Paul Virilio

Przysługujący widmom wywrotowy, niemalże rewolucyjny potencjał został odsunięty oraz zagubiony poprzez pozbycie się tej kontrowersyjnej kategorii z terytorium metafizyki i zbyt pośpieszne odesłanie jej do przestrzeni badań nad literaturą, sprowadzając ją jedynie do roli użytecznego, bezpiecznego narzędzia interpretacji.

Książka Andrzeja Marca odzyskuje niepokojący charakter widmontologii i ponownie wprowadza widma do myśli metafizycznej. Czym nawiedzona i przeniknięta jest tradycyjna metafizyka, co właściwie ją dręczy, nie daje spokoju oraz nieustannie podmywa jej stabilność?

Kategoria widma Derridy posłużyła Marcowi przede wszystkim do rozważań nad charakterem współczesności i przeobrażeń, jakie dokonały się w obrębie myśli ponowoczesnej. Współczesna kultura, zdaniem Marca, stała się miejscem powstawania widm, nieustannie powracających z przeszłości. Uznając, że nie jesteśmy już w stanie tworzyć utopijnych wizji przyszłości, autor stara się zdać sprawę z widmowego charakteru współczesnej kultury, analizując m. in. strategie vintage, retro, nurt no future w kulturze lat 70. czy nurt fantastyki naukowej w literaturze.

Resumo: O objetivo deste trabalho é oferecer uma pesquisa documental abrangendo diversas considerações sobre as formas do conhecimento humano e suas mutações ao longo da história moderna, quando a cognição humana se depara com elementos de sua própria criação estabelecidos sob a pretensão de extensões das capacidades humanas, mostrados sob o ponto de vista de diversos autores/pesquisadores, relacionando a insurgência das novas tecnologias à acepção da realidade. Aqui são cruzados elementos como o binarismo socrático e a tríade aristotélica, as dimensões e a acepção metafísica, linguagem cultural e a quebra do Eu, questões de abordagem fenomenológica e existencialista, assim como aspectos políticos envolvidos na formalização do conhecimento instrumentalizado. A utilização destes objetos tecnológicos em pedagogia, observados durante um percurso do entendimento, propicia ou distancia o Ente de seu mundo? Haveria na formalização do mundo à métrica matemática e as formas dos novos simuladores, geradores, projetores, a reconstrução de um universo já compreendido e a exclusão do absoluto devir de onde as causas dialéticas não fossem determinadas?

"Resumo. Partindo da análise plástica de três objetos, procuramos encontrar a relação entre a prática da constrição do corpo feminino e a domesticação da mulher teorizada por Virilio. Tomando a moda ocidental no que se considera como seu início no século XVIII, e em seu momento atual, apoiamos a análise na teoria dos regimes de interação de Landowski, além de seus textos sobre a moda e a sociedade.

Palavras chave. Corset; constrição; regimes de interação."

One significant aspect of military interventions is that violence in binary geographies, which have an implied colonial discourse (such as Serbia), often involve the dialectics of construction and erasure, meaning that absence and presence of destruction and violence run side by side. 1 This paper investigates the ways that technology and media were instrumentalised in miniaturising evidence and reducing the visibility of destruction during NATO's Operation Allied Force in Serbia and Kosovo. While the dominant NATO rhetoric behind the intervention was "humanitarian" with the Operation being deployed in the name of Western values and civilisation, this text puts forward an alternative argument. The 1999 intervention was a war machine where the military-industrial-media-entertainment network restricted the public gaze and the control of information as well as made it nearly impossible to distinguish information from disinformation, and fact from fiction. Its value was predicated on expressing and showing less of the violence in order to set up a clear representation of a perpetrator and a victim. Thus, the reconceptualisation of borders in relation to 1999 was contingent on the deployment of the infrastructure of satellites and unmanned drones in an attempt to, firstly, miniaturise the weapon and, secondly, de-familiarise the military frame with spectacular speed.

Paul Virilio's Modernity is logistical. It doesn't directly deal with war, but with everything that makes it possible. Logistics is the preparation for war through the transfer of the nation's poten­ tial to its armed forces in time of peace as in times of war.1 Modernity is a world in motion, expressed in translations of strategic space into logistical time, and back again. It is a history of cities, partitions, trading circuits, satellites, and software; of a political landscape governed by competing technologies of sur­ veillance, mobilization, fortification and their interdependent administrations. It begins as an archaelogy of naval routes, strategic techniques and urban distributions, and becomes an integrated world of events reduced to shapes and symbols, viewed and manipulated instantaneously on screens. In Virilio's narrative, architectural regimes become computational, and vice versa. Both are logistical media for mobilization and its administration, tech­ nologies that consolidate territory into logistical fields and enable a Modern governance based on the abstracted calculation over omni­ directional spaces and surfaces, from open oceans to shared spreadsheets. This comprehensive technologization of the globe signals for Virilio both integration and disintegration, both control and accident. And it is finally through the accident, the realization of the imminent, irreducible risk that logistics hopes to contain, and not through control, that the strongest bonds of the polis are formed. For Virilio, they are an exceptional condition already contained within, and rigorously predicated by the invention that made them possible.

