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The conclusion I draw from the writings in this anthology, then, is finally this. That the overwhelming majority of attempts to supplant the postmodern consist in large measure of attaching a new prefix to the word 'modern' strikes me as a clear indication that we are not yet done
with our modernity; and that such a number of new prefixes are being mooted (such as 're-' and 'dis-'; 'alter-' and 'auto-'; 'hyper-' and "meta-'; 'ana-' and 'digi-'; you might also have come across 'geo-' and
'neo-', too? suggests to me that there is a broadening variety of ways in which we experience or negotiate our modernity - or, alternatively, a broadening awareness that there is, and probably always has been, a variety of modernities. It was always simplistic to assume that for some reason they all came to an end suddenly, whether that was in May
1968, or when the Pruitt-Igoe housing project was dynamited, or at any other time. By the same token, it is no more sensible to assume that some new modernity was born when the Berlin Wall fell, or when American Airlines flight 1 crashed into the North Tower of the World Trade Center on September 11, 2001, or at some other arbitrarily selected moment of historical significance. Instead, ti might be worth suggesting that - with a nod to Bruno Latour - we have never been postmodern. Hence, I predict that debating the end of postmodernity will ultimately prove futile, but no more and no less futile than debating its origins and its birth. What the newly prefixed modernisms to be found in this anthology suggest to my mind is that what supplants postmodernity is a realization that we never left modernity behind in the first place, and that the discourses seeking to formulate or describe the late twentieth century as an era that was somehow (though there was never much clarity as to h o w 'post-'modernity amount to little more than half a century of groping down a blind alley.
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David Rudrum (Supplanting the Postmodern: An Anthology of Writings on the Arts and Culture of the Early 21st Century)