Chapter 2. Copy


Copy everything. Respect for historical tradition is a main principle of Chinese aesthetics.

Replicating old masters, memorising old texts, following moral standards, are all part of this tradition. But Sinofuturism absorbs everything.

Nothing is sacred. Authorship is overrated. Copyright is wrong.

The aesthetic of Sinofuturism combines gloss with grime.

The notion of class, of taste, of good design, and of tackiness do not apply.

Because the physical components of high technology are literally made in China, it makes no sense to produce visions of the future. It's already here.

Sinofuturism shares a critical optimism about technology with other movements including the Italian Futurismo, Afrofuturism and Gulf Futurism, while integrating specific cultural, historical and industrial patterns unique to the region.

All of these Futurisms are minority movements which share an optimism about speed, velocity, and the future as a means to subvert the institutions of the present.

Unlike Western Enlightenment forms of government, which revolve around a humanist belief in democracy as liberation from Feudalism, Futurism uses technology as the basis of freedom. Each futurism in turn applies a magical narrative about technology specific to their own geographic context.