iper – -Translation – Keybot Dictionary

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I mondi di Ryan Trecartin, Elad Lassrye Kerstin Brätsch. Iper-artificiali e fantasmatici, esposti a una sovrastimolazione di colori e suoni, mettono in scena vite consumate all’interno di una dimensione digitale sempre più invasiva.
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The worlds of Ryan Trecartin,Elad Lassry and Kerstin Brätsch. Hyper-artificial, phantasmic and exposed to an over-stimulation of colours and sounds, they feature lives that are played out within an increasingly invasive digital dimension Text by Massimiliano Gioni. Edited by Loredana Mascheroni
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Condannati al desiderio e alla gelosia, abbiamo guardato rapiti mentre i prodotti di consumo assumevano una lucentezza spettrale. I prodotti non erano più soltanto buoni, erano incredibili. Non si limitavano a funzionare, ma iper-funzionavano. La nostra è l’età dell’extraterreno.
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Condemned to longing and jealousy, we watched rapt as consumer products took on a spectral brilliance. Goods were no longer good, they were incredible. They didn’t just perform, they over-performed. Ours is the age of the ultramundane. Far from meaning what it sounds like it means (i.e. very boring), “ultramundane” refers to the otherworldly. Ultramundane products are both banal and yet too good for this world. Belonging to the realm of hyper-performance, they test the limits of our understanding. Where we fail, they succeed. They are the reification of all that we wish we could do, of our longing to perform.
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Condannati al desiderio e alla gelosia, abbiamo guardato rapiti mentre i prodotti di consumo assumevano una lucentezza spettrale. I prodotti non erano più soltanto buoni, erano incredibili. Non si limitavano a funzionare, ma iper-funzionavano. La nostra è l’età dell’extraterreno.
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Condemned to longing and jealousy, we watched rapt as consumer products took on a spectral brilliance. Goods were no longer good, they were incredible. They didn’t just perform, they over-performed. Ours is the age of the ultramundane. Far from meaning what it sounds like it means (i.e. very boring), “ultramundane” refers to the otherworldly. Ultramundane products are both banal and yet too good for this world. Belonging to the realm of hyper-performance, they test the limits of our understanding. Where we fail, they succeed. They are the reification of all that we wish we could do, of our longing to perform.
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Non meraviglia, allora, che alcuni uomini dirottino la loro ansia di prestazione verso un mondo di prodotti per il piacere autonomo. Il produttore giapponese di giocattoli sessuali Tenga ha portato la masturbazione nel regno dell’iper-prestazione, con tecnologia allo “stato dell’arte”.
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It’s not just the militarisation of anti-sound that’s entered the market, however, but the militarisation of sound. Teenage “repellents” such as the Mosquito use ultrasonic frequencies to banish unwanted young people from public spaces. Such fierce illiberalism only works because these products can target the hearing of the under-25s. Products are becoming hyper-performers not just at attracting but also at repelling. Blister-pack packaging, for instance, is so effective at deterring shoplifters that it also prevents the consumer from accessing her purchase. All you wanted was a usb stick, and yet you have to train every sharp implement in your arsenal against a shell of thermoformed plastic just to get at it. Deterrence is the new seduction. Australian cigarette packets have banished the glamour of branding in favour of a gothic glamour of gore. Health warnings have become a horror show of rotting gums and putrid organs. Perhaps the most effective of these messages are the ones that target our own performance — sexual, that is.
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Il sito web satirico The Daily Mash ha risposto con il titolo di testa, “L’umanità dice a Dyson: forse l’avevamo già risolto il dilemma ‘mani bagnate’!”. Questo titolo, tuttavia, fraintende del tutto ciò che spinge i prodotti verso l’iper-prestazione.
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When James Dyson, the magician of sucking and blowing, launched the Dyson Airblade Tap, the world paused for a collective nanosecond of disbelief. You went one step further? You integrated the hand dryer into the tap? Satirical website The Daily Mash responded with the headline, “We’ve kind of got the ‘wet hands’ thing licked, humanity tells Dyson.” But this headline fundamentally misunderstands what drives products to hyper-performance. It is not need, but the market. What Dyson is offering the market is another micro-efficiency: he is saving us that half-second it takes to swing our hands from the sink to the dryer right next to the sink.
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Un tempo c’era il feticismo della miniaturizzazione, oggi invece gli smartphone Samsung Galaxy si fanno sempre più grandi a ogni nuova versione, ingrossandosi a ospitare universi nascosti di funzioni. Nulla incapsula meglio l’iper-performance dello smartphone, così versatile da aver portato all’estinzione interi generi di prodotti monofunzionali.
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Left, Rolling Head Cup, Tenga: Sex toy for male pleasure, part of a line that was also developed for its design. Main features: Lubrificant lotion reservoir; Flexible body; Air hole to control pressure and suction; Glans stimulation via rolling head; Internal nubs and textures. Right, Aeron chair Herman Miller: Ergonomic office chair designed in 1994 by Don Chadwick and Bill Stumpf. Main features: Available in three sizes to fit the user’s needs; Kinemat tilt mechanism with tension adjustment; Lumbar support to ensure ideal back posture; The arms can be adjusted individually; The Pellicle material distributes heat and promotes air circulation. Illustrations by Danilo Agutoli
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Un tempo c’era il feticismo della miniaturizzazione, oggi invece gli smartphone Samsung Galaxy si fanno sempre più grandi a ogni nuova versione, ingrossandosi a ospitare universi nascosti di funzioni. Nulla incapsula meglio l’iper-performance dello smartphone, così versatile da aver portato all’estinzione interi generi di prodotti monofunzionali.
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Left, Rolling Head Cup, Tenga: Sex toy for male pleasure, part of a line that was also developed for its design. Main features: Lubrificant lotion reservoir; Flexible body; Air hole to control pressure and suction; Glans stimulation via rolling head; Internal nubs and textures. Right, Aeron chair Herman Miller: Ergonomic office chair designed in 1994 by Don Chadwick and Bill Stumpf. Main features: Available in three sizes to fit the user’s needs; Kinemat tilt mechanism with tension adjustment; Lumbar support to ensure ideal back posture; The arms can be adjusted individually; The Pellicle material distributes heat and promotes air circulation. Illustrations by Danilo Agutoli
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Il quadrante zeppo di numeri del Cosmonaute misura il tempo in quarti di secondo. Superando la capacità umana di percepire differenziali di tale natura, l’orologio concretizza l’ethos dell’iper-prestazione, diventando un manifesto ideale in forma di semplice congegno.
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This, surely, was the very premise of the Frankfurt Kitchen of the 1920s. It optimised movement in a compact space so as to waste less of the housewife’s energy. In the Dyson Airblade Tap, the modernist project is alive and well, but instead of sparing the housewife it will save microseconds in an airport toilet, streamlining the journey to the departure gate. It will be of most use to those who rule junkspace, jetsetting executives, perhaps the kind who wear Breitling Cosmonaute watches. The Cosmonaute’s number-encrusted face measures time in quarter seconds. Surpassing the human’s ability to even perceive such differentials, it embodies the ethos of hyper-performance. It is an ideal manifest in a mere instrument. It fulfils (rather than enables) the ambitions of stockbrokers in 14th-floor offices to feel like pilots in a dogfight at 30,000 feet.