It's interesting seeing 'accelerationism' floating up to the hackernews crowd. Unfortunately, this article misses the lasting value of the theory in the arts where it flourishes as nothing short of an artistic movement. Accelerationism has only indirect relations to technology, intelligence, "progress" and is NOT to be mistaken for technological progress or "fast transhumanism" or "irresponsible transhumanism" or singularity chit chat. If this is what you have in mind, keep studying.
I am steeped in the circle of artists and thinkers who have been toying with accelerationism, the most important of who are properly mentioned in the article (Marx, Noys, Land, Deleuze and Guittari, more) but the article ultimately misses the usefulness of the concept and waters it down into yet another transhumanist navel gazing and further sci-fi gargling. Accelerationism seems easiest grasped by American millenials and grey haired leftist philosophers, in other words those with a nurtured consciousness of mass consumer culture.
Accelerationism is an angle of marxism most at home in aesthetic studies and pretty much nowhere else. Accelerationism usually reveals itself as a reflexive irony (with sometimes thick nuance) in it's aesthetic applications, related to exacerbated effects/affects of the commercial abstraction loop to the point where commercial abstraction is not only "there" but is the material of life experience itself. There are significant strains of culture that are out and out "accelerationist" style. I would argue accelerationism revives the Pop art torch in a truly Warholian manner and at contention with the desperate and defensive current state of institutional contemporary art. Vaporwave, post-internet, Dis Magazine, health goth, 2016 Berlin Biennale are at the least affiliates of accelerationist art and at the most it's representatives.
I am steeped in the circle of artists and thinkers who have been toying with accelerationism, the most important of who are properly mentioned in the article (Marx, Noys, Land, Deleuze and Guittari, more) but the article ultimately misses the usefulness of the concept and waters it down into yet another transhumanist navel gazing and further sci-fi gargling. Accelerationism seems easiest grasped by American millenials and grey haired leftist philosophers, in other words those with a nurtured consciousness of mass consumer culture.
Accelerationism is an angle of marxism most at home in aesthetic studies and pretty much nowhere else. Accelerationism usually reveals itself as a reflexive irony (with sometimes thick nuance) in it's aesthetic applications, related to exacerbated effects/affects of the commercial abstraction loop to the point where commercial abstraction is not only "there" but is the material of life experience itself. There are significant strains of culture that are out and out "accelerationist" style. I would argue accelerationism revives the Pop art torch in a truly Warholian manner and at contention with the desperate and defensive current state of institutional contemporary art. Vaporwave, post-internet, Dis Magazine, health goth, 2016 Berlin Biennale are at the least affiliates of accelerationist art and at the most it's representatives.