This dialogue foregrounds the interological nature of media ecology as a style of exploration into the human condition. Besides Marshall McLuhan, it also brings Gilles Deleuze, field theory, and the I Ching, et cetera, to bear on media ecological inquiry. The idea is to reveal a pattern instead of defining a term. RESUME Ce dialogue met en relief la nature « interologique » du style d'exploration de la condition humaine que propose I'ecologie des medias. Pour ce faire, il fait intervenir, en plus des reflexions de Marshall McLuhan, la pensee de Gilles Deleuze, la theorie des champs et le « Livre des transformations» (Yi King). II s'agit moins ici de definir un terme que de reveler un « motif » (pattern).

Illegale Partys im öffentlichen Raum gehören im Sommer in Berlin und anderswo zum Alltag. Unter Brücken und auf kleinen und großen Brachen wummern Bässe, es wird getanzt, getrunken, wohl auch gegrillt, jedenfalls ohne behördliche Genehmigung gefeiert. Dabei sind die Partys keineswegs besonders versteckt. Doch die Ordnungsmacht greift nicht ein. Und das sollte sie auch nicht. Gilles Clément ist ein Ökologe, Entropologe und Raumplaner; bekannt ist er, wenn man dem Wikipedia-Artikel glauben darf, für die Gestaltung mehrerer Gartenanlagen. 2004 forderte er die ›Dritte Landschaft‹ (Tiers paysage) ein. Sie soll, so Clément, zwischen die beiden primären Landschaftstypen treten: dem ökologischen Primärsystem [1] einerseits und dem anthropogenetischen Nutzraum andererseits. Ihr spezifischer Wert als Zwischenraum soll erkannt werden, denn vorhanden ist er seit Beginn der Sesshaftwerdung des Menschen (wenn auch nicht unbedingt bewusst). Als ökologische Primärsysteme bezeichnet Clément von menschlichem Zugriff unberührte Biome. Räume, die so entlegen sind, so wüst, so wenig effizient (v)erschließ-oder ausbeutbar, dass sie sich als Lebens-oder Wirtschaftsraum nicht eignen. Hier entwickeln sich Fauna und Flora unbeeinflusst, falls angesichts der herbeigeführten Klimaerwärmung davon überhaupt noch gesprochen werden kann. In vielen Fällen sind dies, mit Deleuze und Guattari gesprochen, die ›glatten‹ Räume. Ihnen stehen die verschiedenen ›gekerbten‹ Räume gegenüber, die sich grob in zwei Sorten teilen lassen: die Stadt als der Ort der optimalen Bodenversiegelung und das Land als Ort optimaler landwirtschaftlicher Ausbeutung. Das Reservat, ein institutionell bewachter Schutzraum, steht den Primärsystemen näher, allerdings ist die natürliche Entwicklung in ihnen durch Überwachung reguliert, was es u.a. neuen Arten erschwert, das Territorium zu besetzen. Dritte Landschaft nennt Clément die Randzonen der Nutzräume: Straßen-, Acker-und Forstränder etc., verlassene Gelände, Brachen: sekundäre Landschaften. Die Dritte Landschaft schlägt er vor als »dritten Begriff einer Analyse, die ihre eigentlichen und ersichtlichen Hauptgegenstände entweder der Seite des Schattens oder der Seite des Lichtes zugeordnet hat« (2010: 11). Dieses Dichotomiedenken (Natur/Kultur) will er herausfordern durch die Stärkung des Dazwischen, das sich einer eindeutigen Zuweisung entzieht, ein »Raum, der weder Macht noch Unterwerfung unter eine Macht ausdrückt« (2010: 12). Die Dritte Landschaft soll dementsprechend die »Unentschiedenheit zu einem politischen Begriff machen und sie ins Gleichgewicht mit der Macht bringen« (2010: 59). Clément rekurriert damit implizit auf das Konzept des ›Neutrums‹, mit dem Roland Barthes ähnliches im Sinn hatte (»Neutrum nenne ich dasjenige, was das Paradigma außer Kraft setzt«; 2005: 32). Zugleich ergänzt er die Dichotomie glatt/gekerbt, die gelegentlich so missverstanden wird, dass sich gekerbte Räume durch menschlichen Eingriff glätten ließen, wodurch jedoch immer nur neue Kerben entstehen.

