Noocracy

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"All I know is that I know nothing"

Socrates

Noocracy ('Rule of the Wise') also called Epistocracy ('Rule of the Knowledgeable')^[5][6] is a system of government within which authority is delegated to people based on their knowledge, those people traditionally being philosophers and theologians. Unlike meritocracy, which rewards quantifiable achievements such as academic performance, career success, or technical expertise, noocracy centers on less easily measurable traits: wisdom, ethical insight, and philosophical depth. While meritocracy may rely on standardized benchmarks, noocracy operates on the belief that those who deeply understand the human condition, natural order, or spiritual truth are best equipped to guide society.

The concept has its origins in Ancient Greek philosophy and the concept of 'The Philosopher King'. A notable example of a Noocracy was the Roman Empire during the reign of Marcus Aurelius, who contributed to the philosophy of Stoicism.

The first attempt to implement Noocracy was Pythagoras' city of the wise which he planned to build in Italy together with his followers. Another example of Noocracy is philosopher kings, examples of philosopher kings are Dion of Syracuse, Marcus Aurelius, Khosrow I, and Matthias Corvinus. In contemporary era, modern bureaucracy can be partly considered spiritual successor given the fact administrative and civil sectors are typically managed by the most experience rather than the most achieving while some my function with a hybrid elements from merit-based system.

Noocracy believes in a system of governance where decision-making is in the hands of philosophers, these philosophers could be philosopher kings. Philosopher kings are rulers who possess both a love of wisdom, as well as intelligence, reliability, and a willingness to live a simple life. Noocracy also criticizes democracy for the irrationality of voters and that the average voter doesn't have the necessary knowledge to decide on means to achieve their political aims.

Chopinism is moderate Libertarian Right and culturally centrist ideology. He based on polish composer Frederick Chopin. Chopinism is patriotic and liberal ball. He is also religious and cultural nationalist, because Chopin was advocating for conservation of polish folk heritage. He seems to hate Russia, especially after November Uprising.

Wolfgang Amadeus Mozart was born in Salzburg in 1756 into a musical family under the patronage of the Archbishop of Salzburg. From a young age, he displayed prodigious talent, performing for European aristocracy across courts in Vienna, Paris, and London. His close engagement with European courts and their hierarchical structures informed his self-identification with Aristocracy, even as he navigated financial instability and professional tensions. Despite this, Mozart’s works often reveal egalitarian impulses, as in operas like The Marriage of Figaro, where servants outwit nobility, blending his lived aristocratic affiliation with Enlightenment-inspired critiques of social hierarchy.

Mozart’s Catholic upbringing and lifelong involvement with the Church shaped his relationship with Catholic Theocracy, yet he also engaged with secular Enlightenment Thought and humanist ideals. His music often reflects a moral and philosophical complexity, balancing religious sensibilities with a celebration of human emotion and intellect. He was influenced by Josephinism—the reformist policies of Emperor Joseph II—which emphasized centralization of authority, rationalized administration, and some religious liberalization. Mozart’s operas, particularly The Abduction from the Seraglio, demonstrate engagement with Josephinist ideals through themes of justice, social order, and merit over birthright, revealing the interplay between his music and contemporary political-religious reform.

Cosmopolitanism is evident throughout Mozart’s career, as he traveled extensively across European cultural centers, absorbing Italian opera, French orchestral style, and German compositional methods. These experiences expanded his individualism and humanist perspective, integrating diverse artistic influences while asserting his unique compositional voice. Some scholars have controversially linked aspects of his stylistic experimentation to Jacobinism and Revolutionary Progressivism, particularly in works composed during the volatile political climate preceding the French Revolution. Operas like Don Giovanni and The Magic Flute subtly reflect tensions between tradition and reform, authority and individual liberty, and Enlightenment ideals versus emergent revolutionary thought, though such interpretations remain debated.

Mozart’s association with Freemasonry further illustrates his engagement with Enlightenment networks, emphasizing reason, moral development, and cosmopolitan fraternity. The ritualistic and philosophical dimensions of Masonic membership informed compositions such as The Magic Flute, which blends allegorical narratives of virtue, wisdom, and personal growth. At the same time, Mozart’s hedonistic tendencies—his love of conviviality, sociality, and pleasure—coexisted with his professional discipline and commitment to musical excellence, embodying the duality of humanist individualism and personal indulgence.

