Virilio And Visual Culture by John Armitage and Ryan Bishop

2556e93ac6003c5.jpg Author John Armitage and Ryan Bishop
Isbn 9780748654444
File size 4.6 MB
Year 2013
Pages 256
Language English
File format PDF
Category art


Virilio and Visual Culture ARMITAGE 9780748654451 PRINT.indd i 26/11/2012 11:22 Critical Connections A series of edited collections forging new connections between contemporary critical theorists and a wide range of research areas, such as critical and cultural theory, gender studies, film, literature, music, philosophy and politics. Series Editors Ian Buchanan, University of Wollongong James Williams, University of Dundee Editorial Advisory Board Nick Hewlett Gregg Lambert Todd May John Mullarkey Paul Patton Marc Rölli Alison Ross Kathrin Thiele Frédéric Worms Titles available in the series Agamben and Colonialism edited by Marcelo Svirsky and Simone Bignall Laruelle and Non-Philosophy edited by John Mullarkey and Anthony Paul Smith Badiou and Philosophy edited by Sean Bowden and Simon Duffy Virilio and Visual Culture edited by John Armitage and Ryan Bishop Forthcoming titles Rancière and Film edited by Paul Bowman Butler and Ethics edited by Moya Lloyd Stiegler and Technics edited by Christina Howells and Gerald Moore Visit the Critical Connections website at ARMITAGE 9780748654451 PRINT.indd ii 26/11/2012 11:22 Virilio and Visual Culture Edited by John Armitage and Ryan Bishop ARMITAGE 9780748654451 PRINT.indd iii 26/11/2012 11:22 © editorial matter and organisation John Armitage and Ryan Bishop, 2013 © the chapters their several authors Edinburgh University Press Ltd 22 George Square, Edinburgh EH8 9LF Typeset in 11/13 Adobe Sabon by Servis Filmsetting Ltd, Stockport, Cheshire, and printed and bound in Great Britain by CPI Group (UK) Ltd, Croydon CR0 4YY A CIP record for this book is available from the British Library ISBN 978 0 7486 5445 1 (hardback) ISBN 978 0 7486 5444 4 (paperback) ISBN 978 0 7486 5446 8 (webready PDF) ISBN 978 0 7486 5448 2 (epub) ISBN 978 0 7486 5447 5 (Amazon ebook) The right of the contributors to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. ARMITAGE 9780748654451 PRINT.indd iv 26/11/2012 11:22 Contents Acknowledgements List of Figures Contributors 1. Aesthetics, Vision and Speed: An Introduction to Virilio and Visual Culture John Armitage and Ryan Bishop vii viii x 1 2. The Illusions of Zero Time Paul Virilio 28 3. Towards a New Ecology of Time Joy Garnett 37 4. Strangers to the Stars: Abstraction, Aeriality, Aspect Perception John Beck 46 5. Desert Wars: Virilio and the Limits of ‘Genuine Knowledge’ Caren Kaplan 69 6. Light Weapons/Darkroom Shadows: Photography, Cinema, War John W. P. Phillips 86 7. History in the ‘Mise en Abyme of the Body’: Ranbir Kaleka and the ‘Art of Auschwitz’ after Virilio Tania Roy 102 ARMITAGE 9780748654451 PRINT.indd v 26/11/2012 11:22 vi Virilio and Visual Culture 8. Spectres of Perception, or the Illusion of Having the Time to See: The Geopolitics of Objects, Apprehension and Movement in Bashir Makhoul’s Enter Ghost, Exit Ghost Ryan Bishop 9. The Event Jordan Crandall 128 150 10. The Face of the Figureless: Aesthetics, Sacred Humanism and the Accident of Art John Armitage 156 11. What We Do is Secrete: On Virilio, Planetarity and Data Visualisation Benjamin H. Bratton 180 12. Relics of Acceleration: A Field Guide Gair Dunlop 207 13. The Production of the Present Ian James 227 Index 242 ARMITAGE 9780748654451 PRINT.indd vi 26/11/2012 11:22 Acknowledgements John Armitage and Ryan Bishop would like to thank: Ian Buchanan, for prompting the initial discussion concerning Virilio and Visual Culture; Carol MacDonald and Jenny Daly, our editors at Edinburgh University Press, for their sensible advice and support throughout our editorship of the book; Paul Virilio and the nine other contributors to the volume for their knowledge of Virilio’s work and visual culture as well as for their willingness to contribute to the book and for their professionalism; and especially Joy Garnett, for her virtuoso painting, which adorns the cover of Virilio and Visual Culture. John Armitage is grateful to Professor Lynn Dobbs, former Dean of the School of Arts and Social Sciences at Northumbria University, for providing him with extended research leave during 2012 to complete