This paper investigates the relationship between self-esteem, body-image and sexual desire within gay men. It looks at the gay male body as a site of ‘performativity’, the body ‘citationality’ quoting the ‘norms’ of gay society in order not to be labelled ‘other.’ If you do not fit the ‘ideal’ of what a gay male should look like this can lead gay men to transgress taboos to achieve their idealised body desires, a trans(a)gression against the self through the practicing of unsafe sex to obtain possession of an ideal body.

We are the 99 per cent of the population who are subjected to the system and you are the one per cent who benefit from disproportionately high advantages. The slogan of the indignant is forceful and carries a populism which breaks with the classical convention of left-wing politics.

En este artículo se pone de manifiesto cómo la concepción occidental (no científica) del tiempo determina nuestra cultura; particularmente, cómo la concepción de tiempo absoluto interviene en los métodos de castigo-reinserción de nuestra sociedad. La cadena de razonamiento del autor comienza con Whorf, quien analiza la concepción del tiempo en Occidente en contraposición con otras culturas como la de los indios hopi, para luego profundizar en el análisis de Foucault sobre el castigo aplicado en la penalidad moderna y sobre las llamadas “disciplinas de dominación”; en este aspecto, muestra cómo el ejemplo más extremo y terrorífico de esta absolutización del tiempo se llevó a cabo en el campo de concentración de Auschwitz. Finalmente, se propone una reflexión sobre el peligro de la aceleración en nuestros días.

The paper inquires, from a philosophical point of view, the Italian writer Guido Morselli’s last novel (1973): Dissipatio H. G. Its main question is if a philosophically understanding of the relation between utopia and dystopia may be obtained working not directly on the two concepts (taken as separated), but working on their crossing, typical of literature domain.
In this quite original Italian novel, build on the absurd of a last-man schema, the anti-hero who is the unique survivor to a totally unexpected humanity disappearance. Living on without “the others” means from the one hand living with machines still working and, from the other hand, experimenting renewed relations with flora, animals and, generally speaking, nature.
The result is that subjectivity is completely redefined, but it is not clear the axiology of that alteration. The empty world shows, at the end, the constitutive ambiguity of every world and, at the same time, of every subject living-in-the-world: it reveals itself as an utopia as well as a dystopia.

lccn 2019032477 (ebook) isbn 9781478005872 (hardcover) isbn 9781478006572 (paperback) isbn 9781478007272 (ebook) Subjects: lcsH: Artificial intelligence-Military applications. | Robotics-Military applications. | Armed Forces and mass media-United States. | War in mass media. | War in literature. | Military art and science-Technological innovations-Social aspects. Classification: lcc ug479 .p33 2020 (print) | lcc ug479 (ebook) ddc 355.40285-dc23 lc record available at https://lccn.loc.gov/2019032476 lc ebook record available at https://lccn.loc.gov/2019032477

Resumen El artículo pretende contribuir al entendimiento de los registros actuales de la subjetividad y los escenarios en que ésta se despliega, por medio de la revisión de la novela Neuromante, de William Gibson, y su articulación con algunos plantea-mientos de El arte del motor, de Paul Virilio. Con este fin se desarrollan dos apar-tados: Contextos, el cual se divide en real y virtual/ciberespacio (a partir de este inciso se propone el neologismo cibertualidad), y Sujeto, dentro del cual se abor-da la experiencia del organismo intervenido técnicamente, así como el repudio por el cuerpo y su pesadez, entre los usuarios de la cibertualidad y algunas conse-cuencias que ello acarrea. Abstract This article tries to contribute to the understanding of current registers of subjectivity and stages in which it displays, through the review of the William Gibson's novel Neuromancer, and its articulation with some topics of The art of motor from Paul Virilio. To get this, two sections are developed: Contexts, which divides in real and virtual/cyberspace (from this clause it proposes the neologism Cibertualidad), and Subject, which is about the experience of the technical intervened organism, as soon as the repulsion of body and its heaviness, between the Cibertualidad users, and some of its consequences.

The relationship of architecture to the human body is a centuries-long and complex one, but not always symmetrical. This book opens a space for historians of the visual arts, archaeologists, architects, and digital humanities professionals to reflect upon embodiment, spatiality, science, and architecture in pre-modern and modern cultural contexts. "Architecture and the Body, Science and Culture" poses one overarching question: How does a period's understanding of bodies as objects of science impinge upon architectural thought and design? The answers are sophisticated, interdisciplinary explorations of theory, technology, symbolism, medicine, violence, psychology, deformity, and salvation, and they have unexpected and fascinating implications for architectural design and history. The new research published in this volume reinvigorates the Western survey-style trajectory from Archaic Greece to post-war Europe with scientifically-framed, body-centered provocations.

