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Nihilism specifically nihilism in its aesthetic form (skeuomorphism) masquerading as postmodernism. (Nihilism externalizes (individualizes) the irony that postmodernism internalizes (existentializes (collectivizes)).
Hypermodernism deconstructs the material form-function duality of Postmodernism into the material design-attribute duality characteristic of metamaterials.
Hypermodernism is based on the Vikaas rule, which states that in Postmodern deconstructionism, a singularity bifurcates into a duality; rather than a duality converging into a singularity.
Postmodernism internalizes its own ironies rather than account for (recurse with) them. Nihilism regurgitates these ironies in its aesthetic manifestation (skeuomorph). The externalization of this irony is called Hypermodernism.
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A reaction against the deconstructive nihilism of Postmodernism. A Hypermodernist believes that the end result of all human activity is a well-ordered universe devoted to experiencing life in all the myriad ways possible based on fundamental objective truth that can only be experienced subjectively, mediated by physical sense organs in the physical world and enhanced through technology.
On the hypermodernism spectrum there is nihilism on one hand (there are no absolute moral values), and complete Hypermodernism on the other (Moral values consistently change as the universe evolves; they are set by human authorities and must accord with a rational "Principle of Utility", furthermore, objective moral value can be determined purely through subjective observation of an underlying objective reality.)
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Example:
Mum the Potter: Rejection of self-reported data and all media as implicitly distorted and corrupt is a fundamental aspect of the Postmodernist way of thought.
Sally the Drummer: Those Postmods can't touch the absolute validity of the Hypermods and their new Hypermodernism . Shite, contrarily I contend with the hypermods that truth exists, we have access to it despite our implicit biases, and we can use that truth, so discovered, to solve temporal problems causing unnecessary suffering in our world. Amen.
Mum: Sounds like a Marxist plot.
Sally: Maybe. I guess we'll see.
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I'm practice Hypermodernism because I believe subjectively discovered truths lead to greater control of the underlying ultimate objective reality.
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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 “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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A paradigm based on the phenomenon that nihilism can mimic postmodernism (intersubjectivity) but intersubjectivity cannot mimic nihilism.
This phenomenology leads to the conclusion that nihilism is appearance (emergence (aesthetic)) and nihilism is-is aesthetic (nihilism is meta-aesthetic).
Meta-conclusively, nihilism thus becomes function; and meta-aesthetic is action (first-action), consciousness, and time itself.
Hypermodernism turns Paul Fromm's static duality from being and having to being and representing (mimicking).
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HyperModern fiction is a style of writing that was first introduced by Japanese cyberpunk author Kenji Siratori. It began with his first novel Blood Electric and then from there, he created a slew of cyberpunk novels in the HyperModern fiction style.
Many years later and strongly influenced by Kenji Siratori's workes as well as Hunter S. Thompson's, American writer Eugene-John began writing in this cyberpunk, HyperModern fiction style, but with a more coherent approach. Eugene-John managed to keep it hyper, random, kinetic, spastic but with a Gonzo approach to it. At times he writes about cyberpunk themes, but a large body of his work is grounded in modern themes and situations. HyperModern fiction is a style that combines Gonzo writing and Stream of consciousness. It's a fast paced, "in your face," very random, very informative style of writing, but with a common theme running thoughout the story.
It is suggested that the best way to truly enjoy HyperModern fiction is with the use of frantic, raw, energetic rock n' roll and/or industrial music. And for those daring enough, a toke of your favorite green leafy substance or countless swills of your favorite nectar.
KENJI SIRATORI (Blood Electric)
EUGENE-JOHN PESCORAN (Nicely Destroyed)
HyperModern Fiction
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The postulation that function exists on a plane and will exists above it.
Hypermodernism argues that free will is external to the mind-image (structure-image) and is external most ostensibly to the function-structure-image (skeuomorph).
An art movement which proffers that consumption is an image.
Particularly, it posits that real-life digital avatars are deconstructing or "consuming" skeuomorphs from the periphery.
Hypermodernism posits that skeuomorphs are subcultures and that edge-actors or edge-assets are deconstructing these niche movements from the outside; revealing the movements to be "images of consciousness."