I got the inspiration for starting this magazine through Aris Roussinos’ article ‘It’s Time for Anglofuturism’ at UnHerd. The visibility of Anglofuturism has also been greatly expanded by the various anonymous X accounts, such as Kunley Drupka and Bovril-Gesellschaft.
In his article, Roussinos gave a positive vision for Britain’s future, something that has been sorely lacking in recent decades. He reminds us that economic stagnation, cultural degeneration, and mass replacement of the native British population, is not an inevitably that we simply have to accept. Whilst our superpower days are behind us, this nation can indeed aspire towards something greater. It can create a new and better future for its people, preserving both their existence and their historic national character. The belief that this nation’s destruction is inevitable, is in fact a choice.
This article will talk about the need for a new movement in Britain, the role aesthetics can play in shaping culture, and the relevance of Anglofuturism to a wider war for cultural hegemony.
The Need for a Distinctly ‘British’ Variant of the Dissident Right
Outside of the work of Academic Agent, and the relatively new J’Accuse and Pimlico Journal, the British Dissident Right is still in its infancy. Most of my readers will be familiar with various American commentators, hearing the concepts and ideas relevant to the United States. But Britain is not America, and one cannot simply use the work of Curtis Yarvin and Auron MacIntyre to address our unique issues and challenges, as useful as they are. Instead, the canon of DR thought must be applied to the specific British conditions. We must, in fact, become a distinct movement.
The British Dissident Right needs a vision to unite around.
We cannot simply do what the traditional British right did (and does) by venerating the Monarchy and traditional British institutions, as those institutions have become thoroughly corrupted by Wokeism. We also cannot replicate American-style nationalism, as our national story and values are fundamentally different.
The Puritan founding of the United States creates a particular national character, one of uncompromising righteousness and belief in divine providence, whether religious or secular. One can see this mindset influencing the American Dissident Right; increasingly the domain of various Christian sects such as the Integralists and Protestant ‘Christian Nationalists’, with the more secular ‘Vitalists’ being a minority.
But at least since the Anglican settlement of 1688 and the decline of Puritanism, of which many fled to America, Britain has been a more pragmatic and measured society.
Distinct from the naïve idealism of the Declaration of Independence’s ‘all men are created equal’, Britain has traditionally been far better at recognising the reality of hierarchy and inequality in all societies. There has been greater understanding that the rights and liberties granted to British citizens are a product of tradition and national particularism, not ‘natural rights’. Our different moral foundation allows us to be a more relaxed culture when compared to the American’s zealous promotion of their national creed and sacred values.
Whilst Tony Blair certainly attacked these traditional British conceptions of rights and common law, the fact that these beliefs were commonplace and institutionalised not so long ago makes a break from the current globalist ‘anywhere’ regime much more possible than in the United States, which was built off propositional and universalist principles.
For us on the British Dissident Right, the revolution against Wokeism shall be nationalist and Vitalist inclined, a revolt against Puritan morality in all its guises.
The Power of Aesthetics
Aesthetic movements have historically played an outsized role in the development of social attitudes. A group of artistic minded individuals will often develop a certain aesthetic style as a vehicle for their cultural values; a process by which culture wars are won. We are still living in the shadow of the 1960s counter-culture, which used a variety of art forms to promote its core ideas of egalitarianism, expressive individualism, and globalism.
This movement has been so thoroughly successful that it is hard to remember a time when the arts did NOT belong to the political left. But this is indeed a post-WWII phenomenon. Due to their creative spirit and orientation towards the ‘new’, the artistic world has never been ‘conservative’, in the sense of preserving the status quo. However, it has often harboured right-wing, even reactionary ideas, when those ideas have represented a ‘change’ from the previous culture.
As Paul Gottfried points out, in the 19th century, it was the Romanticist movement that captured the hearts and minds of the young, middle class elites, not the left. Whilst modern historians focus on the liberal advances from 1800 to 1900 such as universal suffrage, this is very far from the full picture. In many ways western civilization moved away from the universalistic, rights-centric focus of the 18th century, which seemed to have been defeated at the end of the Napoleonic Wars. In its place, was an idealistic presentation of the medieval, a particularistic vision of nationhood, and a focus on emotion and individualism as opposed to reason and progress.
The Romanticist movement inspired numerous political events in the century. The 19th century was the ‘Springtime of Nations’, with ethno-nationalism, heavily influenced by the Romanticist movement, the defining ideology of the age and of the educated middle-class. The music of Richard Wagner and paintings of Caspar David Friedrich in particular, were animated by a strong sense of Romantic German Nationalism, expressed through their focus on folklore and mythology; an example of metapolitics.
Another example is the Futurist movement, gaining steam in Italy in the early 20th century. The Futurist movement was modernist but also reactionary, idolising the industrial and the cleanliness of war.
It had a great influence on Italian Fascism, which ended democracy in Italy, countering the narrative of ever greater expansion of suffrage. One must remember that Fascism was a distinct and positive vision, not simply an obstruction in the way of ever greater liberal democracy, and was explicitly ‘against’ the beliefs of universalism, egalitarianism, and expressive individualism, and in favour of nationalism, hierarchy, and collectivism.
With the defeat of Nazi Germany in 1945, the post-war world has been one where the artistic world has oriented almost exclusively towards the political left. It is with this trajectory in mind that the Woke endlessly taunt about being on the ‘right side of history’; they do not remember a time when culture has moved decisively towards the political right and against the values of Diversity, Equity, and Inclusion.
But this does not have to be the case, and it was not the case in the past. Now that universalistic liberalism is so utterly hegemonic, and artists are typically oriented towards change and the new, an organised minority may push its own alternative vision, one that is less egalitarian and universalist, whilst also being distinctly ‘modernist’ and ‘futurist’.
