Points that lead to the appearance of the Modal Environs:

  1. Digital culture has transformed our experience of time and perception of objects through our continual management of increasing amounts of information, and that this experience has thoroughly influenced our adaptation towards it. 
  2. That this transformation has become manifest through a new paradigm of speculative grounding. Meaning, that through this culture, we have become involved in continuous negotiations of potential, rather than realized expectations; focused on procuring short-term events of the future into the present with more real-looking, dense gravity.
  3. That as a result, an Accelerated Object of Experience becomes involved regarding our perception of what appears as tangible in the present. That is, as soon as the results of our speculative grounding has arrived into the present, our experience through an immediately reporting media diligently relegates these events into the past with an equal amount of urgency.  Every new experience thus arrives with the pronouncement of its immediate transpiration into the past as we make way for the next oncoming and ultimately transpiring event. 
  4. That the combined result of these two phenomena stands close to a transformation of the present into a imaginary state, with applicable recognition as a formal modality. Meanwhile, the things of our immediate environment become more intangible, interchangeable and  pliable as categorical types. 
  5. This nebulous state produces an impressionable event-space where feelings, memories, or thoughts linger and occupy; associating with one's personal experience with things that intersecting with their public or social meaning.  These resultant senses of feeling, memory, or idea become a means to construct a “concrete proxy” for the new experience of reality which has since become more illusory, fleeting and transient.
  6. That this new means reconstructing a reality out of the effective remnants of experience we would call a “Modal Environs”: a means of communicating a “perceptographic” image or a corporeal visage based on expressions of content or the creation of context surrounding one's impressionable event-space. It is an "image" which need not be actual, but formulated through a kind of pluralistic, spatial histiography formed through modes of aesthetic interrelations and their representations.  These aesthetics, moods, tones or qualities become tangible materials with which to create a place or setting and contain sensibilities extending beyond the limits of the object's local physicality. 
  7. The Modal Environs deals with an image born within the language of physical space and visible reality but one which appeals to qualities of the imagination; an image that varies from the static appearance of everyday reality, however, in that it maintains an experiential operation manifesting as the tactile performance of a perceptual construct, designed as becoming veiled over what is considered as conventional reality.  An image that is meant to somewhat replicate, yet subvert, components of the commonplace into an atmospheric, albeit more changeless, semblance of reality.