Capitalism is figured as an inhuman, ecophagic process whose imperative of infinite growth structurally entails depletion, extinction, and a drift toward the inorganic—allegorized through nanotechnology’s “grey goo” as a fantasy-form that displaces already-active eliminations. Against pragmatic “pre-emptive design” that normalizes post-extraction ruin, the text probes accelerationist aesthetics as a risky tactic: intensifying capital’s dissipative logic to induce glitches, mutations, and new critical morphologies beyond anthropocentric frameworks.

Speculative vignettes stage the 2020s as an accelerationist collapse of modern distinctions—public/private, art/life, human/tech—where platform capitalism, data extraction, and privatization reorganize subjectivity into quantified affect, curated identity, and engineered desire amid ecological crisis. Post-ironic lifestyle aesthetics, Afrofuturist and queer biohacker counter-myths, and the end of authorship/appropriation converge into a critique of neoliberal governance and microfascist “props,” imagining culture as distributed operations and curation-as-power while exposing utopian freedom as a managed, content-producing enclosure.

Capitalist modernity’s mythology of “the future” as endless growth collapses under a paradigm shift from industrial labor to semiotic/cognitive production, where value becomes immeasurable by labor-time and economics functions as an ideological technology rather than a predictive science. Financialization emerges as a deterritorialized, performative regime of signs that expropriates the “general intellect,” producing precarization and psychic exhaustion; the proposed exit is to sever futurity from investment and expansion by embracing frugality, redistribution, and cooperative solidarity as a post-futurist cultural horizon.

Psychoanalytic case-note pastiche and punk’s rhetoric of destruction are braided with food/consumption fantasies to stage a critique of late-capitalist subjectivity: revolt is repeatedly metabolized into spectacle, fetish, and “care” industries, leaving symbolic violence intact while promising endless second chances. Against this failed alchemy (gold shat, cream-pies, shock therapy, viral tears), the text searches for a nonhuman ethics of surplus and mutuality—porcupine sociality and the porcupette’s birth—as a fragile counter-model for reparative relation beyond punitive vengeance and commodified catharsis.

Late capitalism is framed as a fading name masking the rise of autonomous “Technic”—a totalizing metaphysics of instrumentality and linguistic translation that converts reality into standing-reserve, replacing nihilism’s dissolution with a new universal order of mobilization. Against this regime, a counter-architecture is proposed: an ultra-metaphysical limit grounded in the mute fact of Being, coupled with an avowedly arbitrary faith in the value of life that re-subordinates technics to ethical ends, restoring rhythm, responsibility, and mythopoetic culture as defenses and weapons.

A manic monologue of managerial jargon and startup affect stages a satire of neoliberal “actionability,” where art-making is recoded as logistics, alignment, and deliverables, and subjectivity is reorganized around semi-autonomy, accountability theater, and perpetual optimization. By fusing corporate speech with studio life and collector-driven “appetite,” it critiques post-Fordist cultural production as a regime of performative efficiency and hype, exposing how language itself becomes an instrument of control, complicity, and aggressive mediocrity.