While some critics have suggested that Mozart displayed elements of Counter-Enlightenment thought due to his opposition to Voltaire, or ultraprogressive reactionary tendencies, these claims often hinge on interpretations of his later operas’ complex moral and social critiques. His music and career reflect a negotiation between hierarchical courtly structures and emerging egalitarian, humanist, and cosmopolitan values. This tension underscores his nuanced position within Enlightenment culture: simultaneously embedded within aristocratic patronage, engaged with secular and progressive ideas, and capable of challenging social norms through music. Through both life and compositions, Mozart exemplifies the interweaving of Enlightenment thought, humanist principles, and the aesthetic and social concerns of late 18th-century Europe, all while navigating the contradictions inherent in his societal position and personal philosophy.

Johann Wolfgang von Goethe was born in 1749 in Frankfurt am Main, within the Holy Roman Empire, into a patrician family that exposed him early to the structures of European aristocracy. His upbringing in an environment steeped in cultural and intellectual tradition fostered his appreciation for classical liberalism and humanism, as he often sought to reconcile the responsibilities of social hierarchy with personal cultivation. Goethe’s early education under private tutors and his exposure to Enlightenment literature encouraged a cosmopolitan outlook, reflected in his admiration for cultures beyond Germany, notably his fascination with American political experimentation during the Revolutionary period. This Americophilia, though secondary in Goethe’s oeuvre, is evident in his letters and essays where he expresses curiosity about democratic experiments and social mobility, linking directly to his egalitarian sensibilities and individualism.

During Goethe’s formative years, he witnessed the rise of radical political movements across Europe, particularly the turbulent intellectual environment of the late 18th century. These events informed his anti-radicalism and anti-reactionaryism: while he was deeply committed to Enlightenment ideals, he distrusted both revolutionary upheaval and rigid conservatism. His literary works, such as Wilhelm Meister’s Apprenticeship, illustrate his belief in gradual personal and social development rather than abrupt societal transformations, emphasizing the cultivation of reason, virtue, and empathy as tools for societal harmony. This philosophical moderation, combined with his pacifism, demonstrates Goethe’s consistent preference for intellectual and cultural influence over military or coercive intervention.

Goethe’s tenure at the Weimar court, where he served as privy councilor and oversaw a variety of administrative and cultural duties, reinforced his understanding of governance and the responsibilities of aristocracy. The practical experience of administration informed his nuanced views on Bonapartism and classical liberalism: he admired strong leadership when tempered by enlightened principles and moral restraint, seeing in political authority a framework for fostering human flourishing. For instance, his observation of European courts prompted reflections on the interplay between hierarchical order and individual freedom, which manifest in his insistence on combining structural guidance with respect for personal initiative.

Throughout his travels, including his Italian Journey from 1786 to 1788, Goethe cultivated environmental awareness and Islamophilia, the latter arising from encounters with Ottoman art, literature, and culture. His writings on natural landscapes, classical architecture, and Islamic aesthetics highlight a belief in the universality of human creativity and the value of cross-cultural learning. These experiences reinforced his commitment to cosmopolitanism and the Enlightenment project, demonstrating that ethical and aesthetic development transcends national boundaries. Moreover, Goethe’s scientific studies, particularly in botany and color theory, illustrate his embrace of scientocracy: he believed that empirical investigation and rational methodology could coexist with artistic and literary creativity, forming a holistic approach to knowledge.

Goethe’s dedication to individualism, humanism, and welfarism can be traced through his literary and scientific output. In works such as Faust, he explores the tension between personal ambition, ethical responsibility, and the pursuit of collective well-being, demonstrating how individual excellence contributes to societal flourishing. His Freemasonry affiliations and engagement with Illuminatism reflect his belief in structured intellectual networks as instruments for moral and social improvement. Similarly, his moderate political positions, which eschewed extremism in favor of reasoned reform, reveal a consistent philosophical thread linking Enlightenment thought, egalitarianism, and cosmopolitan humanism with practical concerns for governance, education, and societal welfare.

Ultimately, Goethe’s life exemplifies the synthesis of intellectual curiosity, ethical reflection, and pragmatic engagement with political and social structures. His early aristocratic background, combined with his extensive travels, scientific research, and literary production, produced a worldview that valued reasoned moderation, cross-cultural appreciation, environmental stewardship, and individual responsibility. Each belief—whether Americophilia, Islamophilia, anti-radicalism, or scientocracy—is embedded within specific events, personal experiences, and observations that shaped Goethe’s writings and philosophy. The interplay of these elements positions him as a uniquely holistic thinker, whose ideas continue to resonate across literature, science, and political philosophy.