this volume and to Joanne Roberts for her continuing love and support. Ryan Bishop would like to thank Bashir Makhoul and his colleagues at Winchester Centre for Global Futures in Art, Design and Media, including Jonathan Harris, Sean Cubitt, Jussi Parikka, August Davis and Stefanie Van de Peer, along with many others for their exquisite collegiality and inspiration. Many thanks also go to my father, Steve Bishop, for witty daily chats, my daughters Sarah and Sophia, for their constant joy and surprise, and finally to Adeline Hoe for her love and daily care. Without all of the people mentioned, none of this would have any meaning. vii ARMITAGE 9780748654451 PRINT.indd vii 26/11/2012 11:22 Figures Figure 1.1 John Armitage, Church of Sainte-Bernadette-duBanlay (2006) Figure 3.1 Joy Garnett, Predator 1 (2011) Figure 3.2 Joy Garnett, Predator 4 (2011) Figure 3.3 Joy Garnett, Predator 1 (2012) Figure 3.4 Joy Garnett, Predator 2 (2012) Figure 3.5 Joy Garnett, Burst (2010) Figure 3.6 Joy Garnett, Pink Bomb (2011) Figure 4.1 David Maisel, Terminal Mirage 9 (2003) Figure 5.1 Kut-al-Amara, Mesopotamia (Reconnaissance Photograph, c. 1914–16) Figure 5.2 Emmerich, Germany (Air Chart, c. March 1916) Figure 5.3 Kut-al-Amara, Mesopotamia (Air Chart, c. December 1915) Figure 7.1 Ranbir Kaleka, Man Threading Needle (1998–9) Figure 7.2 Ranbir Kaleka, Consider (2007) Figure 7.3 Ranbir Kaleka, Consider detail (2007) Figure 8.1 Ryan Bishop, overview of Enter Ghost, Exit Ghost (2012) Figure 8.2 Bashir Makhoul, detail of Enter Ghost, Exit Ghost (2012) Figure 8.3 Bashir Makhoul, detail of Enter Ghost, Exit Ghost (2012) Figure 8.4 Bashir Makhoul, detail of Enter Ghost, Exit Ghost (2012) Figure 9.1 Jordan Crandall, Untitled (2012) Figure 9.2 Jordan Crandall, Untitled (2012) Figure 9.3 Jordan Crandall, Untitled (2012) Figure 9.4 Jordan Crandall, Untitled (2012) Figure 11.1 Benjamin H. Bratton, Earth (2012) 7 39 40 41 42 43 45 64 73 78 79 119 122 123 130 138 142 146 150 151 152 153 186 viii ARMITAGE 9780748654451 PRINT.indd viii 26/11/2012 11:22 Figures Figure 11.2 Benjamin H. Bratton, Flags (2012) Figure 11.3 Benjamin H. Bratton, Pixels (2012) Figure 12.1 Gair Dunlop, The Centrifuge Pit in Lab 2, AWRE Orford Ness (2006) Figure 12.2 Gair Dunlop, First Floor Room, Block G, Bletchley Park (2008) Figure 12.3 Gair Dunlop, Wall Painting, 6 Squadron Offices, RAF Coltishall (2007) Figure 12.4 Gair Dunlop, The Dome of Discovery, 1957 and 2010 (2011) Figure 12.5 Gair Dunlop, Sample Holding Area, Dounreay Materials Test Reactor (2011) Figure 12.6 Gair Dunlop, Runway 04, RAF Coltishall (2008) ARMITAGE 9780748654451 PRINT.indd ix ix 186 187 207 211 214 217 219 224 26/11/2012 11:22 Contributors John Armitage is Professor of Media Arts at Winchester School of Art, University of Southampton, UK. John Beck is co-editor of American Visual Cultures (2005) and author of Dirty Wars: Landscape, Power and Waste in Western American Literature (2009). He is Reader in American Literature and Culture at Newcastle University, UK. Ryan Bishop is Professor of Global Arts and Politics and co-director of Winchester Centre for Global Futures in Art, Design and Media, Winchester School of Art, University of Southampton, UK. Benjamin H. Bratton is Associate Professor of Visual Arts at the University of California, San Diego, USA, and Director of the Center for Design and Geopolitics at the California Institute of Telecommunications and Information Technology. Jordan Crandall is an artist, theorist and performer based in Los Angeles, USA. He is Associate Professor in the Visual Arts Department at University of California, San Diego. He is the 2011 winner of the Vilém Flusser Theory Award for outstanding theory and research-based digital arts practice, given by the Transmediale in Berlin, Germany. He is currently an Honorary Resident at the Eyebeam art and technology centre in New York, where he is continuing the development of a new body of work that blends performance art, political theatre, philosophical speculation and intimate reverie. The work, entitled Unmanned, explores new ontologies of distributed systems – a performative event-philosophy in the form of a book and a theatrical production. x ARMITAGE 9780748654451 PRINT.indd x 26/11/2012 11:22 Contributors xi Gair Dunlop makes artworks which