In a very short timeframe, culture production has radically changed. Due to the huge influence that the development of both medias and technologies has perform in our world, any process of design, its products and its spares, are now hyper-connected and trans-referenced. Our contemporary culture context becomes, as has also happened with our societies, a continuous infinite field where connections and disconnections are constantly mediated amid their agents.

The Generic City has been substituted by the Singular City. A urban-scape democratically unique in each point and, simultaneously relevant and irrelevant for its neighbors.

In the contemporary city, the success of each cultural production is exhausted with a speed only comparable to its rapid vanishment. Our cities are everyday more similar to our culture-scape. 

Scale is cynically democratized and only expands or shrinks momentarily for very specific needs.

Time and space perform equally in a matrix where relations are more important than facts . . .

The drawing that accompanies these lines presents that open-space matrix under which some ready made pieces arise. Their scales, distorted by means of democratization, define a convergent isometric landscape. 

Time and space converge in a public plateau where every single cultural production is mercilessly juxtaposed. 

If something characterizes our time is it debt to convergence as the main motion for those connections.

That convergence defines our current paths of culture production. It set the rules for the inner logic of our contemporary societies.

The exquisite desolation experienced within our contemporary culture-scape is directly proportional to the massive ephemeral connections that saturate our daily routines.

Production, and not conservation, is overtaking us. 

We are wanderers in a sea of density. 

Everything is happening . . .

              . . . Now . . . 

                                    . . . Right now.

Quote 1- As quoted by Andy Warhol in the program for his exhibition at the Moderna Museet in Stockholm, Sweden in 1968 

Extracted from: ‘The Sixteenth Minute: Life In the Aftermath of Fame’ 

Jeff Guinn and Douglas Perry. (Penguin, 2005, New York)