Chapter 2. Copy

第二章：复制

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

复制一切。对历史传统的尊重是中式审美的主要原则。

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

重现大师，记诵经典文本，遵循道德标准，均属于这一传统。但中华未来主义吸纳一切。

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

没有什么是神圣的。作者被过誉了。版权观念是错误的。

The aesthetic of Sinofuturism combines gloss with grime.

中华未来主义的审美结合了浮华与污浊。

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

品位、趣味、设计感，以及庸俗的概念均不再适用了。

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.

由于实质上高科技的物质组成在中国制造，畅想未来就变得毫无意义了。未来已经在此。

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.

中华未来主义与其他诸如意大利未来主义、非洲未来主义、海湾未来主义之类的运动均对技术抱有某种乐观主义态度，而将该地区具体的文化、历史与工业模式融入其中。

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.

所有这些未来主义运动均为少数派运动，共享某种对速度、速率与未来的乐观主义，将其作为一种颠覆当下机制的手段。

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.

与建立在启蒙运动上的西方政府形式——此种政府依据对民主的人文主义信念而运转，将其视为把人类从封建主义中解放出来的手段——不同，未来主义将技术作为自由的基础。每种未来主义均具有某种根植于其自身地理环境中的魔幻性技术叙事。