Tourism is a characteristically modern phenomenon, yet modern thinkers have tended to deride the tourist as a figure of homogenising globalism.
This philosophical study considers the tourist anew, as a subject position that enables us to redraw the map of globalised culture in an era increasingly in revolt against the liberal intellectual world view and its call for the welcome of the ‘Other’.
Why has the tourist proved so resistant to philosophical treatment, asks Hiroki Azuma, author of Otaku: Japan’s Database Animals and General Will 2.0: Rousseau, Freud, and Google. Tracing the reasons for this exclusion through the work of Rousseau, Voltaire, and Kant and subsequently in Carl Schmitt, Alexandre Kojève, Hannah Arendt, and Hardt and Negri, Azuma contends that the figure of the tourist has been rendered illegible by becoming ensnared in a series of misleading conceptual dichotomies and a linear model of world history.
In the widening gap between the infrastructure of globalisation and inherited ties of local belonging, Azuma’s retheorisation of the tourist presents an alternative to the choice between doubling down on local identity and roots, or hoping for the spontaneous uprising of a multitude from within the great networked Empire. For the tourist is the subject capable of moving most freely between the strata of the global and the local.
With explorations of the connection between tourism and fan fiction, contingency and ‘misdelivery’, the uncanniness of cyberspace, and dark tourism, Azuma’s inventive and optimistic philosophical essay sheds unexpected new light on a mode of engagement with the world that is familiar to us all.
Tourists are the masses. They are labourers and they are consumers. The tourist is a private being and does not take on any public role. Tourists are anonymous, and they do not deliberate with locals at their destination. They do not participate in the history of their destination either, nor in its politics. Tourists simply use money. They ignore national boundaries as they fly across the surface of the planet. They don’t make friends or enemies. They have nearly all of the characteristics that Schmitt, Kojève, and Arendt sought to eject outside of the realm of thought as ‘something not human’. The tourist is none other than the enemy of twentieth-century thought in the humanities in its entirety.
i read a lot of theory. this book left me feeling different than any other for the sheer rush and excitement of hypotheses and claims flying around. do i agree with all of them? no, not necessarily. but i have become captivated by this project for a “fourth thing” or essentially, as i see it, an anti-humanism that is not nihilistic.
i could provide a list of different claims of different levels of outlandishness enjoyed at different levels. but that would lessen the fun of encountering them in the moment, wouldn’t it?
perhaps i give azuma too much credit for (re)packaging the ideas of others, for (mis)readings of other thinkers. i dont really care if this is the case. this is a joy to read and i cant wait to reread it.
I really, really tried to like this book. The first half was thoroughly enjoyable to read, and I would even say it felt quite refreshing in the context of contemporary philosophy. However, as I got into the second half, particularly when it delved into the philosophy of family, I felt Azuma lost focus, and the discussion started to sprawl in all directions. Some points of philosophical discussion also seemed forced, as if trying too hard to fit ideas together, giving the impression of cultural studies aspiring to be philosophy. I was also struck by how many of the claims in the book felt hesitant, almost timidly presented, making it seem as though Azuma lacked confidence in the theories he was developing. That said, I found the ideas about the tourist discussed here deeply inspiring. The tourist is portrayed as a kind of representation of postmodernism, strongly rejecting binaries while romanticising the multitude à la Negri and Hardt.
Sympathetic to its basic argument (for tourism and enjoying things, against authenticity and Carl Schmitt) but it becomes clear quite quickly that Azuma is less interested in writing a philosophy of tourism than creating a philosophical 'figure' of 'the tourist' to hold up against other fashionable philosophical 'figures', like 'the multitude', 'the friend', 'the enemy', etc, and doing a whistlestop tour of current philosophical commonplaces to do so - if that sounds fun, you'll like this. I didn't so much, especially compared with his more detail and example-based Otaku (with which this shares a lot of concepts). If you wanted, as I did, a theorisation of, say, the 'experience economy' or AirBnB (mentioned not once) or the recent massive rise of western and Asian tourism to Japan (mentioned a couple of times), you're not in luck. Would be great if someone translated his Fukushima Tourist Guide, though.
%5 of the book: philosophy of the tourist %95 of the book: other things. Actually, I've really liked what's being said about tourists in the short intervals that it's been discussed but maybe that's all that can be said about the subject. I think the referral to the authority was a bit overdone; even though the concepts mentioned have been used making a point, the discussion and detailing of those concepts have taken much more space than the actual point, which is not desirable in any kind of writing.
azuma seems almost proud to be outside academic circles but the text gets quite convoluted, unfocused and patchy really quickly. the actual scholars / other philosophers are referenced very loosely, so it leaves not that much to build upon & engage with
i do appreciate the audacity:):) of the approach though
I think it does get a little messy in the middle, but I like his thesis and the core messaging. It's a good look into the modern phenomenon, and though Western-centric, that's fine. He's not talking geopolitics, but the effects of it.
More of a political philosophy book really. Had good discussion on Kant, Hegel, Kojeve, Schmitt in the first half but loses focus and is all over the place in second half