Art cannot solve the problems of 2017, Alexander Kluge says to Hans Ulrich Obrist in this issue, but it can start solving the problems of 2036. Though it may begin in the affective work of mourning, art moves towards a rational archeology and a realistic anticipation. We could call this “futurist realism,” a vision of the coming decades as a series of problems to be solved, rather than as a source for transcendent salvations or damnations of whatever fashion. Unlike the ecstatic or dispirited futurisms we are accustomed to, futurist realism looks forward with no false regrets. Bad-faith futurism, by contrast, is exemplified by those who, at the moment of Occidental eclipse, cynically claim the bankruptcy of that which the Occident never stood for in the first place. Yuk Hui argues that these men—and they are all men—are trapped in a moment of “unhappy consciousness,” wallowing in feelings of loss rather than conceptualizing the global changes taking place around them. Feelings, Hui reminds us, are a necessary, but not sufficient, condition for knowledge. Without this understanding, neoreactionary melancholia quickly gives way to Silicon Valley–inspired “sinofuturist” fantasies that project a fantastically smooth, anti-political existence onto an entirely polymorphous set of cultures and histories…