By Paul Virilio
Paul Virilio is considered one of modern Continental thought's most unique and provocative serious voices. His imaginative and prescient of the effect of recent expertise at the modern international is strong and tense, ranging over artwork, technological know-how, politics and struggle. In paintings and worry, Paul Virilio strains the dual improvement of artwork and technology over the 20 th century. In his provocative and hard imaginative and prescient, artwork and technological know-how vie with one another for the destruction of the human shape as we all know it. He lines the connections among the way in which early 20th century avant-garde artists twisted and tortured the human shape sooner than 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 graphics of the damned, and the 'medical' experiments of the Nazi eugenicists; and among the mangled messages of world ads, and the supplier of worldwide terrorism. Now, at first of the twenty-first century, technological know-how has eventually left paintings at the back of, as genetic engineers arrange to show themselves into the worst of expressionists, with the man or woman the uncooked fabric for brand spanking new and titanic varieties of existence. paintings and worry is vital analyzing for a person puzzling over the place paintings has long past and the place technological know-how is taking us.
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Extra resources for Art and Fear (Continuum Impacts)
Having been wired for sound at the end of the 1920s - in 1927, to be precise, with the film The Jazz Singer - the cinematograph has not only pulled blinkers over viewers' eyes - or iron shutters, as Kafka would say. 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.
10 'Immediacy is a fraud', Father Dietrich Bonhoffer declared before disappearing in the camp at Flossenburg in 1945 ... Well, art is every bit as much of a fraud as amnesiac immediacy. If 'everything is ruled by lightning', as Heraclitus suggested, the PHOTOFINISH imposes the instantaneity of its violence on all the various 'artistic representations' and modern art, like war - BLITZKRIEG - is no more than a kind of exhibitionism that imposes its own terrorist voyeurism: that of death, live. By way of illustrating the path the impiety of art has taken in the twentieth century, let's look at two types of funerary imagery back to back, though these are separated by almost 2,000 years.
From that moment, AUSCHWITZ-BIRKENAU became a research laboratory undoubtedly unique in the world, the laboratory of the 'Institute of Anthropology, Human Genetics and Eugenics'. The name of Professor Verschuer's assistant was Josef Mengele. 20 As recently as 1998, the British medical weekly The Lancet condemned the initiatives of the European Union and the United States in trying to 28 A PITILESS ART introduce a total ban on the practice of human cloning. A year later, the editors were still arguing that 'the creation of human beings' had become 'inevitable', regardless.