Abstract
This thesis argues that the pervasive merging of technocultural and sacred metaphors
uncovers a longstanding Western tradition of inscribing the technologically new with the
language of mysticism – a transcendental excess that underlies the logic of late capitalist
notions of progress and evolution. By claiming that the transcendent moment has utterly
saturated our technological desires, preserving an originary sense of the sacred at the
inventive heart of science and technology, it sees this ‘technocultural transcendence’ as a
model for thinking about an ironic return of grand narratives like metaphysics, truth, and
the absolute, used wittingly to revitalise theory just as its last gasp has (perhaps
prematurely) been proclaimed.
The thesis therefore also seeks to theorise an emerging ‘transmodernity,’ or the post of
postmodernism, through critical cultural readings of key transcendent myths in
technoculture – Italian Futurism (art), cyberpunk (science fiction), cyberfeminism (film and
performance art), and Integral theory (secular transformative spirituality). Each chapter
offers examples of how the twinned concepts of transcendence and technology help
create the conditions for the emergence of transmodernism, and works to provide
potential examples of a resulting transmodern methodology in action. Throughout this
thesis, the burgeoning desire for reconstructing what was once deconstructed,
fragmented, and disavowed is examined, not to simply return past foci of theoretical
enquiry to the margins or the marginalised to the centre, but to reveal the primary
message of transmodernism – that both deconstruction and reconstruction hold equal
significance on a continuum of understanding socio-cultural change.
Fuelled by a growing sense of the interconnectivity that occurs with the multiplicity and
diversity of information enabled by the internet, world wide web, and social networking
channels, this thesis holds that its model of transmodernity represents interconnectivity
laid bare. It is persistent renewal and eternal return, but with a witting nod to the process
of culture’s perpetual becoming. It balances postmodernism’s dance of meaninglessness
with the return of signification and purpose, reinserting the ‘Big Questions’ back into the
fields of discourse – morality, ethics, truth, beauty, spirit – while remaining wary of their
potential to generalise.