In 2012 Adam Harper published two clairvoyant articles in the British Dummy magazine, where he discusses the strategies and aesthetics applied by artists such as James Ferraro, Gatekeeper, Fatimah Al Qadiri, Tabor Robak, The Internet Club or New Dreams Ltd. as an accelerationist attempt to explore “the technological and commercial frontiers of 21st-century hyper-capitalism’s grimmest artistic sensibilities.” Harper leaves it undecided whether such attempts – which draw heavily from the glossy surfaces of cheap, synthetic consumer worlds, the over-stimulating thrill of modern entertainment, the hollowly clean spaces where business is conducted, and the amphetamine-fuelled macho fantasies of power and potency – should be seen as ironic, satirical, or truly accelerationist. The core of the accelerationist concept is that the collapse of our current civilisation is inevitable and hence should be brought forth sooner rather than later. Only after its collapse something different, eventually better, might come to replace it – or maybe not. Adam Harper’s lecture is followed by a conversation with Lisa Blanning.