Well, what about digimodernism, one might ask? This is akin to some of the pairings in Ihab Hassan's famous list of binaries where the qualities of modernism were placed over against the characteristics of postmodernism. If within a thematic there are logically only two possibilities, and modernism is clearly over, and postmodernism clearly followed it, does this mean that the more recent moment will be with us forever, there being no other options?
I would reply that digimodernism does not choose to focus on either time or space in this manner, but that it combines and enmeshes two relatively new definitions of both. "Real time" and "cyberspace" are the twin axes of digimodernism. The digimodern appears at the intersection of the two. It's not so much a matter of choosing one term or the other, but first redefining then superimposing them.
Since its first appearance in the second half of the 1990s under the impetus of new technologies, digimodernism has decisively displaced postmodernism to establish itself as the twenty-first century’s new cultural paradigm. It owes its emergence and pre-eminence to the computerization of text, which yields a new form of textuality characterized in its purest instances by onwardness, haphazardness, evanescence, and anonymous, social and multiple authorship.
In its pure form the digimodernist text permits the reader or viewer to intervene textually, physically to make text, to add visible content or tangibly shape narrative development.
These in turn become the hallmarks of a group of texts in new and established modes which also manifest the digimodernist traits of infantilism, earnestness, endlessness and apparent reality.