Art and Fear by Virilio, Paul

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By Virilio, Paul

Paul Virilio is considered one of modern Continental thought's most unique and provocative serious voices. His imaginative and prescient of the impression of recent expertise at the modern worldwide situation is robust and stressful, ranging over artwork, technology, politics and conflict.

In artwork and worry, Paul Virilio lines the dual improvement of artwork and technology over the 20th century. In his provocative and difficult 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 battle; and among the German Expressionists' hate-filled photographs of the damned, and the 'medical' experiments of the Nazi eugenicists; and among the mangled messages of worldwide ads, and the organization of world terrorism.

Now, in the beginning of the twenty-first century, technological know-how has eventually left paintings in the back of, as genetic engineers arrange to show themselves into the worst of expressionists, with the person the uncooked fabric for brand new and gigantic varieties of life.

Art and worry is key studying for an individual considering the place artwork has long past and the place technological know-how is taking us.

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It has also, according to Abel Gance, stymied looking - before going on to render the visual arts hoarse and then swiftly dumb. By indirectly promoting the rise of TOTALITARIANISM, Democratic Germany's 'silent prose-cution' promptly authorized every kind of negationism. Bear in mind the confession of the German priest Father Niemoller: 'When they arrested the gypsies, I said nothing. When they arrested the homosexuals, I said nothing. When they deported the Jews, I said nothing. ' Early warning signs of the pitiless nature of MODERN TIMES as portrayed by Charlie Chaplin, the visual arts of that historical period never ceased TORTURING FORMS before making them disappear in abstraction.

Kill! One good thing: their skulls will make perfect ashtrays/30 Ashtrays, lampshades, quotidian objects and prostheses of a life where the banality of evil, its ordinariness, is far more terrifying than all the atrocities put together, as Hannah Arendt noted while observing the trial of Adolf Eichmann in 1961. Under the reign of Pol Pot's Democratic Kampuchea, the hopes of the poet of the October Revolution were satisfied yet again, though it was with spades, not axes, that the self-mutilation of a social body of nearly two million Cambodians was perpetrated.

Remember, too, what the poet said when he insisted on the fact that so-called SILENT cinema was only ever DEAF, the first cinema-goers of the darkened movie halls being less aware of the actors' lack of words than of their own deafness. The early devotee of the seventh art of cinematography translated the silence of the movies into their own imaginary handicap, their personal limitation in seeing without hearing what the characters up on the screen were saying to each other. Yet has anyone ever experienced this feeling of infirmity looking at a painting representing singers or angelic musicians?

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