Page 269 - Contribution To Phenomenology
P. 269

262                        DON IHDE

                In  one  sense,  there  has  ah*eady  been  a  decentering  of  Eurocentrism.
              Our second generation  critics  of  technology recognized  that, although they
              did  not  see  the  source  nor  the  level  at  which  the  decentering  was
              occuring.  And—although  it  may  seem  strange  at  first—our  choice  is  not
              and  cannot  be  either  resistance  or  reaction.  It  could  be  that  we  can
              choose,  to  some  degree,  whether  to  read  this  pluriculture  nostalgically,
              and  thus  negatively  with  respect  to  changes  which  have  already  occured,
              or  celebratorily,  in  the  recognition  that a  proliferation  of  cuisines,  musics,
              or  cultures  may,  in  fact,  enrich  our  own  histories.
                What  could be  called  the  "shape" of  pluriculture, however,  is  distinctly
              postmodern.  It  has  the  richest  palate  of  cultural  possibilities  in  human
              history,  but  it  is  also  something  of  a  "floating  feasf  in  which  the  older
              hierarchical,  foundational,  and  core  structures  no  longer  occur.  There  is,
              or  can  there  be,  any  single  "best"  cuisine,  or  music,  or  literature—but
              there  can  be  and  is  a  new  variety  out  of  which we  may  now  fashion  our
              own  inventions.  That  is  no  small  feat  for  the  "end" of  modernity.


                                        VI.  Conclusion

              If  now we  look  back  at  the  itinerary  I  have  taken,  and  consider  the  rise
              of  pluriculture  to  herald  a  certain  decentering  of  Eurocentrism,  it  will
              be  seen  that  its  occurance  is  such  that  it  did  not  correspond  to  the
              internalist  critiques  of  technological  culture  in  the  following  ways:
                Its  content  is  not  internalist,  but  cross  cultural.  What  becomes
              attractive  is  often  the  exotic,  the  different,  the  other.
                Its  form,  however,  is  not  any  coherent  or  single  other  culture,  but  the
              bricolage  of  culture  fragments  in  ever  new  mixes,  not  unlike  the
              cinematographic  or  televisual  maleable  narrative.
                Its  appearance  was  not a  direct  confrontation of  high altitude  "theory,"
              but a  growth  and  expansion from "below," the  praxical  and  the  popular.
              Its  historical  antecedents  are  more  like  the  eclectic  periods  of  cross
              cultural  trade,  technological  innovation,  exchange,  than  any  moment  of
              high  theory.
                And,  as  "postmodern,"  it  is  probably  transitional,  but  its  trajectory  is
              not  likely  to  be  either  the  reassertion  of  the  Eurocentric,  nor  the  return
              to  traditional  forms.
                And,  if  there  is  a  danger,  the  danger  is  precisely  one  which  may
              undercut the  motivational sources of  technoscience  itself—if  technoscience
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