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 influence of recent expertise at the modern worldwide is strong and stressful, ranging over artwork, technology, politics and conflict. In paintings and worry, Paul Virilio lines the dual improvement of artwork and technology over the 20th century. In his provocative and not easy imaginative and prescient, paintings and technology 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 guys who have been not more than cannon fodder i nthe trenches of the good struggle; and among the German Expressionists' hate-filled pix of the damned, and the 'medical' experiments of the Nazi eugenicists; and among the mangled messages of worldwide advertisements, and the organization of world terrorism. Now, before everything of the twenty-first century, technological know-how has eventually 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 new and colossal kinds of existence. artwork and worry is vital examining for a person brooding about the place paintings has long gone and the place technological know-how is taking us.
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Extra resources for Art and Fear (Athlone Contemporary European Thinkers)
If the contemporary author is redundant see Picasso on Guernica and if the suicide rate has only kept accelerating in cultural circles to the point where i t will soon be necessary to set up a WALL OF THE FEDERATED COMMUNE OF SUI CIDES in museums (to match the wall of the federated communards of the Paris Commune in Pere Lachaise cemetery ) , then make no mistake: the art lover' s days are numbered! This is how Rothko put it: ' I studied the figure. Only reluctantly did I realize i t didn' t correspond to my needs .
I n 1 95 2 , speaking about h i s Film Without Images, which mounted a defence of the Marquis de Sade, Debord claimed he wanted to kill the cinema 'because it was easier than killing a passer-by'. 5 31 Art and Fear A year later , in 1 953, the SITUATIONI STS would not hesitate to extend this attack by trashing C h arlie Chaplin, pitiful actor par excellence, vilifying him as a sentimental fraud, mastermind of misery, even a proto-fascist! All this verbal delirium seems so oblivious of its own century and yet condescends to preach to the rest of the world in the n ame of freedom of artistic expression, even during a historical period that oversaw the setting up of the balance of terror along with the opening of the laboratories of a science that was gearing up to programme the end of the world n otably with the invention, in 1 951, of thermo n u clear weapons.
22 It is not too hard to imagine the c o nsequences of this confusion between PROCREAT I O N and CREAT I ON, of the demiurgic pretensions of a eugenics that no longer has any limits. Now that medically assisted procreation of the embryo h as led to genetically programmed creation of the double, the gap 54 A Pitiless Art between HUMAN and TRANS H UMAN has been closed j u st as those old New Age disciples had hoped; and the celebrated British review The Lancet can arrogate to itself the exorbitant right to remove the term INHUMAN from our vocabulary !