William Shakespeare was born in 1564 in Stratford-upon-Avon, during the reign of Elizabeth I, a period of relative political stability in England but also of deep religious tension and social hierarchy. His upbringing in a middle-class family, combined with exposure to the Elizabethan theater and the courtly culture of London, shaped his engagement with Absolute Monarchism and the hierarchical worldview of the Great Chain of Being. This framework, which structured society in a divinely ordained hierarchy, is evident in plays such as King Lear and Macbeth, where loyalty, rank, and the consequences of disrupting social order are central narrative devices.

Shakespeare’s plays also reflect his nuanced engagement with Aristocracy and Authoritarian Conservatism. Characters such as Henry V and Richard III explore the responsibilities and moral authority of rulers, demonstrating his interest in the mechanisms of power and governance. While he often celebrated noble qualities, he simultaneously critiqued abuses of power, visible in works like The Merchant of Venice, where wealth and greed are scrutinized, though this is complicated by the accusations of Anti-Semitism surrounding the character of Shylock. The figure of Shylock has sparked centuries of debate, reflecting the tension between cultural norms of Elizabethan England and evolving humanist ideals.

Religious and philosophical tensions in his era influenced Shakespeare’s alleged Atheism and Catholic Theocracy sympathies, though these remain debated among scholars. His work navigates complex religious landscapes: Measure for Measure and Hamlet probe morality, divine justice, and human fallibility, suggesting a humanist lens that prioritizes reason and ethical reflection over doctrinal fidelity. These texts reveal a subtle critique of Puritanism, which Shakespeare depicts as rigid and morally oppressive. Yet, through characters like the Moor in Othello, Shakespeare displays a broader cosmopolitan and Islamophilic awareness, engaging with cultures beyond England and reflecting curiosity about the wider world.

Patriarchy and social hierarchy are recurrent themes in Shakespeare’s work, intertwined with Satirism and moral critique. His comedies, including Twelfth Night and Much Ado About Nothing, employ irony and satire to expose gender norms, social pretensions, and human folly, often highlighting the constraints of patriarchal authority while simultaneously operating within it. Additionally, Many of Shakespeare's plays served as propaganda for the monarchy. Examples include Richard III (Richard as a tyrant), Twelfth Night (Puritans as fools), Henry VI (Peasant rebels as Yorkist puppets), Macbeth (Usurpers as evil and influenced by witchcraft), Richard II (Promotion of Divine Right of Kings), Henry IV (Lollards mocked) & King John (Magna Carta is excluded)

Shakespeare’s historical and cultural positioning—writing during the late Tudor and early Stuart periods—provides context for his blend of Absolute Monarchism, humanism, and satirical social critique. His works navigate a delicate balance: celebrating hierarchical structures, interrogating social and economic inequality, and questioning moral rigidity. While some of his portrayals, particularly of Jewish and religious figures, remain controversial and have led to accusations of Anti-Semitism, they also reveal the tension between societal norms and emerging Renaissance humanist thought. Shakespeare’s legacy thus illustrates the interplay between historical context, literary innovation, and evolving philosophical and political ideas, offering a window into Elizabethan England’s complexities and the enduring relevance of his explorations of power, ethics, and society.

Richard Wagner was born in 1813 in Leipzig, within the German Confederation, into a family already embedded in the cultural life of the region. His early exposure to theater, music, and intellectual circles laid the foundation for his lifelong engagement with Romanticism and Romantic Nationalism, movements that shaped both his artistic output and his socio-political thinking. Wagner’s youthful experiences coincided with the post-Napoleonic restructuring of Europe, which fostered his interest in German nationalism and the unification of cultural identity under a shared historical and mythological heritage. His fascination with Germanic legends and folklore, exemplified in operas such as Der Ring des Nibelungen, reflects his Romantic Nationalism and German Nationalism, using art to construct and celebrate a collective cultural identity.

Wagner’s radical early political activity, particularly during the 1848 Revolutions in Dresden, demonstrated his engagement with Left-Wing Nationalism and socialism. He briefly aligned with revolutionary movements, advocating for social change, which reveals his early commitment to social justice and egalitarian ideals. These experiences contributed to his anti-capitalist stance, as he criticized the commodification of art and society in favor of a system that privileges human creativity and collective cultural expression. His writings on music and society, including Das Judenthum in der Musik, while infamous for anti-Semitic content, reflect an intertwining of ethnonationalism and his aesthetic theories, demonstrating how his views on race, culture, and identity were inseparable from his broader social critiques.

