When we speak of FUTURE ART BASE we should focus on two different, but not unrelated facets of imagination. The first facet is the future of art, the possible directions of sensibility and of aesthetic production in the age of Semiocapitalism and immaterial production. The second is the activation of a special kind of art: the art of imagination prefiguration and elaboration of social future at large. The first facet will be of special interest for artists and aesthetic thinkers, for art historians and environmental creators who want to predict and to forge the aesthetic features of a changing world. The second facet will be the field where social thinkers and economists will imagine and bring into being the new forms of social existence that may emerge from the present crisis. During the last thirty years (since those days when some young British artists sang a song of hopeless prediction) there has been much talk about the end of the future. In more recent times, while the global economy is showing signs of collapse, and the European Union is entering a phase of deep and disquieting crisis, young students, researchers and precarious workers have marched in the streets of London, Athens, Rome, Barcelona and Paris reclaiming a new hope and a new future. Since December 14th 2010, hundred thousands students have been marching in the streets of Rome London and many other cities shouting a slogan that sounds: “If you destroy our future we will seize the city” In the following months young precarious highly educated and connected in the web in the Arab countries have revolted against power. Precarity of future is the scenario of these rebellions. If Future is at risk, we need a special branch of knowledge of research and of creation. It cannot be the old fashioned Futurology that was narrowly intertwined with modern Science fiction and the progressive illusion of boundless Enlightnment of the world. That illusion is over. We need imagination of new forms, not mere growth in the sphere of the present form. We need a marriage between artistic and economic imagination. This is why we need a FUTURE ART BASE, a place of meeting between creation and engineering, construction and deconstruction, understanding of the present catastrophe and imagination of a new aesthetic and epistemic paradigm.

Franco ‘Bifo’ Berardi

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