By Paul Virilio
Paul Virilio is one in all modern Continental thought's most unusual and provocative severe voices. His imaginative and prescient of the impression of recent know-how at the modern worldwide is strong and worrying, ranging over artwork, technology, politics and battle. In artwork and worry, Paul Virilio lines the dual improvement of paintings and technology over the 20th century. In his provocative and tough imaginative and prescient, paintings and technological know-how vie with one another for the destruction of the human shape as we all know it. He strains 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 good battle; and among the German Expressionists' hate-filled photos of the damned, and the 'medical' experiments of the Nazi eugenicists; and among the mangled messages of world ads, and the organization of worldwide terrorism. Now, initially of the twenty-first century, technology has ultimately left artwork in the back of, as genetic engineers arrange to show themselves into the worst of expressionists, with the man or woman the uncooked fabric for brand new and vast kinds of lifestyles. artwork and worry is key studying for a person considering the place paintings has long gone and the place technological know-how is taking us.
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Extra info for Art and Fear (Continuum Impacts)
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. Which is only in keeping with what was already being produced by the German Expressionism denounced by Rene Gimpel. But also, first and foremost, by the horror of the laboratories of the extermination camps.
Similarly, around 1910, newly hatched abstraction would typify the bid for mental sonorization in the pictorial realm. ' An adept of the then very recent discoveries in the psychology of perception, this pioneer of abstraction would seek to clear the field of all the formal references of figurative art. In the peculiar manner of the Berlin School's GESTALTHEORIE, Kandinsky would tirelessly pursue 'the right form': a pictorial language 'that everyone can understand'. It is worth noting in this regard that, contrary to the romantic notion previously expressed by Schlegel, art's most serious drawback is its immediacy, its ability to be perceived at a glance.
Where will it end, this impiety of art, of the arts and crafts of this 'transfiguration' that not only fulfils the dreams of the German Expressionists but also those of the Futurists, those 'hate-makers' whose destructiveness Hans Magnus Enzensberger has dissected. Remember Mayakovsky's war cry, that blast of poetic premonition: 'Let your axes dance on the bald skulls of the well-heeled egoists and grocers. Kill! Kill! Kill! One good thing: their skulls will make perfect ashtrays/30 Ashtrays, lampshades, quotidian objects and prostheses of a life where the banality of evil, its ordinariness, is far more terrifying than all the atrocities put together, as Hannah Arendt noted while observing the trial of Adolf Eichmann in 1961.
Art and Fear (Continuum Impacts) by Paul Virilio