explore the interconnections of people, places and technologies. Such artworks investigate and play with different eras of discovery, social change and propaganda. His core interest is how dreams of progress affect people and the places they live. Project materials include archive, contemporary and absurdist visions of technology and entropy. He is based in Scotland, UK, and is course director of Time Based Art and Digital Film, Duncan and Jordanstone College of Art and Design, University of Dundee. His website is: Joy Garnett is a painter and media artist who lives in Brooklyn, New York City, USA. Her paintings, based on found images of explosive events, locate instances of the apocalyptic sublime in mass media culture. Her social media performances examine the intersections of our digital and material worlds. Her work has been exhibited at the Milwaukee Art Museum, MoMA P.S.1 and the Whitney Museum of American Art. She is the Arts Editor for the scholarly journal Cultural Politics, published by Duke University Press. Ian James completed his doctoral research on the fictional and theoretical writings of Pierre Klossowski at the University of Warwick in 1996. Since then he has been a Fellow and Lecturer in French at Downing College, University of Cambridge, UK. He is the author of Pierre Klossowski: The Persistence of a Name (2000), The Fragmentary Demand: An Introduction to the Philosophy of Jean-Luc Nancy (2006), Paul Virilio (2007) and The New French Philosophy (2012). Caren Kaplan is Professor of American Studies and affiliated faculty in Film Studies, Cultural Studies, and Science and Technology Studies at University of California Davis, USA. She is the author of Questions of Travel: Postmodern Discourses of Displacement (1996) and the co-author and co-editor of Introduction to Women’s Studies: Gender in a Transnational World (2001/2005), Between Woman and Nation: Transnational Feminisms and the State (1999) and Scattered Hegemonies: Postmodernity and Transnational Feminist Practices (1994) as well as two digital multimedia scholarly works, Dead Reckoning and Precision Targets. Her current research focuses on aerial views and militarised visual culture. ARMITAGE 9780748654451 PRINT.indd xi 26/11/2012 11:22 xii Virilio and Visual Culture John W. P. Phillips is Associate Professor in the Department of English Language and Literature, National University of Singapore, Singapore. Tania Roy is Assistant Professor in the Department of English Language and Literature at the National University of Singapore, Singapore. Her main research interest involves extrapolations of the Frankfurt School for a critical account of ‘alternative’ modernities, with special reference to the post-colonial. She is currently completing a book-project on Theodor Adorno’s conceptions of late-style for a discussion of Indian modernism in, and after, the twentieth century. She has articles published or forthcoming on aesthetics and political violence in India with historical reference to national allegory in R. Tagore; and on the status of contemporary visual art after liberalisation in the work of Dayanita Singh and Vivan Sundaram. Chris Turner is a translator and writer living in Birmingham, UK. Paul Virilio is Professor of Architecture Emeritus, École Spéciale d’Architecture, Paris, France. He is the author of, most recently, The University of Disaster (2010), The Futurism of the Instant: Stop-Eject (2010) and The Great Accelerator (2012). He lives and works in La Rochelle. ARMITAGE 9780748654451 PRINT.indd xii 26/11/2012 11:22 1 Aesthetics, Vision and Speed: An Introduction to Virilio and Visual Culture John Armitage and Ryan Bishop We might add that rejection of visual (audiovisual) conformism would also tend to rule out establishing some kind of optically correct politics which could cause the manipulation of sight by future mass communication tools quickly to take on totalitarian overtones. (Virilio 1997: 97) The Visual as Perpetual Contestation Paul Virilio’s major contribution to contemporary European thought has been to demonstrate that questions of visual culture are not only academic and cultural, aesthetic, historical, critical, philosophical and anthropological questions but also extremely important political questions. For Virilio, visual culture