. Postmodern media fascination is not a question of ideology, then, because hyper-reality is not illusory. ‘The unreal is no longer that of dream or of fantasy, or of a beyond or a within, it is that of a hallucinatory resemblance of the real with itself .’ 18 The real itself disappears and becomes the hyper-real. It is not, then, that postmodernism is a world of dream images, or something out of a sciencefiction film. It is much more boring than that. In its own way, hyper-reality is quite realist and everyday: even post-modern art is tempted by a ‘pure objectivity
place of process, act, satisfaction, and so truly keep the promise of dialectical logic that it would culminate in its
origin. None of the abstract concepts come closer to the fulfilled utopia than that of
eternal peace’; Adorno, Minima Moralia, 157.
5 Fredric Jameson, Archaeologies of the Future: The Desire Called Utopia and Other
ScienceFictions (London: Verso, 2005), xiii.
6 Wendy Brown, ‘Resisting Left Melancholy’, boundary 2 26/3 (1999): 26. For a critique of Brown’s argument from a queer perspective, see Heather Love, Feeling
Backward: Loss and the
regarded as an obstacle that needs to be removed. Consider a sciencefiction
scenario under which this conclusion would be hard to reject. Suppose Planet
Earth faced a hostile invasion by an alien species that threatened humankind
with possible extinction but there were sufficient time to prepare for defence.
Under these conditions of a global state of emergency, all states and their
citizens should be ready to empower temporarily a global government that is