There's a passage from an interview with Vilém Flusser from 1988*. Flusser explains his media centered concept of cultural history as one of humans' activity of abstracting from physical reality (4 dimensions: time, depth, height, width), bodies (3 dimensions: "timeless" sculptures/ objects), pictures (2 dimensions: paintings/ "shallow surfaces"), text (1 dimesnion: linearity), bits (zero dimensions: 'total' abstraction). He goes on:
"[...] I've [We've] stepped into the most extreme abstraction. Progress is therefore -- from a dimensional perspective -- done. [..] now it's not about abstracting from the world anymore, which is what history of human progress has been about, now it's about projecting this abstraction back. Suddenly we change from subjects to projects. We are not subject, subordinated to the world, but projects on [upon/ onto] the world. We go back from total abstraction to concretion. Instead of abstracting we concretize [substantiate]. I don't think, that you can grasp this change more radically than I just did: We stop being subjects. To us the world is not an object, which we bounce against, anymore. The world is a layer, a screen, a field of possibilities, onto which we project meaning. We don't bend over the world to decipher it anymore, but instead we shape it according to our own meaning." (own translation)
Without knowing Flusser's writing this might seem utopian, or maybe problematic, elitist -- people are subjected to "the world" and/ or other people. (Flusser fled from Nazi occupied Czech, so he knew this.) It may also contradict what Berardi says in some ways. I think though it's more of a perspective from a different way of thinking. The last part for instance can be read both as criticism and also as a point of leverage. In his conception projecting back onto the world mainly happens through media and its autonomous apparatuses, or rather autonomous apparatuses and their media. But part of his message is that we need to learn to think in the „category“ of possibilites and act in improbable ways. I think in this regard Berardi might agree.
*"Alle Revolutionen sind technische Revolutionen, Vilém Flusser im Gespraech mit Florian Roetzer", in: Kunstforum International 097 / "All revolutions are technological revolutions"