Förlagd form: Designkritik och designpraktik i Sverige 1860–1890

Berghaus’ volume by the simple strategy of listing all the countries in alphabetical order, thus avoiding standard Eurocentric hierarchies. A fuller and more realistic history must evidently include the relevant global versions of futurism and other -isms. That is convincingly demonstrated in this volume. After reading through this Handbook of International Futurism and comparing chapters on different countries one is left with a stimulating sense ofnotonly the global reachof futurism, but also the richness and versatility of perspectives raised by the range of essays viewing futurism from different corners of the earth.