'One of the most ancient ways of living came head-on against extreme wealth and capitalism – glass and steel against wool and camels. There’s been a quantum leap and there’s a temporal gap. The two things have been stitched together and there’s a missing piece of history. (Our idea of) Gulf Futurism began to coagulate with that idea.'

Futurism can be seen as an opportunity for alignment between a set of aesthetics and cultural expression that strive towards a defined future, resulting in mutual influences of technological and cultural progress. Futurism can be defined by geographic regions (such as Sinofuturism), cultural spheres (such as right accelerationism, cyberpunk), or even aesthetics (such as atompunk, solarpunk). In particular, a region that seems to have stood out in its technological development in recent decades is the Arab-Persian Gulf city-states, which have been able to sustain an extravagant way of life due to their significant oil reserves and small populations.

This way of life is expressed in various ways, from consumption habits to cultural and economic investments. In the case of the United Arab Emirates, one can think of monumental projects like the Burj Khalifa tower, the artificial islands of Palm Jumeirah, cities like Masdar, the Dubai Mall which includes a ski resort, the Louvre Museum branch, and more. Other regional examples include the Neom automated city project, a key project of MBS's Vision 2030 strategy, or Qatar's state-of-the-art infrastructure for hosting the World Cup. All these elements are examples that highlight the futuristic narratives that are emerging in the region, aiming to be symbols of technological development and prosperity in contrast to a supposedly decadent Europe, both socially and economically. This can be seen with Qatar's proposal to cool down its city of Doha and its stadiums with large air conditioners. Here, the pattern of a certain Gulf futurism is expressed through the ideas of grandeur and control over nature, reminiscent of the pro-technology ideals of the Italian futurist movement.

Gulfofuturism symbolizes the intersection between a futuristic aesthetic, centered around grandiose architecture, significant technological progress, and Arab values, primarily influenced by Bedouin culture, within political, social, and cultural structures. It represents the process of hyper-modernization that is currently taking place in the Gulf countries since the 1970s, primarily in Qatar and the Emirates of Dubai and Abu Dhabi, but has also extended to Kuwait, Bahrain, and Saudi Arabia through the emergence of Mohammad Bin Salman.

This term was popularized within certain niche cultural groups by the artist and writer Sophia Al-Maria in the late 2000s, and gained interest with the emergence of musician Fatima Al-Qadiri from 2012 onwards. This vision of gulfofuturism falls within the realm of critical theory, serving as a critique of the consequences of capitalism by exposing its contradictions within the Bedouin context, as well as its impact on local culture, particularly among the youth. These authors apply a perspective centered on the Bedouin outlook on the future, similar to how various communities around the world have engaged with the concept, such as Afrofuturism, Sinofuturism, and so on.

It is interesting to note that this term was coined to address the specific theme of architecture in these countries, which requires significant energy and political resources. While the construction of skyscrapers has always been minimal in Europe, somewhat more common in America, and immense in East Asia, the Gulf countries seem to have taken up the mantle of this optimism towards the future, an optimism that has waned in the West.

The fear of the post-oil era encourages a long-term oriented behavior among these actors, in contrast to many other countries in the Middle East region, which seem to have fallen into populism and ideologies of the 20th century. Thus, Gulf futurism can be articulated around their megaprojects, largely funded by oil money.

'It’s like you’re on the surface of another planet ... the starkness creates this post-apocalyptic feel. When you’re surrounded by sand and sky, there are no limits to the gargantuanism you can dream of – the Hanging Gardens of Babylon, the Tower of Babel, these are all Arab ideas! And now it’s the space race for skyscrapers.'

Dubai is arguably the iconic city of Gulf futurism and the one that launched the trend of megastructures and large-scale development projects. The projects in Dubai are interconnected in a way that the development of the leisure industry attracts tourists and businessmen, further reinforcing the role of Dubai International Airport as an international hub, and so on. It's a positive loop that has led to the development of Dubai Marina (the largest marina in the world), Business Bay, and Nakheel Properties, which have enabled the construction of over 150 skyscrapers in the city. Other notable projects include Dubailand (an entertainment complex that would be twice the size of Walt Disney World Resort, combining theme parks, VR experiences, and other major projects focused on Arabian folklore and the aesthetics of One Thousand and One Nights), Arabian Canal (the largest human-made canal ever constructed), and artificial islands such as Palm Jumeirah (the largest artificial island in the world), Palm Jebel Ali (intended to accommodate 250,000 people), as well as others like The Universe and The World Islands.

It would be possible to list several paragraphs worth of billion-dollar projects. The point is that Dubai has been a pioneer in this aspect of economic development, making it one of the most sought-after real estate sectors in recent decades. It's evident that these projects are not primarily aimed at the local population but intend to put Dubai on the map and make it a premier tourist destination. To provide some perspective, the city of Dubai alone employs over 30,000 construction cranes, accounting for 25% of the world's cranes—equivalent to the number in China.

