The Information Bomb (Radical Thinkers)

By Paul Virilio

“Civilization or the militarization of science?”

With this in most cases hyperbolic and provocative query as a kick off point, Paul Virilio explores the kingdom of techno-science, cyberwar and the hot info applied sciences over our lives ... and deaths. After the period of the atomic bomb, Virilio posits an period of genetic and knowledge bombs which substitute the apocalyptic bang of nuclear dying with the whimper of a subliminally strengthened eugenics. we're getting into the age of euthanasia.

These exhilarating announcements from the knowledge warfare expand the variety of Virilio’s paintings. The info Bomb spans every thing from Fukuyama to Larry Flynt, the feeling exhibition of recent British artwork to house trip, all noticeable in the course of the optic of Virilio’s trenchant and dedicated theoretical place.

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As an 'art of presence', ranged opposed to the of telepresence, and within the face of the arriving of the 'live', modern artwork has stopped representing the determine of the realm as a way to current its 'reality' - first during the denial of all figuration within the ecu abstraction of the fast post-war interval; then, conversely, with American hyper-realism. nonetheless to come back used to be that surprising motorization of computer-generated photographs, which have been prefaced by means of video-art and its de-localized installations - let alone that foundation of 'motor artwork' already represented through cinema on the finish of the 19th century. THE details BOMB one hundred twenty five yet allow us to come to the physique and its actual presence within the theatre and in modern dance, within the age of the emergence of digital truth. apparently, temporality has now develop into a topical topic and a brand new type of theatrical - and different - motion. As a punctual type of 'time compression', historicity shrinks away to not anything now, being in spite of everything a trifling 'citation', a steadily lowering relic, within which unfolding time turns into one of those 'present continuous', a perpetual current. 'We then locate the lack of that founding component of theatrical fiction termed the solidarity of time, made of a starting, a center and an end,' wrote Hans-Thies Lehmann, a expert in modern dramaturgy. And he went on: this is often performed in an effort to identify the measurement of time shared, in all senses of the time period hie et nunc, by way of actors and viewers. To one of these aspect that it will probably occur, during this standpoint, that real period ceases to use, with all occasions final suspended, stricdy targeted at the nunc and the current of its fast now-ness to the detriment of the hie, the 'here' of the scene - of any 'scene' or any'act'. 2 right here now not exists; every thing is now, as we placed it above. 2 From a model of a textual content released as 'Time Structures/Time Sculptures', Theaterschrift 12, December 1997, pp. 28-47. 126 PAUL VIRILIO the hot 'theatrical representation', attribute of the viewpoint of the time of the acceleration of the genuine and its aid, makes an attempt uneasily to react to the hu"ied presentation of occasions by way of the media of mass verbal exchange, all of which favour the 'scoop' and the 'sound-bite' over the narrative and its insufferable' longueurs'. the purpose is to prevent in any respect expenditures the remote-control handset entering play, that surprising symmetry-breaking among transmitter and receiver. Deterring theatre from being theatre - in different phrases, from displaying a physique (on the degree) within the period of the fiction of virtual-reality clones and avatars (on the display) - this is often the hot 'paradox of the actor' (Diderot). The dramaturgy of actual time is, in reality, in all places this day: within the precariousness of the activity industry, fixed-term contracts or long term unemployment; in households damaged and reconstructed via succeeding divorces . . . the phobia of zapping is turning into common. If the 'present' is certainly the axis of symmetry of passing time, this omnipresent centre now controls the totality of the lifetime of the 'advanced' societies and we have now in any respect expenditures to prevent the 'breaking' of that axis, which might lead again to the 'past', to lifeless reminiscence and - who understands?

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