I have seen the future. And it looks a lot like the past, only different. Old is the new new. In the future, history is remixed with the recent past to reflect a present that claims no distinct visual language or critical position of its own—unless you view this condition as such.
The virtual intersection of this phenomenon is the web site FFFFound. Essentially optical heroin for visual culture junkies, FFFFound is an “image bookmarking” tool that acts as a limitless bulletin board where members can share and discover imagery. It’s a living organism of images—constantly evolving and remarkable for its limitless depth and diversity. Everything that could be classified as an image can be found there: contemporary photography, classic album covers, Swiss design from the 60s, new posters from last month that look like Swiss design from the 60s, 3D illustrations of hot babes with or without motorcycles and futuristic weaponry, typography, vintage advertising and packaging, disembodied people in sneakers holding the aforementioned posters, HDR photo-illustration, information design, pattern, and on and on. In our studio, it has become the default source for visual research and inspiration.
Amidst this intoxicating abundance, I find it disconcerting that the original context of the image has been lost. You can uncover it, of course, if you’re willing to travel a few clicks and leave the site. But why bother? There are too many things to see. So, any sense of history, narrative and contextual meaning fades away as a broad palette of visual styles scrolls by before your eyes, aggregated based on your previous selections and taste. In this vast and empty landscape, there is no old or new—just now.
The ultimate irony is that post-post-modernism often looks a lot like modernism, when it’s not waxing nostalgic for some other era (also common). Unlike modernism or post-modernism, both of which required a certain level of participation in the theoretical discourse, I believe that most designers today couldn’t articulate a point of view one way or the other about the politics of their design decisions. Helvetica Bold is just a cool, neutral choice—and so are a lot of other things. These days, everything is fodder, which provides both tremendous opportunity as well as significant risks.
My worry is that our visual culture is becoming stagnant and muddy, even if it is more visible, mutable and global than ever before. Rather than creating original imagery, our creative process has shifted toward mimicry and appropriation rather than individuality and invention. As designers, we need to assume more responsibility for driving and shaping visual culture. That means developing a greater awareness of history as well as a keen eye for what’s happening now. And having some skin in the game. Let’s stop FFFFinding and start MMMMaking.