By Paul Virilio
Paul Virilio is considered one of modern Continental thought's most unusual and provocative severe voices. His imaginative and prescient of the effect of recent expertise at the modern worldwide is robust and aggravating, ranging over artwork, technology, politics and war. In artwork and worry, Paul Virilio strains the dual improvement of paintings and technological know-how over the 20th century. In his provocative and tough imaginative and prescient, artwork and technology 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 sooner than making it vanish in abstraction, and the blasting to bits of fellows who have been not more than cannon fodder i nthe trenches of the nice warfare; and among the German Expressionists' hate-filled pictures of the damned, and the 'medical' experiments of the Nazi eugenicists; and among the mangled messages of world advertisements, and the employer of world terrorism. Now, initially of the twenty-first century, technological know-how has ultimately left paintings 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 spanking new and giant kinds of lifestyles. artwork and worry is key studying for somebody thinking about the place artwork has long gone and the place technological know-how is taking us.
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Additional info for Art and Fear (Athlone Contemporary European Thinkers)
This peace based on ' the balance of terror' not only between East and West but also between the forms and figures of an aesthetics of disappear ance that would come to characterize the whole fin d e siecle. 'To humanize oneself is to universalize oneself from within', they say. 2 H asn't the universality of the extermination of bodies as well as of the environ men t , from A U S CHWITZ to CHERNOBY L , s ucceeded i n dehumanizing us from without by shatter- 28 A Pitiless A rt ing our ethic and aesthetic bearings, our very perception of our surroundings?
22 It is not too hard to imagine the c o nsequences of this confusion between PROCREAT I O N and CREAT I ON, of the demiurgic pretensions of a eugenics that no longer has any limits. Now that medically assisted procreation of the embryo h as led to genetically programmed creation of the double, the gap 54 A Pitiless Art between HUMAN and TRANS H UMAN has been closed j u st as those old New Age disciples had hoped; and the celebrated British review The Lancet can arrogate to itself the exorbitant right to remove the term INHUMAN from our vocabulary !
Not much at the end of the day, for everything, or almost everything, kicked off at the turn of a pitiless and endlessly catastrophic century from the T I TANI C in 19 1 2 to CHER NOBYL in 1 986, via the crimes against humanity of H I RO S H I MA and NAGASAK I , where one of the paintings in van Gogh' s ' Starry Night' series went up in the nuclear blast . Perhaps at this juncture it i s worth remembering Paul Celan, the German poet who committed suicide in Paris in 1 9 70, the same year that painter Mark Rothko did in New York .