studio hyperspace investigates the theory and praxis of (the art of) living in an accelerating world.

We have a manifesto (sort of).

It goes like this.

The world is changing rapidly. After 300 years of enlightenment we are facing a reality that is again challenging our way of thinking and doing. According to Theodor Adorno and Max Horkheimer in ‘Dialektik der Aufklärung’ the enlightenment has failed. Instead of becoming subjects, we have objectified ourselves to study, nurture and control. By objectifying everything, we created a world that is in essence fake. Even nature itself has become artificial.

In our current world science and logic aren’t capable anymore to make sense of the problematic global and local changes. We need to come up with more than an utopian vision that could fulfill the role of tranquilizer and bring us at ease with the notion that we will not be able to fully know what direction our world will take.

We need to create new meaning now.

With the dawn of electronic media all our senses are connected, showing us that the myth of the enlightenment is a false one. We need to smash old idols and create new ones. New media empower us to create new meaning in a world that is characterized by constant flows of information (flux).

New technology tend to alter our senses and perception of the world. We have to let new impulses in without embracing technology uncritically. We have to sense and avoid the maelstrom, a strong metaphor used by both James Joyce and Marshall McLuhan, to be fully able to outrun the narcotic state of shock.

The implications for design are phenomenal. Design for the present creates new functions within the context of the new world, being the networked society lacking borders in time, place and space. Design must break free from the rigid structures of objectivity, esthetics, functionality, form and function. Within the new context there is no true function nor form. Form doesn’t follow function and function doesn’t follow form. Form is function is form is function. Designers with vision as Theo van Doesburg, Walter Gropius, Dieter Rams, David Carson, Ray and Charles Eames, to name a few, already understood this. As said, the implications for design are phenomenal: the difference between art, science, design and crafts is no more.

We are in need of new faith.

We need to accelerate the process of deterritorialization and the implosion of hierarchy. New theories like accelerationism and speculative realism are an ideological basis for change.

We already live in the future. Beyond modernity and postmodernity (both are in essence the same) and metamodernity were truth is liquid again and universal values have to be questioned constantly. By using fictional elements from theory we are able to create new practices.

New practices are non-historical and combine all kinds of elements from the past, now and future. They are also non-lineair and subjective and based on the interplay between logos, thymos and eros.

Nick Land wrote in 1994: “The story goes like this: Earth is captured by a technocapital singularity as renaissance rationalitization and oceanic navigation lock into commoditization take-off. Logistically accelerating techno-economic interactivity crumbles social order in auto-sophisticating machine runaway. As markets learn to manufacture intelligence, politics modernizes, upgrades paranoia, and tries to get a grip”.

Let’s see where the story ends.

Design has never been more meaningful.

“Am Heimcomputer sitz’ ich hier und programmier die Zukunft mir”. Kraftwerk is right.

Accelerate now!