By Alan Kirby
A daring new problem to postmodern theory
The expanding irrelevance of postmodernism calls for a brand new idea to underpin our present electronic tradition. nearly with out 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 significant technical mode and the privileging of arms and thumbs inherent in its use.
Beginning with the web (digimodernism's most crucial locus), then making an allowance for tv, cinema, laptop video games, tune, radio, etc., Kirby analyzes the emergence and implications of those assorted media, coloring our cultural panorama with new principles 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 production of texts, our electronically-dependent society is turning into extra occupied 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 as a substitute 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 incredible influence on our tradition.
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Additional info for Digimodernism: How New Technologies Dismantle the Postmodern and Reconfigure Our Culture
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 brief word about such writers. None of the histories of postmodernism systematically surveys its counterpart anti-postmodernism, which is a pity since it comprises much of the most enjoyable writing on the subject. This subgenre boasts a handful of recognizable traits: it lands devastating 38 DIGIMODERNISM blows on its subject, leaving it battered and bleeding; it can never finish its subject off, which survives, apparently indestructible, until another day; and it is invariably backward-looking in its intellectual wish list.
This significance derives from their semiexplicit and would-be epochal repudiation of literary postmodernism. From the start the venture declares itself, with paleontological awkwardness, “[a] chance to blow the dinosaurs out of the water,” and the reptiles it seems to have in mind are above all the postmodernists: “While I admire the formal experiments of writers like B. S. ”13 In an interview touching on the New Puritans conducted three years later, Thorne expanded on this literary-historical positioning.
You would forgive them all this if their own work was powerful or original, but what I’ve seen of it (reproduced in two books by and about them) is mediocre indeed. Despite all this, I’m loath to write the Stuckists off entirely. As with the New Puritans, their words and gestures are, like the odd behavior of cattle before a storm, unwitting signals of wider, larger historico-cultural changes, which they don’t comprehend. All three movements surveyed here make the same error: they construe postmodernism as no more than an artistic fashion, and so assume that, as one hemline is superseded on the catwalk by another, it can be sent on its way and replaced by a newer thing by a simple act of self-will.