimed to have invented the tactile sensibility, which has already manifested itself in genial forms in the Jongleuse and in the Hors~nature of Rachilde. Other writers and artists had premonitions of tactilism. Moreover, the plastic art of tactilism has been in existence for a long time. My great friend Boccioni, futurist painter and sculptor, felt as a tactilist when he created, in 1919, his plastic ensemble Fusion of a Head and a Window, with materials that are absolute contraries in tactile weight and value: iron, porcelain, and women’s hair.

The Tactilism created by me is clearly distinct from the plastic arts. It has nothing to do with, nothing to gain from, and everything to lose by association with painting or sculpture. It is necessary to avoid, as much as possible in the tactile boards, a variety in colour, which lends itself to plastic impressions. It will be difficult for painters and sculptors, who tend naturally to subordinate tactile values to visual values, to create significant tactile boards. Tactilism seems to me particularly suited to young poets, pianists, typists, and to all erotic, refined, and potent temperaments.

Tactilism, nevertheless, must avoid not only collaboration with plastic arts but also morbid erotomania. It must, simply, have as a goal tactile harmony, and it must indirectly collaborate in the perfecting of spiritual communication between human beings through the epidermis.

The identification of five senses is arbitrary, and one day we will certainly discover and catalogue numerous other senses. Tactilism will contribute to this discovery.

F. T. Marinetti, 1921

(source; also, here is my reading of the Manifesto; related: domestic cozy)

Qualia Manifesto

by Ken Mogi (published in 1998)

0. Summary

It is the greatest intellectual challenge for humanity at present to elucidate the first principles behind the fact that there is such a thing as a subjective experience. The hallmark of our subjective experiences is qualia. It is the challenge to find the natural law behind the neural generation of qualia which constitute the percepts in our mind, or to go beyond the metaphor of a “correspondence” between physical and mental processes. This challenge is necessary to go beyond the present paradigm of natural sciences which is based on the so-called objective point of view of description. In order to pin down the origin of qualia, we need to incorporate the subjective point of view in a non-trivial manner.

The clarification of the nature of the way how qualia in our mind are invoked by the physical processes in the brain and how the “subjectivity” structure which supports qualia is originated is an essential step in making compatible the subjective and objective points of view.

The elucidation of the origin of qualia rich subjectivity is important not only as an activity in the natural sciences, but also as a foundation and the ultimate justification of the whole world of the liberal arts. Bridging the gap between the two cultures (C.P.Snow) is made possible only through a clear understanding of the origin of qualia and subjectivity.

Qualia symbolize the essential intellectual challenge for the humanity in the future. The impact of its elucidation will not be limited to the natural sciences. The liberal arts, religion, and the very concept of what a man is will be reassessed from the very foundations.

1. History of the Mind-Brain Problem

The strong AI position held by Marvin Minsky and others was an attempt to simulate some aspects of human intelligence from an objective point of view. It had little to say about the essential problems of the mind, namely the qualia rich subjectivity.

In an effort to fill the gap left by the objective natural sciences, such movements as the “new science” and the “new age” came into the scene. These activities, however, were not particularly keen on taking seriously the consistency with the objective sciences. Even if we are to find new paradigms in search of the theory of mind, the consistency with the objective sciences should be maintained. Theses “alternative movements” tended instead to the over-emphasis of the subjective. These activities did not therefore lead to a real breakthrough in the science of the mind. These activities proved to be a stud.

The concept of information due to Claude Shannon is based on a statistical picture, and as he himself declared in his historic paper, has nothing to do with the semantics of information. Despite this, the Shannonian concept of information has been applied to “understand” the information processing in the brain. For example, it is an experimentally accepted fact that there is a correspondence between certain features of external objects and the spatio-temporal firing pattern of a group of neurons in our brain. This selectivity of neural activities is called “response selectivity” and is an important analytical concept in neuropsychology. However, it is wrong to think that the nature of our qualia rich perception can be explained away by the fact that there are activities of neurons in the brain characterized by certain response selectivities. We should instead start from the “interaction picture” rather than the “statistical picture”.

We cannot elucidate the neural correlates of qualia starting from the concept of response selectivity. We should instead start from Mach’s principle in perception.

Qualia is deeply related to the semantic aspects of information. The Shannonian concept of information has little to do with qualia.

2. Qualia and Subjectivity

In view of the neurophysiological data, it is reasonable to assume that qualia in our mind are caused by the collection of action potentials on the cellular membrane of the neuron in our brain.

