By Alan Kirby
A daring new problem to postmodern theory
The expanding irrelevance of postmodernism calls for a brand new conception to underpin our present electronic tradition. virtually with out anyone noticing, a brand new cultural paradigm has taken heart degree, displacing an exhausted and more and more marginalized postmodernism. Alan Kirby calls this cultural paradigm digimodernism, a reputation comprising either its critical technical mode and the privileging of hands and thumbs inherent in its use.
Beginning with the web (digimodernism's most vital locus), then bearing in mind tv, cinema, machine video games, song, radio, etc., Kirby analyzes the emergence and implications of those diversified media, coloring our cultural panorama with new rules on texts and the way they paintings. This new form of textual content produces specific different types of writer and reader/viewer, which, in flip, result in altered notions of authority, ‘truth' and legitimization. With clients intervening bodily within the construction of texts, our electronically-dependent society is changing into extra taken with the grand narrative.
To make clear those tendencies, Kirby compares them to the contrasting trends of the previous postmodern period. In defining this new cultural age, the writer avoids either facile euphoria and pessimistic fatalism, aiming in its place to appreciate and thereby achieve keep an eye on of a cultural mode which turns out, as if from nowhere, to have engulfed our society.
With new applied sciences unfolding virtually day-by-day, this paintings may help to categorize and clarify our new electronic global and our position in it, in addition to equip us with a greater knowing of the electronic applied sciences that experience an important influence on our tradition.
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Additional info for Digimodernism: How New Technologies Dismantle the Postmodern and Reconfigure Our Culture
However, this portrait of modernity as a bunch of ideas finally reified by hypermodernity is incomplete. What happened to universalism? What about the reign of reason? In fact, Lipovetsky interprets modernity as the sociopolitical dream of the French Revolution, the hope of liberty, equality, and fraternity and les droits de l’homme; he distances himself from philosophical Enlightenment, refurbishing Lyotard with his claim that hypermodernity is characterized by the “dissolution of the unquestioned bases of knowledge” (67).
Bring back beauty, good, wholeness and a whole slew of other metaphysical propositions, but only under very special, singular conditions that a text forces us to accept on its own terms . . 49 What about Ian McEwan’s The Child in Time (1987)? Or One Hundred Years of Solitude, The Tempest, The Seventh Seal, Oedipus Rex, The Divine Comedy, The Magus? One example of performatist literature that he gives, Olga Tokarczuk’s “The Wardrobe,” recalls nothing so much as Charlotte Perkins Gilman’s “The Yellow Wallpaper” (1892), perhaps rewritten by McEwan.
And yet there is nothing new for Eagleton in these views. He had been condemning postmodernism as politically either impotent (Lyotard) or consonant with global capitalism (Foucault) at least since his essay “Capitalism, Modernism and Postmodernism,” first published in 1985. It appeared in the same journal as had Jameson’s “Postmodernism, or the Cultural Logic of Late Capitalism” a year The Arguable Death of Postmodernism 33 earlier, and is in many ways a response to it. ” Equally, the misgivings he expresses here about theory can be traced back through his previous publications: David Alderson finds “a strong sense .
Digimodernism: How New Technologies Dismantle the Postmodern and Reconfigure Our Culture by Alan Kirby