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 heart level, displacing an exhausted and more and more marginalized postmodernism. Alan Kirby calls this cultural paradigm digimodernism, a reputation comprising either its imperative technical mode and the privileging of arms and thumbs inherent in its use.
Beginning with the net (digimodernism's most vital locus), then making an allowance for tv, cinema, laptop video games, tune, radio, etc., Kirby analyzes the emergence and implications of those various media, coloring our cultural panorama with new principles on texts and the way they paintings. This new form of textual content produces designated 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 turning into extra desirous about the grand narrative.
To make clear those developments, 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 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 virtually day-by-day, this paintings can help to categorize and clarify our new electronic global and our position in it, in addition to equip us with a greater realizing 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
To do this required an implicit renunciation of the issues and the thinkers discussed in Literary Theory, and a reconciliation with ordinary-language British philosophy of which, back in the 1980s, one would never have thought him capable. It’s a huge shift in one sense, but in another, nothing has changed: Eagleton is still doing cultural theory as he always did, but now is trying to see beyond the end of theory as we knew it, in order to begin it again, begin it better. Yet the extent to which all of this is successful is very moot.
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.
The deconstructionist . . is supposed not to believe in truth, stability, or the unity of meaning, in intention or “meaning-to-say” . . this definition of the deconstructionist is false (that’s right: false, not true) and feeble; it supposes a bad (that’s right: bad, not good) and feeble reading of numerous texts, first of all mine, which therefore must finally be read or reread. 45 This is not to “defang” Derrida, nor to commit the intentional fallacy. However, it suggests the complexity and difficulty of his work, which must be respected and interrogated by those trained and competent to do so.