“I” feel the qualia in “my” mind. This “I” and “my” structure (subjectivity) is maintained also by the neural firings in my brain. The problems of qualia and subjectivity are deeply related.

Qualia and subjectivity in general cannot be explained away by a simple extension of physicalism. From the point of view of the objective sciences, it is necessary and sufficient to describe the temporal evolution of a system. However, the principle of correspondence of qualia to physical states should be constructed on top of the conventional type of natural laws that describe the temporal evolution of the system. This particular natural law should be of a different character from the conventional ones.

Even if we obtain an ultimate physical theory of everything, it only gives a complete description of the temporal evolution of a physical system;even then the origin of qualia from physical processes such as brain activities would remain unsolved.

Causality plays an essential role when we consider the way the perceptual space-time structure in which qualia are embedded arises from the space-time structure of the neural firing in the brain. In particular, in the Principle of Interaction Simultaneity plays an essential role in the origin of the subjective time.

The “subjectivity” that we discuss here has relatively little to do with the “subjectivity” in the context of the theory of measurement in quantum mechanics. It is our view that the introduction of the concept of subjectivity in quantum mechanics did a tremendous disservice. It confused rather than enriched the arguments.

3. Related Problems

In modern physics, “NOW” has no special meaning in the flow of time. In oder to elucidate the origin of our mind, we need to come up with a structure of the time which designates a special meaning to “Now”

The formulationn of the relativistic space-time by the formalism of Riemanian geometry (Minkowski 1911) is only an intermediate step.

4. Methodology and Conjectures

The trivial attempt to assume a seat for subjectivity in the brain (the homunculus solution) is bound to fail. For example, the Crick and Koch model puts the subjectivity seat in the prefrontal cortex. Of course, saying empirically that this seems to be a necessary correlate of subjectivity is O.K. But that does not solve the most difficult part of the problem.

In considering the neural correlates of qualia rich subjective experiences, the invariance under the transformation of neural activity patterns in space and time is going to be essential.

5. Towards the Fusion of Two Cultures

A solution of the qualia problem is bound to have impact not only for the natural sciences but also for the humanities.

To take the visual art, music, literature seriously is to take qualia seriously. For paintings and music, this sounds like a cliche. Literature is also an art of the qualia, as the semantics is embedded in the intentional qualia.

As the so-called “exact” sciences have been focusing only on the measurable and quantifiable properties of nature, there was no place in the scientific world view for the immensely qualia rich subjective experience which is the ultimate raison d’etre for the arts. This was the essential reason why there was and continued to be a division between the two cultures a la C.P.Snow.

To analyze the sound wave of a violin though the Fourier analysis has nothing to do with our subjective experience of the violin sound qualia. It is meaningless to say that color is nothing but the wavelength of light when our concern is the subjective experience of color.

The development of the digital information technology perhaps had a beneficial effect on the fusion of the two cultures. The digital coding of provides a useful tool for the storing and manipulation of information, but has nothing to do with the richness of subjective experience. Unless we understand the “qualia coding” by the neural activities, we cannot find scientific foundations for the subjective experience.

In general, it is nonsensical to try to explain away the enigma of qualia from the information theoretic or evolution theory points of view.

6. On the Coming New Situation

The sense for the future essential entails a sensitivity for the possibility that the next moment can be something completely different from the previously known.

It is no longer meaningful to cling to the systemacity of religion. Religious feelings and values also consist of qualia, which in turn can be treatedly more or less individually. For example, the qualia associated with the stained glass has nothing in essence to do with Christianity. Even though traditional religion employed the appeal of the qualia as an engine to promote their specific causes, there is no reason to obstinately maintain that systemacity now.

Due to the physical limitation of the human brain, there is a limit to the category of qualia that a human being can experience. Only a ridiculously small subset of all possible qualia is accessible to the human being. This makes us take the possibilities of metaphysics more seriously.

7. Agitation

The concept of qualia is clearly at the heart of the next stage of human intellectual endeavors.

There is no other intellectual challenge more important or pressing than qualia.

The revolution can only be brought about by a combination of a rigorous scientific thinking and a trembling sensitivity.

The qualia thinkers of the world, unite!

See also the update on the original manifesto, and Mogi’s thoughts on the “computational theory of mind“.

Cf. Raising the Table Stakes for Successful Theories of ConsciousnessQualia Computing in TucsonDavid Pearce at the “2016 Science of Consciousness”,  “Schrodinger’s Neurons Conjecture”, and Why I think the Foundational Research Institute should rethink its approach