ABSTRACT
To escape such a logic, the ‘Post modern would have to be understood according to the paradox of the future (post) anterior (modo) ’ (Lyotard, 1984:81): it will have been. And whilst this disadjusted temporality may seem to resonate with Blade Runner’s contraction of time, space-time would here embody a truly fractal quality; an alchemical and lycanthropic becoming-other-rather than a rigid grid for the location and unfolding of immutable beings-which differs and defers the presences and identities upon which all architectures of periodization rest (Doel, 1992). Hereinafter, There is no more system of reference to tell us what happened to the geography of things’ (Baudrillard, 1987:126). For us, however, Blade Runner’s combination of film noir and science fiction engenders nothing more than a context ripe for nostalgic extrapolation: a perfect backdrop for a homely yet heroic stroll through a trying rather than a malicious world. The fusing of detection and invention ultimately ensures that nothing will escape recognition and comprehension; everything comes back to a dissimulation of truth behind a veil of counterfeit images and false mirrors. Blade Runner will have been continuously and eternally returned to the safety, order, stability, and coherence of the modern.
