By Alan Kirby

A daring new problem to postmodern theory

The expanding irrelevance of postmodernism calls for a brand new thought to underpin our present electronic tradition. nearly with no anyone noticing, a brand new cultural paradigm has taken middle degree, displacing an exhausted and more and more marginalized postmodernism. Alan Kirby calls this cultural paradigm digimodernism, a reputation comprising either its important 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, track, radio, etc., Kirby analyzes the emergence and implications of those diversified media, coloring our cultural panorama with new principles on texts and the way they paintings. This new type of textual content produces special kinds of writer and reader/viewer, which, in flip, bring about altered notions of authority, ‘truth' and legitimization. With clients intervening bodily within the production of texts, our electronically-dependent society is turning into extra serious about the grand narrative.

To make clear those traits, Kirby compares them to the contrasting traits of the previous postmodern period. In defining this new cultural age, the writer avoids either facile euphoria and pessimistic fatalism, aiming as a substitute to appreciate and thereby achieve regulate 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 might 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 incredible effect on our tradition.

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

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This latter cannot remain world-changing forever. ”44 While the last two words are an incitement to demystification, the general point may suggest the way philosophical postmodernism ends: not with a coup, but with absorption. Indeed, to say that something is “dead” is the opposite of arguing that it never existed; it means that, no longer growing and vibrant, an entity has merged with the ever-expanding past and as such feeds into and inflects our present and future. Thus “disproof,” which would turn the clock back, is not required: that belongs to an earlier time when writers sought to undo postmodern and post-structuralist thought, to wipe it off the face of the earth as if it had never been.

A list could be assembled then of stillborn texts attesting to this climate, which could be tabulated as below: the column on the left gives the author where available; the middle column shows the failed and recent postmodern text (some more failed than others); the right-hand column suggests an equivalent text from the era of high postmodernism that was critically and/or commercially successful. More could be added, but the argument can never become watertight no matter how long its list of instances.

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). ). The argument, though sketchy, feels qualitatively different than those of a previous generation of French intellectuals. 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?

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