Shelves: at-capacity This is my second engagement with Virilio previously War and Cinema , and I am captured by the mood of his writing. He understands his role as philosopher as critical, insofar that it is akin to the role of the art critic. He is interested in formal critiques: apparatuses, models, and their formal qualities "accidents". The powers of adjudication that the object has and so on.
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His major works include War and Cinema , Speed and Politics and The Information Bomb in which he argues, among many other things, that military projects and technologies drive history.
He has repeatedly affirmed his links with phenomenology , for example, and offers humanist critiques of modernist art movements such as Futurism. Virilio was also an urbanist. After having been a longtime resident of the city of Paris, he moved to La Rochelle. The integral accident[ edit ] Virilio believed that technology cannot exist without the potential for accidents. For example, Virilio argued that the invention of the locomotive also contained the invention of derailment.
He believed the growth of technology, namely television , separates us directly from the events of real space and real time. In it he suggested we lose wisdom and sight of our immediate horizon and resort to the indirect horizon of our dissimulated environment.
From this angle, the Accident can be mentally pictured as a sort of "fractal meteorite" whose impact is prepared in the propitious darkness, a landscape of events concealing future collisions.
Aristotle claimed that "there is no science of the accident", but Virilio disagreed, pointing to the growing credibility of simulators designed to escape the accident— which he argued is an industry that is born from the unholy marriage of post-WW2 science and the military-industrial complex.
Dromology is important when considering the structuring of society in relation to warfare and modern media. He noted that the speed at which something happens may change its essential nature, and that which moves with speed quickly comes to dominate that which is slower.
Possession of territory is not primarily about laws and contracts, but first and foremost a matter of movement and circulation. Virilio talked a lot about the creation of CNN and the concept of the newshound. The newshound will capture images which will then be sent to CNN, which may then be broadcast to the public. This movement of images can start a conflict Virilio uses the example of the events following the broadcasting of the Rodney King footage. War of movement[ edit ] For Virilio, the transition from feudalism to capitalism was driven not primarily by the politics of wealth and production techniques but by the mechanics of war.
Virilio argued that the traditional feudal fortified city disappeared because of the increasing sophistication of weapons and possibilities for warfare. For Virilio, the concept of siege warfare became rather a war of movement. The Administration of Fear[ edit ] Virilio uses the image of a gazelle running to escape a predator to emphasize the physical aspect of fear. In an interview conducted by Bertrand Richard, Virilio articulated his concept of an administration of fear which governs contemporary life, together with a summary of his other philosophical views.
The interview was later printed as a short book  and translated into English Hypotheticals like these are governed by computers, which act at speeds that are not tractable for humans. Virilio also contends that perpetual, instantaneous communication via computers and the internet are disruptive to biological rhythms and historical seasonal patterns of life in human culture, producing both fear and misery. They contain a plethora of references to physics, particularly the theory of relativity.
Furthermore, his analogies between physics and social questions are the most arbitrary imaginable, when he does not simply become intoxicated with his own words. And as far as we can see, it means precisely nothing. Insights, personal memories, detailed histories, major theoretical leaps and banalities sit side by side. The content is often not particularly logical if viewed from a conventional academic perspective in the human or social sciences.
Everything has proceeded from there. It becomes the world. Globalization is the speed of light. What is being effectively globalized by instantaneity is time. London: Verso, Popular Defense and Ecological Struggles. New York: Semiotext e , The Aesthetics of Disappearance. Lost Dimension.
In this dazzling dialogue with Sylvere Lotringer, Paul Virilio for the first time displayed the whole range of his reflections on the effect of speed on our civilization and every one of them has been dramatically confirmed over the years. For Virilio, the foremost philosopher of speed, the "technical surprise" of World War I was the discovery that the wartime economy could not be sustained unless it was continued in peacetime. As a consequence, the distinction between war and peace ceased to apply, inaugurating the military-industrial complex and the militarization of science itself. Every new invention casts a long shadow that we are generally unwilling to acknowledge in the name of progress: the invention of automobiles inaugurated car-crashes; the invention of nuclear energy, Hiroshima and Tchernobyl. The technologies of instant communications have invented another kind of accident: the extermination of space and the derealization of time.
How Philosopher Paul Virilio (1932–2018) Spoke to an Age of Acceleration and Total War
But what is architecture in the age of total war? For centuries, the European city had defended itself against slings and arrows with ramparts and walls, but the city was no match for modern artillery and aerial bombardment. The balance between war and the city shifted decisively in the modern age. The vector trumps the location. This was the bittersweet theme of his first major book, Bunker Archaeology , which, among other things, is a meditation on the German defenses that had failed to keep the Allies at bay when they stormed the beaches and ended the war. Modernity is war on ever increasing scales: expanding from the tactical to the strategic to the logistic. World War II was won not by generals but by quartermasters, by the ones who kept the biggest flows of boots and bullets and bodies moving toward the front.
Paul Virilio Quotes
His major works include War and Cinema , Speed and Politics and The Information Bomb in which he argues, among many other things, that military projects and technologies drive history. He has repeatedly affirmed his links with phenomenology , for example, and offers humanist critiques of modernist art movements such as Futurism. Virilio was also an urbanist. After having been a longtime resident of the city of Paris, he moved to La Rochelle. The integral accident[ edit ] Virilio believed that technology cannot exist without the potential for accidents. For example, Virilio argued that the invention of the locomotive also contained the invention of derailment. He believed the growth of technology, namely television , separates us directly from the events of real space and real time.