By Paul Virilio
Paul Virilio is considered one of modern Continental thought's most unusual and provocative serious voices. His imaginative and prescient of the effect of contemporary know-how at the modern international is strong and annoying, ranging over artwork, technology, politics and war. In paintings and worry, Paul Virilio strains the dual improvement of artwork and technological know-how over the 20 th century. In his provocative and difficult 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 strains the connections among the way in which 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 struggle; 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 organization of world terrorism. Now, first and foremost of the twenty-first century, technology has eventually left artwork at the back of, as genetic engineers organize to show themselves into the worst of expressionists, with the person the uncooked fabric for brand spanking new and vast types of existence. artwork and worry is vital studying for someone pondering the place artwork has long past and the place technology is taking us.
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Paul Virilio is one in all modern Continental thought's most unusual and provocative serious voices. His imaginative and prescient of the influence of contemporary know-how at the modern worldwide is robust and nerve-racking, ranging over artwork, technological know-how, politics and war. In artwork and worry, Paul Virilio lines the dual improvement of paintings and technology over the 20 th century.
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Extra info for Art and Fear (Athlone Contemporary European Thinkers)
As far as contemporary science and biology go, doubt is no longer an option, for genetics is on the way to becoming an art, a transgenic art, a c ulture of the embryo to purely performative ends, just as the eugenicists of the beginning of the twentieth century hoped . When Nietzsche d ecided that 'moral j udge ments, like all religious j udgements, belong to ignorance ' , he flung the door to the laboratories of terror wide open. To demonstrate or to ' monstrate ' , that is the question : whether to practise some kind of aesthetic 49 Art and Fear or ethic demonstration or to practise the cleansing of all ' nature ' , all 'culture ' , through the technically oriented efficiency of a mere ' monstration' , a show, a blatan t presentation of horror.
It is better to be an object oj desire than pity, they say . . Once the province of advertising, this adage surely now belongs to the realm of art, the d esire to consume yielding to the desire to rape or kill . If this really is the case, the academicism of horror will have triumphed, the proJane art of modernity bowing down before the sacred art of conformism, its primacy, a conformism that always spawns ordinary everyday fascism. How can we fail to see that the mask of modernism has been concealing the most classic academicism: that of an endlessly reproduced stand ardiz a tion of opinion, the duplication of 'bad feelings' identically reproducing the duplication of the 'good feelings' of the official art of yore?
Twenty years later the ' Theatre of Cruelty' would not be the one defined by Antonin Artaud but by Kafka, that prophet of doom of the metamorphosis engineered by the camps, the smashing to smithereens of humanism. The slogan of the First Futurist Manifesto of 1 909 'War is the world's only hygiene' led directly, though 29 Art and Fear thirty years later this time, to the shower block of Auschwitz-Birkenau. And Breton ' s ' S urrealism' , following hot on the heels of D ada, emerged fully armed from the fireworks of the Great War where common reali ty was suddenly transfigured by the magic of explosives and poison gases at Ypres and Verdun.
Art and Fear (Athlone Contemporary European Thinkers) by Paul Virilio