does not simply provide ways to understand the visual or examine images; it offers primarily a critical site of theory and contemporary cultural action and intervention, where relations of power in this field of study are both established in everything from film studies and psychoanalytic theory to gender studies, queer theory, television and video game studies, comics, the traditional artistic media of painting, advertising and the Internet, and potentially disturbed. Virilio’s initial ways into these areas of power relations that constitute the visual cultural scene and its usual analytic topics are odd and oblique, which provide them with their intellectual purchase, emerging as they do from his work as an urbanist interested in technology, speed and the military. These larger forces, according to Virilio, are the primary influences on and shapers of visual culture, with the standard areas of enquiry being mere effects of them. Virilio reminds us that the battlefield is primarily a visual and sensory domain: perception as aiming and targeting, hiding and uncovering, and that urban centres result from paths 1 ARMITAGE 9780748654451 PRINT.indd 1 26/11/2012 11:22 2 Virilio and Visual Culture of movement and means of defence, all of which responds to and alters the visual field. The visual domain, in Virilio’s theoretical work, no matter how it manifests itself, is always concerned with movement, speed, time, the built environment, technology and their complex interactions, resulting in the constantly increasing militarisation of all aspects of daily life. Virilio is an unusual intellectual, in the sense that his work on visual media and their various components have made a difference both to academic debates over visual culture and to the field’s cultural versatility and the range of politicised objects contained under the term visual culture (see Garnett and Armitage 2011). The Aesthetics of Disappearance (2009a), for example – for many Virilio’s most innovative and influential published project on visual events – increasingly turns up on the bibliographies of visual cultural studies courses around the globe. An important development in Virilio’s thinking and writing, this book examines, among other things, those gaps in perception caused by technologically produced movement and speed, resulting in ‘picnolepsy’ which is a form of perception emergent from absences and lost snippets of time. Finding overlaps between the fundamentally different philosophers Descartes and Bergson, Virilio claims that for both thinkers consciousness or thought emerges from duration. It’s ‘our duration that thinks, the first product of consciousness would be its own speed in its distance of time, speed would be the causal idea, the idea before the idea’ (2009a: 32). Virilio thus brings his preoccupations with speed in relation to temporality and its influence on apperception and consciousness into the heart of visual culture, marking this as an important but decidedly oblique examination of visual studies, which makes it somewhat like picnolepsy itself in that the study emerges from gaps in the field’s general perceptive apparatus. Despite having widespread influence and notwithstanding his centrality to the field, Virilio remains something of a visual culture outsider, by choice and by dint of the eclectically challenging demands he places on it. He claims to be not a revolutionary but a revelationary philosopher (Virilio 2009b: 43; Virilio and Richard 2012: 71). He is not persuaded by the belief that the intellectual can mobilise people; rather, the role of philosophy is to critically engage the material and intellectual conditions of possibility for change. Thus millennial thinking, which can become a rationale for various forms of social change, for example, comes repeat- ARMITAGE 9780748654451 PRINT.indd 2 26/11/2012 11:22 Aesthetics, Vision and Speed 3 edly under his scrutiny: to prepare for the apocalypse or the end of the world, for Virilio, is to concentrate on ‘a concept without a future’ (2009b: 43). On the one hand, this is because Virilio does not believe that there is such a thing as the end of the world in the sense of ‘One “boom” and there is nothing left’ (2009b: 43). On the other, it is because he does not believe that there is a quick