We also have distinct advantages compared to the past. The times when artistic movements were the exclusive domain of trained artists are no more, as the advent of AI art creates an enormous opportunity for ordinary people to participate. We must make use of AI art, before our enemies prevent us from doing so; their history shows they will lobotomise anything that stands in their way of their absolute control.
The Anglofuturist Manifesto
But what exactly is Anglofuturism? There are numerous different interpretations. Some, like Breewgaloo, have a more steampunk, reactionary, High Tory vibe. Others like Kunley Drupka present a more sleek, Solarpunk-oriented aesthetic.
Akin to the ‘Futurist Manifesto’ I will attempt to lay out what the core beliefs of Anglofuturism are in 13 core principles, and how this can be incorporated into the aesthetic.
We reject the narrative of British decline, and dream of a high tech, abundant, optimistic future where the traditional British culture is maintained and restored. We aim to establish the future that never arrived, but still could do.
We believe in using technology for the betterment of the British people, but also believe that we must show restraint in our use of certain technologies, to avoid constraining freedom and facilitating ever-greater centralization, and to ensure that technology enables the creation of a freer society.
We embrace individual liberty and reject the ever greater encroachment of the state in the realm of ‘health and safety’, which only represses risk-taking and strives for excellence. We must create a freedom-loving culture that will never again allow the totalitarian infringements on liberty that characterised the Covid lockdowns.
We believe that mankind, and Britain playing an important role, should become a spacefaring civilization. We must prioritise the colonisation of space as the fulfilment of our destiny.
We wish to restore empirical reason and materialism over the subjective idealism and emotion-centric worldview of the Woke. We shall use empirical falsification to determine what is true and what is false, and will not subordinate science to political correctness.
We are ‘Reactionary Modernists’ that synthesise the traditional and the modern. Technological advancement and illiberal values do not need to be at odds, as nations like Singapore and the United Arab Emirates show.
We believe in lionising youth, beauty, health, and fertility, with society oriented towards biological sustainability and function. We will not indulge the sickness and perversion that plagues our modern age, by pretending it is ‘equal’ to correct human functioning.
We embrace the youthful masculine and the feminine, and their distinctness. We oppose the current trend of gender fluidity and the blurring of sex roles. Masculinity and femininity have equal importance and roles to play. Masculinity is not inherently toxic, and femininity is not inherently weak.
We believe in cleanliness and order. The aesthetic style, and by extension our ideals of society, should prioritise cleanliness and pristineness, at the expense of the embrace of excessive ‘diversity’ that defines modern Woke society.
We are not conservatives or reactionaries, but progressives. We cannot ‘go back’ to an idealised past, though we may admire and be inspired by some of the past’s values. We seek to create our own vision of ‘progress’ that departs from the one of Wokeness, which is not ‘progress’, but represents only stagnation, decline, and degradation. It is our vision, not the one of the rainbow regime, that presents the advancement of mankind.
We believe in the concept of the ‘Anglosphere’ as a distinct sub-civilization of the Western civilization. We are shaped by a common destiny and are culturally interwoven. What affects one of us will affect us all.
We reject the grey, puritan dreariness of the Christian Right, with its lack of vitality and hatred of the female form. Woke descends from the same puritan Christian morality, it too wanting to repress the vitalist human spirit.
We believe that the British Dissident Right should be distinct from the American Dissident Right. The Anglo-Saxon homeland has a less puritan and more relaxed culture, and so should embrace Vitalism rather than return to Christianity.
How Anglofuturism Can Affect the Cultural Consciousness
Metapolitics describes topics such as the discussion of how politics is framed, the semantics of politics, and political aesthetics. It is ultimately more important for changing the culture of a nation than simply ‘politics’, aka winning elections. The Anglofuturist aesthetic can utilise the art of Metapolitics to communicate our vision without having to be expressly political, and evading the censor.
Whilst AI art is the easiest means by which to create content spreading our ideas, one should also develop genuine artistic skills. The best AI art is imagined and edited by trained artists, such as the X account ‘American Imperium’.
An aesthetic movement is a style that transcends the different disciplines. It is only complete if it makes its imprint on every art form. In addition to the visual arts; animation, music, and literature must also become part of the Anglofuturist canon.
Conclusion
I am as of yet unsure whether this magazine will find any success, but intend to keep writing primarily for myself and my friend, who was encouraging of the project and helped me conceptualise it.
As somebody who spends a large portion of my life thinking about politics, it seems a shame not to share them with the world, regardless of whether the world is interested or not.
With the Conservatives likely to lose in a landslide defeat this year, there is an enormous opportunity to shape the future of the British Right. If us Dissidents do not step up, it could just as easily belong to the Cameronite ‘Woke Tories’ who enjoy establishment backing. We are agents of history and must act accordingly, in order to manifest the future we want.
Therefore, this magazine will be bridging the gap between the America-centric Dissident Right discourse and unique British conditions, exploring philosophy, party politics strategy, our movement, history, and even some personal life advice.
I hope you enjoy reading.
The point about the need for a distinctly British movement is of particular importance. What may resonate among Americans won't necessarily resonate among the British, and neither will it be appropriate to simply import American ideas into a British scene, because we have developed along different paths. I have thought for quite a while that certain factions of the radical right fail because, ironically, they don't really understand their own people.
Really interesting. I am an Anglo-Catholic Christian so agree that American Puritanism is something we need to hold at arm's length. I do believe we need Christ though, and think age should be honoured as much as youth treasured.
Totally with you on Anglosphere and space colonisation though.