Art and Fear by Virilio, Paul

By Virilio, Paul

Paul Virilio is one in every of modern Continental thought's most unusual and provocative serious voices. His imaginative and prescient of the effect of recent expertise at the modern international is robust and annoying, ranging over artwork, technology, politics and battle.

In artwork and worry, Paul Virilio lines the dual improvement of artwork and technology over the 20th century. In his provocative and demanding imaginative and prescient, paintings 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 best way early 20th century avant-garde artists twisted and tortured the human shape prior to making it vanish in abstraction, and the blasting to bits of guys who have been not more than cannon fodder i nthe trenches of the nice conflict; and among the German Expressionists' hate-filled pictures of the damned, and the 'medical' experiments of the Nazi eugenicists; and among the mangled messages of world ads, and the employer of world terrorism.

Now, at first of the twenty-first century, technology has ultimately left paintings at the back of, as genetic engineers organize to show themselves into the worst of expressionists, with the individual the uncooked fabric for brand new and mammoth varieties of life.

Art and worry is vital analyzing for an individual considering the place artwork has long gone and the place technological know-how is taking us.

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The German anatomist actually has invented a process for preserving the dead and, in particular, for sculpting them, by plastination, thereby taking things a lot further than the mere embalming of mummies. 9 As sole explanation, Dr von Hagens resorted to the modern buzzword: 'It's about breaking the last remaining taboos', he says ... A kind of slide occurs as a result of this Mannheim terrorist manifesto, just as it does with the exhibition 'Sensation' in London and New York: it will not be long before we are forced to acknowledge that the German Expressionists who called for murder were not the only avant-garde artists.

The world needs pity. Only pity has a chance of cobbling its pride. So wrote George Bernanos in 1939 ... Sixty years on, the world is sicker still, but scientist propaganda is infinitely more effective and anaesthesia has the territory covered. As for pride, pride has gotten completely out of hand, thanks to globalization; and pity has now bitten the dust just as piety once succumbed in the century of philo-folly a la Nietzsche. They say the purpose of ethics is to slow down the rate at which things happen.

But surely we can say the same thing about the sonorization of what were once silent films. Nowadays everything that remains silent is deemed to consent, to accept without a word of protest the background noise of audio-visual immoderation - that is, of the 'optically correct'. But what happens as a result to the SILENCE OF THE VISIBLE under the reign of the AUDIO-VISIBLE epitomized by television, wildly overrated as television is? How can we apply the lesson of Paul Valery's aphorism in considering the question, not of the silence of art so dear to Andre Malraux, but of the DEAFNESS of the contemporary arts in the age of the multimedia?

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