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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 âmaterial designâ 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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Nationalism which excludes everyone who doesn't share your interests on the Internet. Cultural inflection that is the genesis point alt-right
Filter bubble nationalism has the world ready for Trump v. Kim Jong Un.
Intersubjective collapse.
Speculative accelerationism.
An alt-left synthesis of neo-reactionaryism's accelerationism or speculative realism into a speculative annihilation.
The intermodern successor of postmodernism's paradigm of deconstructionism; modernism's magical realism or absurdism; and Romanticism's gothism or baroqueism.
Annihilism is the intermodern successor to deconstructionism.
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The conundrum of the observer seeing that which he does not remember and remembering that which he does not see.
Memory-appearance conundrum.
The Vikaasian problem asks why human beings remember the past and not the future. The future can be seen.
Additive, in structural terms.
Having zero overlap (conflation).
Synthetic.
Dualistic.
The divergent is the foundation of the contrapositive.
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An aestheticized version-of Christianity in which the Anti-Christ, despite seeming appearances, is the hero...and the Christ does not return.
A liminal version of Christianity where the Holy Spirit comes to earth disguised as the Anti-Christ..
Also the forma, limina, and triene-function usurp the role of The Holy Trinity.
In triliminal Christianity: the forward passage of time in the instance of triene-function obviates (makes unnecessary) the return of the Christ; and the seeming Anti-Christ turns out to be the Holy Spirit.
The structure-of-reality is made up of three components: a circle with infinite^infinite area which itself contains an uncountable line-set of discrete radial-area; and a countably infinite number of points - - transfinities--which comprise a Vikaasian superset.
Keep in mind that transfinity is the intersection of infinity and infinity-to-infinity.
The structure-of-reality can be divided into three sets:
The representative schemata, which is made up of lines between the discrete area and the countable number of transinfinite points; the referential set which is made up of lines between the discrete area and the circle's uncountable area; and the experiential (sensual) set which is made up of liminal layers connecting the uncountable lines' discrete area and the uncountable area of the internal-contiguous circle.
The texture of reality is the sensual set: made of layers between the discrete area of the internal radial lines and the uncountable area of the circle.
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