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.

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.