Art and Fear by Virilio, Paul

By Virilio, Paul

Paul Virilio is one in all modern Continental thought's most unique and provocative serious voices. His imaginative and prescient of the impression of contemporary know-how at the modern worldwide situation is robust and stressful, ranging over artwork, technology, politics and war.

In paintings and worry, Paul Virilio lines the dual improvement of artwork and technological know-how over the 20th century. In his provocative and tough imaginative and prescient, paintings and technology vie with one another for the destruction of the human shape as we all know it. He strains the connections among the best way early 20th century avant-garde artists twisted and tortured the human shape ahead of making it vanish in abstraction, and the blasting to bits of fellows who have been not more than cannon fodder i nthe trenches of the good warfare; and among the German Expressionists' hate-filled graphics of the damned, and the 'medical' experiments of the Nazi eugenicists; and among the mangled messages of worldwide advertisements, and the service provider of worldwide terrorism.

Now, firstly of the twenty-first century, technological know-how has ultimately left artwork in the back of, as genetic engineers arrange to show themselves into the worst of expressionists, with the individual the uncooked fabric for brand spanking new and tremendous sorts of life.

Art and worry is vital examining for a person brooding about the place paintings has long past and the place technology is taking us.

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Art and Fear

Paul Virilio is one among modern Continental thought's most unusual and provocative serious voices. His imaginative and prescient of the effect of contemporary expertise at the modern international is strong and annoying, ranging over paintings, technological know-how, politics and war. In paintings and worry, Paul Virilio lines the dual improvement of paintings and technology over the 20th century.

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The sinister Camp-S21 (Security Office 21), where the gaolers were teenagers, offers visitors a tour of the gallery of photographic portraits of its multitudinous victims. Here, contrary to the German extermination camps, the bodies have disappeared, but the faces remain ... 34 Silence on Trial 'Remaining silent, now there's a lesson for you! ', Paul Valery noted in 1938, shortly before the tragedy of the camps, the silence of the lambs ... To speak or to remain silent are they to sonority what to show or to hide are to visibility?

Already, more or less everywhere you turn, you hear the words that precede that fatal habituation to the banalization of excess. For certain philosophers the body is already no more than a phenomenon of memory, 33 ART AND FEAR the remnants of an archaic body] and the human being, a mere biped, fragile of flesh and so slow to grow up and defend itself that the species should not have survived ... To make up for this lack, this 'native infirmity' as they call it, echoing a phrase used by Leroi-Gourhan, man invented tools, prostheses and a whole technological corpus without which he would not have survived ...

Let's hear it from those trying to denounce this drift of genetic expressionism, from the inside: The dazzle of success is goading biologists implacably on, each 31 ART AND FEAR obstacle overcome leading them to take up the next challenge - a challenge even greater, even more insane? We should note that if this challenge is not met, the consequences will not be felt by the biologists alone but also by this improbable and uncertain child whose birth they will have enabled in spite of everything.

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