For more than three hundred years, manifestoes have defined the aims of radical groups, individuals, and parties while galvanizing revolutionary movements. As Janet Lyon shows, the manifesto is both a signal genre of political modernity and one of the defining forms of aesthetic modernism. Ranging from the pamphlet wars of seventeenth-century England to dyke and ACT-UP manifestoes of the 1990s, her extraordinarily accomplished book offers the first extended treatment of this influential form of discourse. Lyon demonstrates that the manifesto, usually perceived as the very model of rhetorical transparency, is in fact a complex, ideologically inflected genre—one that has helped to shape modern consciousness. Lyon explores the development of the genre during periods of profound historical crisis. The French Revolution generated broadsides that became templates for the texts of Chartism, the Commune, and late-nineteenth-century anarchism, while in the twentieth century the historical avant-garde embraced a revolutionary discourse that sought in the manifesto's polarizing polemics a means for disaggregating and publicizing radical artistic movements. More recently, in the manifestoes of the 1960s, the wretched of the earth called for either the full realization or the final rejection of the idea of the universal subject, paving the way for contemporary contestations of identity among second- and third-wave feminists and queer activists.

An update to a provocative manifesto intended to serve as a platform for debate and as a resource and inspiration for those teaching in online environments. In 2011, a group of scholars associated with the Centre for Research in Digital Education at the University of Edinburgh released “The Manifesto for Teaching Online,” a series of provocative statements intended to articulate their pedagogical philosophy. In the original manifesto and a 2016 update, the authors counter both the “impoverished” vision of education being advanced by corporate and governmental edtech and higher education’s traditional view of online students and teachers as second-class citizens. The two versions of the manifesto were much discussed, shared, and debated. In this book, Siân Bayne, Peter Evans, Rory Ewins, Jeremy Knox, James Lamb, Hamish Macleod, Clara O'Shea, Jen Ross, Philippa Sheail and Christine Sinclair have expanded the text of the 2016 manifesto, revealing the sources and larger arguments behind the abbreviated provocations. The book groups the twenty-one statements (“Openness is neither neutral nor natural: it creates and depends on closures”; “Don’t succumb to campus envy: we are the campus”) into five thematic sections examining place and identity, politics and instrumentality, the primacy of text and the ethics of remixing, the way algorithms and analytics “recode” educational intent, and how surveillance culture can be resisted. Much like the original manifestos, this book is intended as a platform for debate, as a resource and inspiration for those teaching in online environments, and as a challenge to the techno-instrumentalism of current edtech approaches. In a teaching environment shaped by COVID-19, individuals and institutions will need to do some bold thinking in relation to resilience, access, teaching quality, and inclusion.

A collection of both of the Manifestoes of Surrealism written by Andre Breton in 1924 and 1929. The pocket book size to make the two manifestoes more accessible in print without being part of some collected works.

The present volume offers eloquent testimony that many of the master builders of this century have held passionate convictions regarding the philosophic and social basis of their art. Nearly every important development in the modern architectural movement began with the proclamation of these convictions in the form of a program or manifesto. The most influential of these are collected here in chronological order from 1903 to 1963. Taken together, they constitute a subjective history of modern architecture; compared with one another, their great diversity of style reveals in many cases the basic differences of attitude and temperament that produced a corresponding divergence in architectural style. In point of view, the book covers the aesthetic spectrum from right to left; from programs that rigidly generate designs down to the smallest detail to revolutionary manifestoes that call for anarchy in building form and town plan. The documents, placed in context by the editor, are also international in their range: among them are the seminal and prophetic statements of Henry van de Velde, Adolf Loos, and Bruno Taut from the early years of the century; Frank Lloyd Wright's 1910 annunciation of Organic Architecture; Gropius's original program for the Bauhaus, founded in Weimar in 1919; "Towards a New Architecture, Guiding Principles" by Le Corbusier; the formulation by Naum Gabo and Antoine Pevsner of the basic principles of Constructivism; and articles by R. Buckminster Fuller on universal architecture and the architect as world planner. Other pronouncements, some in flamboyant style, including those of Erich Mendelsohn, Hannes Meyer, Theo van Doesburg, OskarSchlemmer, Ludwig Mies van der Rohe, El Lissitzky, and Louis I. Kahn. There are also a number of collective or group statements, issued in the name of movements such as CIAM, De Stijl, ABC, the Situationists, and GEAM. Since the dramatic effectiveness of the manifesto form is usually heightened by brevity and conciseness, it has been possible to reproduce most of the documents in their entirety; only a few have been excerpted.

The industrialization of the nineteenth-century European city facilitated developing conceptions of the model city, and allowed for large scale urban transformations. The urban discourse in the latter half of the nineteenth century was consequently dominated by a dialectic exchange between the ideal and the practical, a debate played out in the formation of the modern metropolis. Manifestoes and Transformations is the first work to deal with urban utopias and their relationship with actual urban interventions. Bringing together a carefully chosen, wide-ranging team of experts, the book provides a broad, contextual exploration of the ideas and urban practices which are the foundations of our conception of the contemporary city. As such, it is a valuable resource for students interested in the formation of the modernist city.

The collected manifestos of Édouard Glissant and Patrick Chamoiseau: for a postcolonial response to planetary crisis. Manifestos brings together for the first time in English the manifestos written by Édouard Glissant and Patrick Chamoiseau between 2000 and 2009. Composed in part in the aftermath of Barack Obama’s election in 2008, the texts resonate with the current context of divided identities and criticisms of multiculturalism. The individual texts grapple with concrete historical and political moments in France, the Caribbean, and North America. Across the manifestos, as well as two collectively signed op-eds, the authors engage with socio-political aspects of climate catastrophe, resource extraction, toxicity, and neocolonialism. Throughout the collection, Glissant and Chamoiseau engage with key themes articulated through their poetic vocabulary, including Relation, globalization, globality (mondialité), anti-universalism, métissage, the tout-monde (“whole-world”) and the tout-vivant (“all-living,” including the relationship of humans to each other and “nature”), créolité and the creolization of the world, and the liberation from community assignations in response to individualism and neoliberal societies. Translated as the first volume in the Planetarities series with Goldsmiths Press, the themes of Manifestos resonate with the planetary as they work in response to contemporary forms of (economic) globalization, western capitalism, identity politics, and urban, digital and cosmic ecosystems, as well as the role of the poet-writer. A distinguishing feature of this publication is its interventional aspect, which prioritizes engaged scholarship and practice while demonstrating the relevance of the poetic in response to the urgencies of planetary crisis.

Memories of Cities is a collection of essays that explore different ways of writing about the political and economic history of the built environment. Drawing upon fiction and non-fiction, and illustrated by original photographs, the essays employ a variety of narrative forms including memoirs, letters, and diary entries. They take the reader on a journey to cities such as Glasgow, Paris, Moscow, St. Petersburg, and Marseille, laying bare the contradictions of capitalist architectural and urban development, whilst simultaneously revealing alternative visions of how buildings and cities might be produced and organised.