Digimodernism: How New Technologies Dismantle the Postmodern by Alan Kirby

By Alan Kirby

A daring new problem to postmodern theory

The expanding irrelevance of postmodernism calls for a brand new concept to underpin our present electronic tradition. nearly with no anyone noticing, a brand new cultural paradigm has taken middle level, 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 net (digimodernism's most crucial locus), then considering tv, cinema, machine video games, tune, radio, etc., Kirby analyzes the emergence and implications of those various media, coloring our cultural panorama with new rules on texts and the way they paintings. This new type of textual content produces detailed 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 production of texts, our electronically-dependent society is changing into extra inquisitive about the grand narrative.

To make clear those tendencies, Kirby compares them to the contrasting developments of the previous postmodern period. In defining this new cultural age, the writer avoids either facile euphoria and pessimistic fatalism, aiming as an alternative 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 nearly day-by-day, this paintings may also 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 impression on our tradition.

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Additional info for Digimodernism: How New Technologies Dismantle the Postmodern and Reconfigure Our Culture

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An article titled “Performatism, or the End of Postmodernism” was published in the Fall 2000/Winter 2001 edition of the journal Anthropoetics by the German-American Slavist Raoul Eshelman. Over the following years, Eshelman wrote pieces on performatism in architecture, film, and literature that (I assume) he gathered together into a book of the same name as his initial article published in 2008; I haven’t been able to see this, but an online chapter list reflects the contents of these articles.

Modernity offered limitless individualism, freedom from social obligations, emancipation from oppressive duties and structuring conventions, the pursuit of pleasure, and personal autonomy. Rather, it spoke of these, but could not produce them as social realities. Hypermodernity is the moment when these notions become The Arguable Death of Postmodernism 43 concrete and flesh, when they are lived and experienced (not always happily) right across society. ) have in practice been stripped: “[t]he era of hyperconsumption and hypermodernity has sealed the decline of the great traditional structures of meaning, and their recuperation by the logic of fashion and consumption” (14).

That was of course correct, but not absolutely so” (77). A great part of Les Temps hypermodernes accords though with conceptions of a possible digimodernist society, as my Chapter 7 will suggest; its account of consumerism is particularly compelling. 52 His fetishization of cinema is traditionally French, and his running together of all contemporary forms of “screen” into one bundle ruled by film is both simplistic and conservative. The book adds little to the meaning of hypermodernity, which again comes across as a mostly superfluous category whose content is insufficient and unsatisfactory, and which obscures his insights into consumerist society.

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