Virtual Globalization: Virtual Spaces/Tourist Spaces by David Holmes

By David Holmes

This booklet examines the interrelationship among the telecommunications and tourism in shaping the character of area, position and the city on the finish of the 20th century. They talk about how those brokers are instrumental inthe construction of homogenous world-spaces, and the way those in flip presuppose new forms of political and cultural id. This paintings should be of crucial curiosity to students and scholars within the fields of sociology, geography, cultural reports and media stories.

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The virtual does not take its referential cue from the physical; rather the opposite is true. But the kinds of travel involved in such cafes are much more open-ended than the closed environment of cinema. In such an environment there exists a more comprehensive severance of the observer from the space of historical time outside. 34 We can add to cinema’s capacity for virtual closure the way in which it achieves a kind of mechanization of perception. What is revealed at the point of production of moving images is that, not only is cinema an extension of the arcade and the panorama, but its modes of representation have their firm foundation in the railroad journey.

Indeed travel and tourism can be differentiated by the nature of images: the traveller resorting to the photographic objectification of nature and culture (MacCannell 1999); tourism immersed in the kitschification of sites (Eco 1987); and post-tourism entailing the provision of entire worlds of simulation (Baudrillard 1982). In my own chapter ‘Monocultures of globalization’, I explore this last form of image world. The chapter explores the way in which tourist environments are compressed and standardized into the themed worlds and resorts of the tourist/culture industry.

The final destination of such a continuum is the redundancy of the body’s mobility itself, or at least its retreat into mobility of the hand and eye alone, in the case of the ‘remote control’ and the computer mouse. With cinema, the country can be brought to the city,33 and other cities can be brought to the city, through the screen. The remarkable circulation of screens in the public domains of cities is one expression of this. On city buildings and sports stadia or in department stores, but most spectacularly through the renovation of the centuries-old institution of the cafe with the cybercafe and video-cafe, screens have come to dominate urban settings.

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