Bøger af Paul Virilio

With this book Paul Virilio inaugurated the new science whose object of study is the "dromocratic" revolution.Speed and Politics (first published in France in 1977) is the matrix of Virilio's entire work. Building on the works of Morand, Marinetti, and McLuhan, Virilio presents a vision more radically political than that of any of his French contemporaries: speed as the engine of destruction. Speed and Politics presents a topological account of the entire history of humanity, honing in on the technological advances made possible through the militarization of society. Paralleling Heidegger's account of technology, Virilio's vision sees speed—not class or wealth—as the primary force shaping civilization. In this "technical vitalism," multiple projectiles—inert fortresses and bunkers, the "metabolic bodies" of soldiers, transport vessels, and now information and computer technology—are launched in a permanent assault on the world and on human nature. Written at a lightning-fast pace, Virilio's landmark book is a split-second, overwhelming look at how humanity's motivity has shaped the way we function today, and what might come of it.

A critique of information technology and the global media.

Sets out the author's theory of dromoscopy: a means of apprehending speed and its pivotal role in contemporary global society. Moving through human history from the cave paintings at Lascaux, to the 'stealth technologies' deployed in contemporary warfare, this book shows how resistance to speed and movement has consistently been eroded.

Takes the reader on a journey across the airy boulevards of Paris and into the crypt of its Metro. Written in the shadow of war, this work argues that cities everywhere have been the dedicated target of political and technological terror throughout the 20th century.

On 10 September 2008, amid much fanfare, the Great Collider run by CERN in Geneva was turned on. The Collider was supposed to fire protons around a seventeen-mile loop of tunnels, causing them to crash into one another at close to the speed of light and break into even tinier particles.

With around 645 million people expected to be displaced D by wars and other catastrophes D by 2050, Virilio begins The Futurism of the Instant by looking at the future of human settlement and migration through the evolution of the city.

`The world of the future will be a tighter and tighter struggle against the limits of our intelligence', announced Norbert Wiener.

The future once promised the certainty of a better life for all but now it is full of uncertainty, danger and fear. Our lives are surrounded by the threats, imaginary or real, posed by terrorist outrages, natural catastrophes and disasters of all kinds.

Art used to be an engagement between artist and materials. But in our media world art has changed, its very materials have changed and have become technologized. This change reflects a broader social shift. Speed and politics have been transformed in the twenty-first century to speed and mass culture. This work puts art at the centre of politics.

Paul Virilio demonstrates how technology has made inertia the defining condition of modernity. An instantaneous present has replaced space and the sovereignty of territory - everything happens without the need to go anywhere.

" -ChoiceSurveying art history as well as the technologies of war and urban planning, one of France's leading intellectuals provides an introduction to a new "logistics of the image."

Explores current scientific, cultural, social and political values, arguing that the events of September 11 reflect both the manipulation of a global sub-proletariat and the delusions of an elite of rich students and technicians.

Paul Virilio is one of contemporary continental thought's most original and provocative critical voices. His vision of the impact of modern technology on the contemporary global condition is powerful and disturbing, ranging over art, architecture, science, politics, visual culture and warfare. In Art and Fear, Virilio traces the twin development of art and science over the 20th century. In his provocative vision, art and science vie with each other for the destruction of the human form as we know it. This is a radical take on the state of art for a post-human and post-historical world. In Art as Far as the Eye Can See Virilio considers the effects that the technological advances of the 20th century have had on art, aesthetics and politics and looks at the way in which these technologies alienate us from our physical environment.