Philosophically, Wagner was influenced by Schopenhauerism and Feuerbachism. Schopenhauer’s pessimism and emphasis on will as the driving force of existence shaped Wagner’s musical and literary exploration of human desire, suffering, and transcendence. Feuerbach’s materialist critique of religion further informed Wagner’s early Christophobia, seen in his questioning of traditional Christian morality in his operas and essays. This philosophical grounding intertwined with his Romanticism and Gobinism, illustrating his vision of society as a moral and aesthetic project, where artistic and cultural elevation serve as vehicles for spiritual and national regeneration.

Wagner’s social theory also exhibits elements of anarchist influence, particularly Bakuninism and Proudhonism, which appear in his critique of centralized authority and bourgeois society. While he did not fully embrace anarchism politically, his writings and operas often explore tensions between individual freedom, social hierarchy, and collective destiny. This tension is mirrored in his oscillation between radicalism and conservatism: though he initially supported revolutionary causes, he later gravitated toward ethno-cultural preservation and proto-Nazism (as accused by historians), reflecting a shift toward racial nationalism and the valorization of German cultural continuity.

Wagner’s historical trajectory—from early radicalism, left-wing sympathies, and Christophobia to mature German nationalism and racial consciousness—reveals a complex interplay between personal experience, philosophical engagement, and cultural production. His Romanticism and Romantic Nationalism served as both artistic inspiration and ideological framework, informing his ethnonationalism, anti-capitalism, and social critique. Even controversial elements, such as anti-Semitism and proto-Nazi associations, are inseparable from the broader context of his attempts to reconcile cultural identity, aesthetics, and social ideals. Wagner’s legacy thus reflects a fusion of musical innovation and socio-political thought, illustrating how individual genius can simultaneously illuminate and challenge historical and moral frameworks.

Jason Brennan believes that voters tend to be irrational and ignorant about politics and that there is little incentive for voters to inform themselves about politics, as they believe (correctly) that one vote will not make a great difference in the overall election results as compared to different opportunities they could use their rime for. additionally, voters tend to make decisions that are ideologically inclined and easily manipulated. Brennan presents and discusses different alternatives of "the rule of the knowledgeable" (epistocracy), where only the most knowledgeable voters get to elect our leaders.

• They usually represent whatever philosopher you want to represent in your comic,
• They love to read works on philosophy,
• They despise the Roman emperor Commodus.

1. Draw a ball,
2. Fill it with yellow,
3. In the centre of the ball, in grey, draw a circle with a space on its bottom connected to two vertical lines on its upper half,
4. Below this shape, again in grey, draw the same shape but inverted on its bottom half,
5. Add the eyes
6. (Optional) Draw small round glasses under the eyes

...and you're done!

• Technocracy - My beloved child and heir.
• Absolute Monarchism - The system many philosopher kings use.
• Enlightened Absolutism - My Enlightenment-era follower who gave me praxis and achieved my dream.
• Welfarism - The common welfare must come first.

• Counter-Enlightenment - Quite unwise, but many, many of my followers were romanticist.
• Ingsoc - I think you're taking the "the average citizen can't make the right decision" idea just a little too far.
• Aristocracy - They are pompous and foolish, but they do have the right idea about who shouldn't rule.
• Cyberocracy - You're smart but too unwise to actually hold power. You need to grow older and gain more experience before you are a worthy heir.
  • - You should read about "Artificial Wisdom". Yes, I do agree that in the current technological epoch, AIs are very dumb and narrow, but I bet that Artificial General Intelligence will outsmart average humans in every field of existence. So... after a few (20-30) decades, we will have an actual AGI leader.
• Cosmicism - You are wise, my child, and filled with an admirable desire for philosophy and progress, but you are also filled with too much dread.

• Democracy - I find your system too flawed to be sufficient for the people.
• Transhumanism - Robot arms are only as the one who made them.
• Kakistocracy - By what basis do you believe the mentally daft to be just rulers of a state?
• Senatorialism - Eldritch abomination. Conceptual impossibility. Your very existence violates the laws etched into the universe.
• Ochlocracy - Your system is an abomination.
• Anarchism - For everyone to rule is a terrible idea.

• The Republic by Plato
• Against Democracy by Jason Brennan

• Noocracy
• Philosopher king
• Geniocracy
• Noosphere
• Platonism

• The Religion and Political Views of Wolfgang Amadeus Mozart

• 
  Legacy design
• 
  Legacy flag design

tr:Epistokrasi