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 effect of recent know-how at the modern worldwide is robust and demanding, ranging over artwork, technological know-how, politics and struggle. In artwork and worry, Paul Virilio strains the dual improvement of paintings and technological know-how over the 20 th 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 lines 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 fellows who have been not more than cannon fodder i nthe trenches of the good struggle; 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 corporation of worldwide terrorism. Now, initially of the twenty-first century, technology has ultimately left paintings at the back of, as genetic engineers arrange to show themselves into the worst of expressionists, with the individual the uncooked fabric for brand new and large sorts of existence. paintings and worry is key analyzing for somebody brooding about the place paintings has long gone and the place technology is taking us.
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Additional info for Art and Fear (Continuum Impacts)
All this interaction between SOUND, LIGHT and IMAGE, far from creating a 'new art' or a new reality - to borrow the name of the 1950 Paris salon dedicated to French painter Herbin's geometric abstraction - only destroys the nature of art, promoting instead its communication. Moreover, someone like Andy Warhol makes no sense as an artist in the Duchamp mould unless we understand the dynamic role played not only by sign painting, but more especially by advertising, that last ACADEMICISM that has gradually invaded the temples of official art without anyone's batting an eyelid.
Asks Kahn, as a geneticist and member of the French National Ethics Committee, by way of conclusion. Ethics or aesthetics? That is indeed the question at the dawn of the millennium. If freedom of SCIENTIFIC expression now actually has no more limits than freedom of ARTISTIC expression, where will inhumanity end in future? After all the great periods of art, after the great schools such as the classical and the baroque, after contemporary expressionism, are we not now heading for that great transgenic art in which every pharmacy, every laboratory will launch its own 'lifestyles', its own transhuman fashions?
It is 'inevitable'! Thanks to the genetic bomb, the science of biology has become a major art - only, an EXTREME ART. This helps make sense of the title of that Heinrich Heine Institute conference, The Elimination of Nature as a Theme in Contemporary Art'. It also makes sense of the recent innovation not only of a COUNTER CULTURE, opposed to the culture of the bourgeoisie, but also of an art that is frankly COUNTER-NATURE, peddling as it does a eugenics that has finally triumphed over all prejudice absolutely, in spite of the numberless horrors of the waning century.
Art and Fear (Continuum Impacts) by Paul Virilio