Founded in 1909 by the Italian writer Filippo Tommaso Marinetti, Futurism was a radical art and social movement that glorified modernistic concepts of speed, destruction, noise, machines, cities and war. Marinetti's obsession with the future even extended to the abolition of libraries and museums, which he demanded be burned to the ground in a vortex of incendiary violence. Over 100 years later, Futurism stands as a key conceptual movement of the 20th century, one whose ideas are still ominously relevant in the age of rampant technological progress, suicide bombers and unmanned drone strikes. This special ebook volume in the Radical Manifesto series collects nine of the most challenging manifestos of the early Futurist Movement, from Marinetti's founding charter and subsequent calls to war to the seminal noise theories and machine music blueprints of Luigi Russolo and Balilla Pratella. It also contains as a bonus the first manifesto of Russian Futurism, written by Vladimir Mayakovsky and others.

This book is the first to analyze the partnership between the Navy, industry, and science forged by World War II and responsible for producing submarines in the United States in the period from 1940 through 1961. The naval-industrial complex was not the result of a single historical event. Neither was it a political-economic entity. Instead it was made up of many unique and distinct components, all of which developed simultaneously; each reflected the development, significance, and construction of a particular vessel or technology within its historical context. Together these components emerged from World War II as a network of distinct relationships linked together by the motives of national defense, mutual growth, and profit. None of the major players in the drama planned or predetermined the naval-industrial complex, and it did not conform to the views of any individual or confirm the value of a particular system of management. Instead it grew naturally in response to the political environment, strategic circumstances, and perceived national need, its character defined gradually not only by the demands of international conflict but also by the scores of talented people interested in the problems and possibilities of submarine warfare. Their combined efforts during this short period of time produced remarkable advances in nuclear propulsion, submerged speed, quieting, underwater sound, and weaponry, as well as a greater appreciation within the Navy and the shipbuilding industry for the ocean environment.This book won the Roosevelt Prize for naval history.

In Terracene Salar Mameni historicizes the popularization of the scientific notion of the Anthropocene alongside the emergence of the global war on terror. Mameni theorizes the Terracene as an epoch marked by a convergence of racialized militarism and environmental destruction. Both the Anthropocene and the war on terror centered the antagonist figures of the Anthropos and the terrorist as responsible for epochal changes in the new geological and geopolitical world orders. In response, Mameni shows how the Terracene requires radically new engagements with terra (the earth), whose intelligence resides in matters such as oil and phenomena like earthquakes and fires. Drawing on the work of artists whose practices interrogate histories of settler-colonial and imperial interests in land and resources in Iran, Iraq, Yemen, Kuwait, Syria, Palestine, and other regions most affected by the war on terror, Mameni offers speculative paths into the aesthetics of the Terracene.

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