intellectual or philosophical fix to visual and cultural questions concerning the end of the world, or for that matter, a way of fixing it for good as a concept with a future. Apocalypse, however, means revelation or revealing as in lifting the veil, and thus Virilio cheekily separates what cannot be easily separated and what indeed constitute an inherent paradox, for apocalypse cannot be thought without revelation. His revolutionary/revelationary formulation contains an assumption that pulses throughout his thinking: that humanity is the end of things and that it is through our mortality, our ends, that we have consciousness at all. Visual culture, he argues, is a site not only of ongoing struggle but also of revelation that can never be guaranteed by either his deeply held religious faith (Virilio is a practising Catholic) or by his own intellectual work. In this sense, his intellectual contribution to visual culture and, in particular, to our understanding of vision technologies, has not simply been to expose the cultural politics of media, perception and human visual capabilities; it has also been to reveal that visual culture is never reducible to the cultural politics of vision technologies. For Virilio, the investigation of visual culture entails revealing the techno-scientific methods and desires, creations, taxonomies, articulations and, above all, relations of power that subsist within visuality at any given instant so as to think about how alternative cultural visionaries, or perhaps ‘marginal groups’, might obtain or win, however provisionally, cultural space from the dominant groups associated in particular with the study and development of techno-science (Virilio and Brausch 1993; Virilio and Richard 2012: 22). This is an enormously multifaceted process, full of potential pitfalls, and Virilio, we and our contributors deliberate how Virilio has theorised and practised this approach in greater detail in the 12 chapters that follow. For now, though, it suggests a way of thinking about Virilio’s philosophy of electronic media, techno-science, images and critical theory, not as a set of linear and internally consistent, static ideas involving visual culture through which we can move book by book, chapter by chapter, ARMITAGE 9780748654451 PRINT.indd 3 26/11/2012 11:22 4 Virilio and Visual Culture line by line, but as part of an ongoing and necessarily incomplete process that is always historically, visually, and technologically contingent. In this sense, Virilio’s own writings, his entire corpus, constitute a singular and single body of work and thought, ever evolving and varying but always concerned with these same issues and struggles. Virilio’s thinking on the production and dissemination of technological images forms part of a response to imaginary and real cultural and political developments concerning how such images work and what they do at precise moments in contemporary technological history (e.g. Virilio’s [1989] focus on World War I, cinema and the ‘logistics of perception’ in the early 1980s). As Virilio might put it, he is not merely interested in the ideas that technological images represent or the reality they purport to depict. He is interested in why technological images were like they were in World War I, or why questions about technological mediations and extensions of visual experience are like they are in the twenty-first century. Additionally, he is concerned with how that ‘why’ of a specific intersection of time, space, speed, and technology manifests in images that influence and affect almost every dimension of human experience (Virilio 2012: 38–9). For Virilio, visual culture is a process over which we must struggle to theorise and practise, rather than a static object such as traditional art history we can simply describe or provide a grand, overarching theory of; visual culture, from this perspective, functions more as a verb than a noun, more of a landscape of events than a field. In this context, the position of the intellectual in visual cultural studies is, as Virilio puts it, revelationary. Talking about the question of apocalypse in 2007, Virilio pointed not to ‘the end of the world’, which he doesn’t ‘give a damn about’ but to the ‘finitude of the world’ (especially for each cognisant individual) and