Virilio and Lotringer revisit their prescient book on the invisible war waged by technology against humanity since World War II.In June 2007, Paul Virilio and Sylvère Lotringer met in La Rochelle, France to reconsider the premises they developed twenty-five years before in their frighteningly prescient classic, Pure War. Pure War described the invisible war waged by technology against humanity, and the lack of any real distinction since World War II between war and peace. Speaking with Lotringer in 1982, Virilio noted the "accidents” that inevitably arise with every technological development: from car crashes to nuclear spillage, to the extermination of space and the derealization of time wrought by instant communication. In this new and updated edition, Virilio and Lotringer consider how the omnipresent threat of the "accident”—both military and economic—has escalated. With the fall of the Soviet bloc, the balance of power between East and West based on nuclear deterrence has given way to a more diffuse multi-polar nuclear threat. Moreover, as the speed of communication has increased exponentially, "local” accidents—like the collapse of the Asian markets in the late 1980s—escalate, with the speed of contagion, into global events instantaneously. "Globalization,” Virilio argues, is the planet's ultimate accident.Paul Virilio was born in Paris in 1932 to an immigrant Italian family. Trained as an urban planner, he became the director of the École Speciale d'Architecture in the wake of the 1968 rebellion. He has published twenty-five books, including Pure War (1988) (his first in English) and The Accident of Art (2005), both with Sylvère Lotringer and published by Semiotext(e). Sylvère Lotringer, general editor of Semiotext(e), lives in New York and Baja California. He is the author of Overexposed: Perverting Perversions (Semiotext(e), 2007) and other books.

The "genetic bomb" marks a turn in the history of humanity.

Collects English extracts reflecting the range of Virilio's diverse career. This book illustrates the development and interconnectedness of Virilio's work. It prefaces each extract by bibliographical and contextual commentary, and includes a guide to reading Virilio.

French cultural theorist and urbanist Paul Virilio is best known for his writings on media, technology, and architecture. This title gathers conversations in which Virilio and architectural writer Marianne Brausch look at a 20th century characterized by enormous technological acceleration and by technocultural accidents of barbarism and horror.

A suggestive analysis of military 'ways of seeing'. It reveals the convergence of perception and destruction in the parallel technologies of warfare and cinema.

Virilio introduces his understanding of "picnolepsy"—the epileptic state of consciousness produced by speed.Virilio himself referred to his 1980 work The Aesthetics of Disappearance as a "juncture" in his thinking, one at which he brought his focus onto the logistics of perception—a logistics he would soon come to refer to as the "vision machine." If Speed and Politics established Virilio as the inaugural—and still consummate—theorist of "dromology" (the theory of speed and the society it defines), The Aesthetics of Disappearance introduced his understanding of "picnolepsy"—the epileptic state of consciousness produced by speed, or rather, the consciousness invented by the subject through its very absence: the gaps, glitches, and speed bumps lacing through and defining it. Speed and Politics defined the society of speed; The Aesthetics of Disappearance defines what it feels like to live in the society of speed. "I always write with images," Virilio has claimed, and this statement is nowhere better illustrated than with The Aesthetics of Disappearance. Moving from the movie theater to the freeway, and from Craig Breedlove's attainment of terrifying speed in a rocket-power car to the immobility of Howard Hughes in his dark room atop the Desert Inn, Virilio himself jump cuts from such disparate reference points as Fred Astaire, Franz Liszt, and Adolf Loos to Dostoyevsky, Paul Morand, and Aldous Huxley. In its extension of the "aesthetics of disappearance" to war, film, and politics, this book paved the way to Virilio's follow-up: the celebrated study, War and Cinema.This edition features a new introduction by Jonathan Crary, one of the leading theorists of modern visual culture. Foreign Agents seriesDistributed for Semiotext(e)

Offers an examination of modern warfare in which the reality of battle is reduced to flickering images on a screen.

Traces the twin development of art and science over the twentieth century. In the author's provocative and challenging vision, art and science vie with each other for the destruction of the human form as we know it. It is aimed at those wondering where art has gone and where science is taking us.

This work conjures up a world in which information is speed and duration is no more. It details the ways in which this change has led to a new visual regime, a serialization of images and sound that permits an extraordinary manipulation of both the form and the content of messages.

Paul Virilio identifies the Gulf War as a turning point in history, the last industrial and the first information war. Virilio then goes on to argue that we live in a world of global spatio-temporal collapse, and one which seems to preclude the possibility of negotiation and diplomacy.