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By Virilio, Paul

ISBN-10: 0826487963

ISBN-13: 9780826487964

ISBN-10: 1441180192

ISBN-13: 9781441180193

Paul Virilio is one among modern Continental thought's most unique and provocative serious voices. His imaginative and prescient of the impression of contemporary expertise at the modern worldwide is strong and anxious, ranging over paintings, technology, politics and battle.

In artwork and worry, Paul Virilio strains the dual improvement of artwork and technological know-how over the 20th century. In his provocative and not easy 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 ahead of 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 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 world advertisements, and the supplier of world terrorism.

Now, first and foremost 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 person the uncooked fabric for brand spanking new and huge varieties of life.

Art and worry is vital examining for an individual puzzling over the place paintings has long gone and the place technological know-how is taking us.

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Like the emergent press, he was especially keen on human interest stories such as the wreck of the Medusa, that TITANIC of the painting world ... The art of painting at the time was already busy trying to outdo mere REPRESENTATION by offering the very presence of the event, as instantaneous photography would do, followed by the PHOTO-FINISH and the first cinematographic newsreels of the Lumiere brothers and, ultimately, the LIVE COVERAGE offered by CNN. INTERACTIVITY was actually born in the nineteenth century - with 21 ART AND FEAR the telegraph, certainly, but also and especially with clinical electricity, which involved planting electrodes on the faces of the human guinea pigs used in such 'medical art' as practised by Dr Duchenne de Boulogne.

Extreme arts, such as transgenic practices, aim at nothing less than to embark BIOLOGY on the road to a kind of 'expressionism' whereby teratology will no longer be content just to study malformations, but will resolutely set off in quest of their chimeric reproduction. As in ancient myths, science, thus enfeebled, will once more become the 'theatre of phantasmatic appearances' of chimera of all kinds. And so the engendering of monsters will endeavour to contribute to the malevolent power of the demi-urge, with its ability to go beyond the 27 ART AND FEAR physiology of the being.

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.

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Art and Fear by Virilio, Paul


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