Hypermodernity is a design-oriented heuristic that assumes that the part, when deconstructed to an attribute, can become GREATER than the whole. This is in contrast to postmodernism which posits that the WHOLE is greater than the sum of its parts.
A great way to counterpose postmodernism and hypermodernity is to say that while postmodern has an (anti-) object-orientation hypermodernity has an ATTRIBUTE-orientation
Hypermodernity exists in an increasingly fault-tolerant user experience in which objects are being deconstructed to their skeuomorphs (mimetic attributes). A tangible example of this is the touch-screen keypad replacing the flip phone keypad.
This has measurable impact on cultural consumers; who now define a product as an intersection between form and function (analogous to whole and sum-of-parts unity in modernism). Form-function unity induces a parallel revolution in material design and composition. (Even the term “material design” is an oxymoron in postmodernism.)
The increasing prevalence of skeuomorphs in disparate technological contexts and mediums means that culturally, the fake converges with the real in a hyperreality or augmented-reality-as-an-interface existence. This is evidenced by the rise of virtual reality, Google glass, Pokemon Go, virtual geo-cache incentivization, and most significantly, false social nodes (filter bubbles) created by online social networks that have an off-world impact.
In postmodernity, we watched drama on television and interpreted reality as drama; in hypermodernity, we watch reality on television and live in a Trumpian drama.
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hypermodernity
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Aesthetic in which industrial characteristics define electronic interfaces
Sega's arcade games contain generous motifs of electro-industrialism
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Electro-industrialism
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State that is backed by and exists for the purpose of petroleum.
Putin has turned Russia into a petrocracy
having the property of self-actualization or convergence between self and ideal (recursive) self. Refers to an individual having a sense of his own existential orientation; a movement aware of its own orientation in history; the fake converging with the real (hypermodernism); or past and future converging into a single resonant moment in time (metamodernism).
Marilyn Monroe was an actualizative starlet who was not only unparalleled onscreen, but recognized her own contributions to film pantheon as iconic during the course of her career.
Law enforcement AI. Robo-cop. Automated authority.
The coptroller is directing traffic using meta-data patterns.
A synthesis of past and future--specifically retrofuturism and neotraditionalism ((inverted time regression (recursion))--to create a resonant eternal present; an “end of history; a completion of the Hegelian dialectic. Founded on recursive synthesism, it unites the physical and metaphysical; the existential and ideal; and the personal and universal into a single mythos.
Metamodernity is the successor to hypermodernism in which time is the final skeuomorph. In metamodernity time is manifested by three aesthetics: 1.Retro-modernism (1950’s motif) 2. Electro-industrialism (1980’s retrofuturism) 3. Object-infrastructure unity (2080’s)
Metamodernity has three primary technological motifs: human-agnostic consciousness, object-infrastructure unity, and information-energy unity.
In the cultural paradigm, each part is considered equivalent to the whole. This is in contrast to hypermodernism in which the part (attribute (imitation (skeuomorph))) is GREATER than the whole.
Metamodernity transcends the convergence/intersectionalism/monotheism/linguistics-centered world of logos to connect singularity with duality (the ultimate synthesis). This is called the Vikaasian Paradox. Metamodernity unites Eastern philosophy with Western aesthetics which are now believed to display implicit cyclical time. Academia returns to mythos in a final triumph of philosophy over science.
Metamodernity is a cultural reconciliation of the future-past and the past-future.
Irony as an external attribute; beyond the qualities of an implicit component. Irony as a subjectively-applied attribute of an object which ALREADY contains internal ironic components. Irony that falls outside of the bounds of postmodernism. Postmodernists call it post-irony and ascribe it primarily to post-postmodernism; although much of post-irony arcs farther, into hypermodernism. Includes ironic nihilism, ideal ironicism (aesthetic), and ironic identity (racial; collective conciousness). Popular in the alt-right messaging approach
A number of late 90’s postmodern academics considered second-degree existential irony to be a boundary of postmodernism rather than external to postmodernism itself; however this analysis did not take into account the unique attributes of nihilism as compared to existentialism as a whole
Ironic nihilism is an example of irony squared because nihilism itself already contains implicit irony.