In the case of Saudi Arabia, the main project to highlight is Neom, a modern city project modeled after Dubai located on the Red Sea coast. Its goal is to become a modern city-state similar to Hong Kong, Singapore, or Dubai. Given its strategic location, MBS aims to transform it into a financial, technological, tourist, and logistics hub. This is particularly ambitious considering that Saudis have little indigenous experience in this field, unlike their neighbors who have been interested in these urban development models since the late 1970s.

Similar to California or Shenzhen, MBS intends to leverage Chinese investments, Western (and Israeli) know-how, and Indian human resources by offering tax and legal advantages to foster innovation and establish strong connectivity with other global hubs. The aim is to bring Silicon Valley-like innovation to the Neom project. However, the assassination of Khashoggi significantly impacted MBS's image and drove away many investors from the project.

The rapprochement with Israel plays a central role in the long-term strategy of Gulf countries, primarily for security reasons but not limited to that. It's important to note that people in the Gulf have a long-term vision, and this perspective necessarily requires relative short-term stability to implement their strategic projects. Unlike Qatar, which has supported regime changes, democracy in the Arab world, and freedom of expression, serving the interests of the groups they support locally, MBS and MBZ have played the card of counter-revolution, supporting existing regimes and maintaining a status quo that is more beneficial for the implementation of their mega-projects. In this context, the rapprochement with Israel and the government of Bashar Al-Assad make sense.

This departure from a pan-Arab heritage dating back to the 20th century is also reflected in the signing of the Abraham Accords in 2019 for Bahrain and 2020 for the United Arab Emirates. The new cooperation with Israel is also seen in technological collaboration. The UAE has concrete ambitions in the space domain, with the intention of launching a mission to Mars through the 'Hope Mars Mission'. The country also plans the "Mars 2117" project, which aims to establish 3D-printed biological domes covering an area of 177,000 square kilometers. These projects aim to showcase the symbolism of a new era for the Saudi and Emirati elites.

Regarding Israelis, they are highly proficient in the sciences and entrepreneurial in launching new projects. They possess advanced expertise in military, aerospace, agriculture, robotics, information technology, and more. Hundreds of start-ups, several of which are acquired by American giants, emerge every month. The sense of chutzpah plays a significant role—a central concept of Zionism that emphasizes the need for Jews populating Israel to be entrepreneurial and strive to become the best in their fields because the existence of their country relies on their ability to adapt and develop. There are several reasons for this, and it is quite complex to discuss all the factors in a single paragraph, but Start-up Nation: The Story of Israel's Economic Miracle by Dan Senor & Saul Singer is a book that explores entrepreneurship in Israel and the role of the Israeli state in developing this post-1990 ecosystem.

In facts, Saudi Arabia relies heavily on Western capital and often uses large-scale projects to create hype around the country. The latest example is The Line, a project for a 500-meter-tall and 170-kilometer-long building. The project is highly ambitious and aligns with the futuristic ambitions of the Saudi government. Whether or not the project makes sense can be debated, but it is certain that initiatives like these generate attention and place Saudi Arabia on the list of countries focused on the future.

Whether it's Neom or The Line, the risk lies in the difficulty of planning urban development from scratch. Such projects might be too mechanical, fragile, and contrasting with other city-states that are more organic and resilient. Unlike Western or Asian expatriates who do not intend to settle permanently in these cities, local governments should prioritize selective skilled immigration in the long term to foster sustainable and human development in these cities. They can benefit from the cultural homogeneity of countries in the region, such as Syrians, Lebanese, Sudanese, Tunisians, or Moroccans, rather than relying on temporary workers from the Indian subcontinent or the Western world. However, as mentioned earlier, Indian human capital plays an important role for MBS and MBZ.

Many of these projects, like The Line, do not appear to be economically profitable. That is partly the case. It is certain that these countries would fare better with more pragmatic investments, such as in heavy industries. Qatar, which spent $220 billion on organizing the 2022 FIFA World Cup, an enormous sum that could have been used to bolster their sovereign wealth fund and strengthen Doha as a global financial hub.

However, that would be a misunderstanding of Qatar's vision, which is also rooted in cultural references. It is akin to an adolescent hosting a big party to appear cool and popular, which is clearly the case for Qatar with this edition of the World Cup—something they aim to replicate for future Olympic Games and other sports and cultural events. The image of these countries has long been mismanaged in the West and the world, with a perception of financing terrorism or ultra-conservatism from which they seek to distance themselves.

Through BeIn Sports and their acquisition of PSG, Qatar aims to use football and sports to improve its image as a Gulf oil monarchy and prepare for the post-oil era by playing a major role in cultural production. The UAE, for example, owns the City Group, a network of football clubs aiming to create an empire comparable to Disney.

Speaking of culture, one can also note the initiatives of the Saudi government to develop this industry. In 2022, $30 billion was allocated to the acquisition and development of video game studios, with the aim of making the country one of the largest producers of video games in the world.

