By Professor Mike Featherstone, Professor Scott M Lash, Professor Roland Robertson
Worldwide Modernities is a sustained statement at the foreign personality of the main microcosmic practices. It demonstrates how the worldwide more and more informs the local, so deconstructing rules just like the `nation-state' and `national sovereignty'. The spatialization of social thought, hybridization and bio-politics are one of the serious concerns mentioned.
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Extra resources for Global Modernities (Theory, Culture & Society)
But Luke and Baudrillard have offered us no way out from this new, far more insidious mode of normalizing security of the technology of signals and flows. Friedman (in Chapter 4) pointed us perhaps in the direction of one, looking at how the signalled flows could be transformed into other constellations of Third and Fourth World identities. Ann Game gives us an idea of how this might work in her invocation of an imagination transforming the 'reverberations' of the coded flows through the 'fibred space of memory' into an intimate and poetic form of knowledge and experience.
For Baudrillard and Luke hyperrealism is much much more real than realism and therefore much more serious in its implications. In modernity, realism for Luke (and Baudrillard) was based in a 'system of equivalence', in exchange and pre-eminently in representation. Realist representation meant that the subject (or proposition or idea or concept or painting) was adequate to the object that it represented. What hyperrealism presumes is that the system of equivalence is no longer a matter of representation, but that it enters into the generation of objects, subjects, thought and ultimately life itself.
These words are experienced not as representations but as 'reverberations'. That is, what passes through the imagination, through this resonating fibred space, is neither 'discursive' nor 'figural' but it is signal, the most motivated and last mediated type of semiotic transformation. Of Peirce's triumvirate of semiotic, mimetic (or iconic) and signal, surely Bachelard's reverberations, experienced as 'sound' refers to the last of these. Poetry for him is thus conceived on models, neither of literature (discourse), nor of the visual arts (figure), but on the lines of music as signal or sound.