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magines

Everything about the way we live feels alien and strange. Our fragmented selves, adrift in a multiverse of networks, screens, and notifications, coexist with opaque life-like systems whose nature we barely understand, present in many places at once, dispersed between physical and digital worlds, never certain where one ends and the other begins.

Contemporary existences unfold within a web of mediation, complexity, and entanglement. In our [e]merging post-human condition, time collapses into overlapping layers of immediacy, memory, and anticipation, while agency is quietly negotiated within interfaces and algorithms. These are the conditions through which reality is now perceived and (vaguely) understood.

For decades, figures such as Martin Heidegger, Vilém Flusser, Marshall McLuhan, and Bernard Stiegler—and more recently Yuk Hui and Wendy Hui Kyong Chun—have helped us understand how technical systems shape experience, time, and ways of being. Their work forms an important backdrop for thinking about what digital life feels like today.

This project situates itself within the contours of a Digital Existentialism: an approach that looks at digital technologies not simply as tools or objects of critique, but as conditions that actively shape how existence is lived. Rather than asking only what technologies do, Digital Existentialism asks how they reorganize our sense of presence, agency, and meaning—and what new forms of orientation might be possible within them.

Our approach focuses on a technology at the centre of these conditions: THE DIGITAL INTERFACE

Over the past forty years, digital interfaces (DI) have become the globally dominant system of communication.
DI do not merely deliver information; it is through DI that we know the world, each other, and ourselves; they shape our very conditions of existence::

DIGITAL INTERFACES HAVE BECOME OUR PRIMARY ONTOLOGICAL MEDIUM —

Acknowledging this fact reveals a contradiction

Despite our constant interactions with(in) this medium, we remain almost entirely illiterate in its grammar.
We know how to operate DIs — how to navigate screens, platforms, apps;
how to deliver content into pre-existing templates, yet we rarely know how to transform the structures themselves. That is, the very medium that organizes our lives remains largely inaccessible as a means of expression.

OURS IS A CULTURE OF STRUCTURAL ILLITERACY.

This project is a revolves around two fundamental questions:

WHAT DOES IT MEAN TO LIVE IN A REALITY SHAPED BY A MEDIUM LARGELY INACCESSIBLE TO US?

WHAT OTHER REALITIES WOULD EMERGE IF WE COULD FULLY EXPRESS OURSELVES WITHIN THAT MEDIUM?

what does it mean to live in a reality shaped by a medium that remains largely inaccessible to most of us as a means to communicate?

What other realities might emerge if we could fully express ourselves within that medium?