to the revelationary role of the visual cultural critic in the face of ‘the idea of revolution’. What, then, has Virilio’s visual cultural studies to offer somebody who wants to know if they should take up his profound beliefs about the apocalypse and especially if that means ‘the end of the world is a concept without a future’ (Virilio 2009b: 43)? The joke embedded in Virilio’s pithy formulation is indicative of his multidimensional engagements with the visual, for he is always deadly serious while at the same time, rather like Jean Baudrillard (see, for example, Bishop and Phillips 2009), aware of humour’s efficacy to illuminate complex ideas and entrenched ARMITAGE 9780748654451 PRINT.indd 4 26/11/2012 11:22 Aesthetics, Vision and Speed 5 thinking. Virilio makes his point here by saying that the end of the world is something of a cliché and thus has no intellectual future while also underscoring the futility of millennial or apocalyptic thinking: for the end of the world would indeed be the end of a future (and thus an idea without a future). Nonetheless, Virilio emphasises that the apocalypse does elicit intellectually and politically significant visual and cultural questions but mostly in relation to how it constrains and delimits strategies for thinking otherwise. The apocalypse, he argues, is also a question not so much of the end of the world or of a concept without a future but also a contestation of whose revelation gets represented and whose revelation does not. As with Baudrillard, a comparison Virilio himself makes in this regard, his interest in the end is that, as mortals, all we can ever experience is the end of things. This, therefore, is a site at which the advance of his religious faith, of his own studies, is becoming a revelationary perspective, but it is not one solely bounded by his religious faith. It is a site at which he not only seeks to understand today and tomorrow, but also, by way of revelation, to surpass our traditional understanding of the idea of ‘revolution’, cosmogony and astronomy. Unless we operate in this tension between cosmogony, astronomy and the ideological idea of revolution (used in a punning fashion that collapses politics and astronomy), we won’t know what visual cultural studies can do as visual and critical studies, cannot do or can never do; but also what visual and cultural studies has to do, what alone it has a privileged capacity to do (Virilio 2009b: 43). The apocalypse, he proposes, is not solely about the reality of attempting to understand today and tomorrow, of going beyond our perhaps outmoded understanding of the idea of revolution; it is also about the visual and cultural politics of representation, of ‘ways of seeing’ (Berger 1972), the failure of the idea of the ideological revolution (e.g. the catastrophe of those who have been looking for, or are waiting for, the revolution, those who, as Virilio [2009b: 43] puts it, ‘have chosen the wrong planet’) and the awaiting of an ultimate transcendental revelation (through working with this specific vision, this specific narrative, of revelation). What our example of the apocalypse points to is Virilio’s (2009b: 43) sense of both the limitations and the relevance of intellectual work on visions of finitude and his commitment not just to visual cultural studies as opening up to us a ‘new type of ARMITAGE 9780748654451 PRINT.indd 5 26/11/2012 11:22 6 Virilio and Visual Culture thought’ but also as a significant and serious field concerned with post-phenomenological theorisations of the gaze and ‘iconology’ (Mitchell 1987), art history, critical theory and, as we have seen in the case of Virilio himself, religion inspired studies (see, also, for example, Morgan 2001). That said, Virilio returns consistently to visual culture as a site of contestation manifesting the larger concerns of urbanisation, technology, militarisation and speed as inextricably intertwined phenomena. Visual culture, for Virilio, then is as political and as quotidian, as concerned with the microcosm as the macrocosm. Exploded View: Virilio and Visual Culture So here we have an important revolution. Video images, infographic images, they are all images that speak. It’s similar to what I said about the vision machine – giving sight to a machine without a gaze, sight