In a way, the new image of these city-states is relatively positive. Beyond the issues of freedom of expression or men's rights that interest the 68tards and boomers more generally, the security, technological development, and hospitality of the Gulf people have radically changed the opinions of many individuals about these cities. This was particularly noticeable during the World Cup—a major publicity operation for Qatar. Many people choose to settle in these cities, and many also decide to convert to Islam as a result. The Gulf's development model, based on authoritarian free-market principles, seems to be a reliable governance model, likely more resilient to contemporary challenges such as climate change or the rise of populism than one might think.

Finally, several other countries in the region have developed their own development plans. For example, Oman has its Vision 2030, and Morocco has its Royal Strategic Vision 2030. However, they are not characterized by the massive size of the superstructures seen in other Gulf countries. These actors often have visions that differ from Gulf futurism, and it would not be appropriate to lump them together in the same category.

The Mohammed VI Tower, or Al Noor Tower, was planned to be approximately 600 meters tall in the heart of Casablanca. No updates on its development have been communicated since 2015; however, the Casablanca-Anfa financial district continues to be developed. Casa Finance City has become the largest financial hub in Africa since 2018 and ranks third in the MENA region, behind Tel Aviv and Dubai.

I believe that the future Europe will be in the Middle East. The Kingdom of Saudi Arabia will be very different in 5 years, Bahrain will be very different in 5 years, Kuwait as well, and despite our differences, Qatar has a strong economy and will be completely different in the next 5 years. The UAE, Oman, Lebanon, Jordan, Iraq, and the opportunities they will have. If we succeed in the next 5 years, several countries will follow us, and the next global renaissance in the next 30 years will take place in the Middle East, by the grace of Allah. This is the Saudis' fight, this is my personal war, and I do not want to die before the Middle East is at the forefront of humanity. And I believe that this goal will be achieved 100%.

However, it is important to note that these technological developments are not sufficient to define the notion of gulfofuturism. Futurism should be part of a more complex narrative aesthetic, blending contemporary fears with fantasies of a bright future. While it is evident that the scale of investment and the capacity for action in the Gulf countries are unparalleled, these development projects may lack a solid cultural and ideological foundation. What direction MBS or MBZ wish to take their countries in, if not to make them post-European states, is a question that remains to be answered.

This Renaissance must be accompanied by a paradigm shift driven by regional exceptionalism. MBS and other Gulf leaders should aspire to create something even greater or nobler—just as I doubt the dominant European thinking in the 13th century aimed to naively emulate the Almohad empire.

The inspiration should not be solely derived from the Renaissance itself, but rather from the proto-Renaissance, focusing on the establishment of institutions that brought about paradigm shifts in technology, culture, and other underlying aspects. Consider guilds, merchant republics, and the like. I emphasize "underlying" because the European Renaissance is unique in its context, such as the Age of Exploration, the fall of Constantinople, and other factors. What would be the catalyst for this "modernity" in the Gulf? Space exploration could be a possibility, as well as the emergence of neo-Islamist movements in the region.

It is important to note that the proto-Renaissance began in the early 13th century with Italian paintings, such as those by Giotto of Florence. These were cultural and social changes that led to the emergence of Italian city-states and eventually influenced all of Europe. Gulf countries should contemplate governance trends that are unique to them, with institutions that correspond to the realities of their political situations.

Indeed, many of the architectural projects and initiatives mentioned are rarely indigenous to Gulf countries. They are often outsourced to Europe, which may reflect their cultural evolution. The artists mentioned earlier, such as Fatima Al-Qadiri and Sophia Al-Maria, are primarily products of Western cultural development. While they incorporate an oriental aesthetic in their artistic creations (similar to a musician like Muslimgauze, who has no direct connection to the region), Arab, Bedouin, or Islamic values do not seem to form the foundation of this new culture.

For example, we can consider the case of Saeedah Haque, a Bangladeshi designer who has developed a model of abaya inspired by streetwear fashion. Her work offers a distinct evolution of traditional Islamic attire while still preserving its values and aesthetic. This kind of innovation could be applied to various ethnic garments. It is in this direction that Gulfofuturism, or a potential Islamic futurism, should face.

In conclusion, Gulf futurism is a movement deeply rooted in the political and cultural reality of the Gulf states. The fear of post-oil scarcity in a world of hyperabundance has compelled the leaders of these countries to adopt a proactive stance, aiming to transition from consumer nations to creative states deeply integrated into international trade. While cyberpunk initially drew inspiration from Western technological development and was later influenced by cities like Singapore, Hong Kong, or Taipei, its latest iteration undoubtedly bears closer resemblance to a city like Dubai.

However, Chinese culture remains strong in the three cities mentioned above, despite Japanese or British colonization in the region. Hong Kong cinema, for instance, is an international reference, with filmmakers like Wong Kar-wai, Bruce Lee, Jackie Chan, and others. In comparison, the cultural production landscape in Dubai, Doha, or Neom remains relatively sparse. Cultural production has never been central to Bedouin societies, and it did not emerge with the introduction of cameras and cinemas brought by British colonization. However, this is likely to change as social transformations disrupt the cultural fabric of the Gulf countries. In this regard, Gulf futurism represents a significant creative and transformative force.

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