A rhetorical analysis of Marinetti's writings shows that the futurist imaginary is characterized not only by the utopian metallized man, but also (and even more conspicuously) by the prosopopoeia of natural phenomena and inanimate objects.
http://www.accessmylibrary.com/article-1G1-18250765/transfor...

http://en.wikipedia.org/wiki/Imaginary

Since an imaginary order can not literally be revealed in a material world, the white surface becomes a mask concealing difference and disorder, which are "concealed, removed from the eye as 'unsightly.'"[17] The neutral, 'transparent' surface and the orders are in fact concealing "the essential irrationality of both individuals and society."[18] In Wigley's writing, there is a desire to expose some of the hidden forces that lie behind Modernism. As a contrast to the cult of the white wall, Wigley uses the writing of Gottfried Semper. Here we are able to see why it was that Semper's ideas were so strongly rejected by his contemporaries and have largely been left out of the history books.

http://www.zen7560.zen.co.uk/work/bach/index.html

Thus I emphasize here a modernism that refuses to imprison desire within an imaginary order of lack and fulfillment.4 In the work of A.E. Housman, D.H. Lawrence, and Wyndham Lewis, I seek a modernism in which desire is a productive force that surges forward into form, slowly eroding and reshaping the forms of the past.
http://www.js-modcult.bham.ac.uk/articles/issue1_comentale2....

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Note added at 3 days4 hrs (2010-11-14 22:26:52 GMT) Post-grading
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Thank you, David