“Whatever happened to manifestos? There was a time, 100 years ago, when you couldn’t open a paper without seeing a litany of avant-garde statements, or a crazily idealistic declaration of political attitudes, or a sternly numbered list of arty Dos and Donts, as portentous as the Ten Commandments. Writers, poets, sculptors, artists and freelance visionaries would meet at the Eiffel Tower restaurant or stay up all night in bordellos, thrashing out their stroppy jeremiads like kidnappers writing ransom notes. They may have been a few elephants short of the full zoo, but by God they were passionate.”
otherroom.org 
Yes they were passionate and they were very focussed on the nexus between art and the broader society. They felt that what they were doing had meaning in context and most of all they hadn’t disappeared up there own post-modern fundamental orifices.
Personally I’ve long preferred Tristan Tzara and Dada. In particular the use of outright nonsense, and the general avoidance of the more obnoxious elements of Futurism.
I’m not quite sure what a post-modern fundamental orifice is, but I’m pretty sure it hadn’t been invented yet. I’m also pretty sure that Marinetti was right up some sort of orifice.