without seeing, and giving speech to an image without humans: we are here faced with developments that can only disturb art’s voices of silence for good. (Paul Virilio in Virilio and Lotringer 2005: 36) Anybody writing a book about post World War II French intellectual life, and who started by looking for some representative academic figure to connect its numerous tendencies and stages regarding the study of images, would find him- or herself early on turning to Paul Virilio. In the 1950s Virilio played a pivotal role within research on the image of the ‘Atlantic Wall’, a system of permanent field and other fortifications built by the Germans from 1940 to 1944 after the defeat of France. This system is more than 4,000 km long, stretching along the European coast of the Atlantic Ocean from Denmark to the Spanish frontier. Virilio’s research on the Atlantic Wall was the start of a long journey that has had him scanning the visual culture of the western French coasts for the rest of his life (e.g. even today, in retirement, Virilio lives in La Rochelle, a French city and port in western France, on the Bay of Biscay), research and imagery that, according to him, sought to reclaim what John Beck (2011) calls the ‘concrete ambivalence’ of the military bunker and to offer an alternative cultural and highly politicised image of the destruction and oppression wrought by the Nazi defence systems of World War II (Virilio 1994a). In the 1960s Virilio founded with the architect Claude Parent ARMITAGE 9780748654451 PRINT.indd 6 26/11/2012 11:22 Aesthetics, Vision and Speed 7 Figure 1.1 Church of Sainte-Bernadette-du-Banlay, Nevers, France (2006). Architects: Claude Parent and Paul Virilio, 1966. Photograph by John Armitage. the Architecture Principe group, the review bearing the same name, and the theory of ‘the function of the oblique’, which issued in the construction of two major works: the Church of Sainte-Bernadette-du-Banlay in Nevers in 1966 (Figure 1.1) and the Thomson-Houston centre of aerospace research in VélizyVillacoublay in 1969 (Virilio and Parent 1996a, 1996b). The function of the oblique, according to Virilio, is to resist the horizontal and vertical assumptions operative in architectural practice in the middle and later parts of the twentieth century. This entails their resistance as well to the general tendency toward architectural facilitation of ease and efficiency. Instead, Virilio and Parent wish to ground architectural practice in the body, forcing consideration of the corporeal in opposition to the more generalised erasure of it by larger trajectories of social, economic and labour practices: architecture as memento mori in the name of geopolitics and geometrical politics. By the 1970s, Virilio emerged not only as professor, workshop director and director of studies at the École Spéciale d’Architecture ARMITAGE 9780748654451 PRINT.indd 7 26/11/2012 11:22

Author John Armitage and Ryan Bishop Isbn 9780748654444 File size 4.6 MB Year 2013 Pages 256 Language English File format PDF Category Art Book Description: FacebookTwitterGoogle+TumblrDiggMySpaceShare The first genuine appraisal of Virilio’s contribution to contemporary art, photography, film, television and more. This collection of 13 original writings, including a newly translated piece by Virilio himself, is indispensable reading for all students and researchers of contemporary visual culture. Paul Virilio is one of the leading and most challenging critics of art and technology of the present period. Re-conceptualising the most enduring philosophical conventions on everything from technology and photography to literature, anthropology, cultural, and media studies through his own original theories and arguments, Virilio’s work has produced substantial debate, compelling readers to ask if his criticism is out of touch or out in front of traditional perspectives.     Download (4.6 MB) Theorizing Visual Studies: Writing Through the Discipline History of Art: A Student’s Handbook Vanishing Points: Articulations of Death, Fragmentation, and the Unexperienced Experience of Created Objects The Flesh of Images: Merleau-Ponty between Painting and Cinema Looking at Movies: An Introduction to Film, 3 edition Load more posts

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