This thesis investigates the ontological meta-narratives of glitch art and focuses on it as the transition from images with noise, into a site of meaning. In the first chapter I will discuss glitch art as a failure in communication that stimulates our perception. By relating glitch art to noise art, I will describe the prevalence of a common artistic approach towards errors, while through Fiske’s notion of ‘entropy’ I will examine how unconventional information affects us. These findings, combined with the analysis of distinct glitch art typologies in the second chapter, will highlight the instrumentalization of accidents as a method for processing reality. This method will be investigated through a content analysis of a digital glitch-art work that will be bound with Lyotard’s notion of the ‘aesthetics of post-modernity’ and Virilio’s concept of a ‘vision machine’. This contextualization will introduce glitch art as a metonym for reality and as a mechanism that revolutionizes our p...

The author tries to characterize still fresh and recent phenomenon of
the postdigital aesthetics. He tries to answer the question: why
postdigital artists most often take destruction actions, use
imperfection, distortion and errors. He look at the work of glitch art
creators, using theoretical tools of Rosa Menkman and Michael
Betancourt. He wants to show the reason of returning to analogue in
postdigital age and underline the critical potential of using glitch
in contemporary art. The art of glitch perhaps gives the best example
of our postdigital condition and show discontinuous experience of
reality.

In an era when mainstream photographic artists automatically resort to high resolution and heavyhanded Photoshopping to enhance their artwork, this article presents "photography in a Zen key" as a minor, divergent species of photography that has the viewer's satori as its raison d'etre and catalyzes such satori through its "coolness."

https://amzn.to/textmex

A rogues' gallery of Mexican bandits, bombshells, lotharios, and thieves saturates American popular culture. Remember Speedy Gonzalez? "Mexican Spitfire" Lupe Vélez? The Frito Bandito? Familiar and reassuring—at least to Anglos—these Mexican stereotypes are not a people but a text, a carefully woven, articulated, and consumer-ready commodity. In this original, provocative, and highly entertaining book, William Anthony Nericcio deconstructs Tex[t]-Mexicans in films, television, advertising, comic books, toys, literature, and even critical theory, revealing them to be less flesh-and-blood than "seductive hallucinations," less reality than consumer products, a kind of "digital crack."

"Marvels! Rompecabezas! And cartoons that bite into the mind appear throughout this long-awaited book that promises to reshape and refocus how we see Mexicans in the Americas and how we are taught and seduced to mis/understand our human potentials for solidarity. This is the closest Latin@ studies has come to a revolutionary vision of how American culture works through its image machines, a vision that cuts through to the roots of the U.S. propaganda archive on Mexican, Tex-Mex, Latino, Chicano/a humanity. Nericcio exposes, deciphers, historicizes, and 'cuts-up' the postcards, movies, captions, poems, and adverts that plaster dehumanization (he calls them miscegenated semantic oddities') through our brains. For him, understanding the sweet and sour hallucinations is not enough. He wants the flashing waters of our critical education to become instruments of restoration. In this book, Walter Benjamin meets
Italo Calvino and they morph into Nericcio. Orale!"

—Davíd Carrasco, Harvard University


Direct purchase link @ Amazon
https://amzn.to/textmex

Publisher's book page
https://utpress.utexas.edu/books/nertex

From ubiquitous surveillance to drone strikes that put “warheads onto foreheads,” we live in a world of globalized, individualized targeting. The perils are great. In The Eye of War, Antoine Bousquet provides both a sweeping historical overview of military perception technologies and a disquieting lens on a world that is, increasingly, one in which anything or anyone that can be perceived can be destroyed—in which to see is to destroy.

Arguing that modern-day global targeting is dissolving the conventionally bounded spaces of armed conflict, Bousquet shows that over several centuries, a logistical order of militarized perception has come into ascendancy, bringing perception and annihilation into ever-closer alignment. The efforts deployed to evade this deadly visibility have correspondingly intensified, yielding practices of radical concealment that presage a wholesale disappearance of the customary space of the battlefield. Beginning with the Renaissance’s fateful discovery of linear perspective, The Eye of War discloses the entanglement of the sciences and techniques of perception, representation, and localization in the modern era amid the perpetual quest for military superiority. In a survey that ranges from the telescope, aerial photograph, and gridded map to radar, digital imaging, and the geographic information system, Bousquet shows how successive technological systems have profoundly shaped the history of warfare and the experience of soldiering.

A work of grand historical sweep and remarkable analytical power, The Eye of War explores the implications of militarized perception for the character of war in the twenty-first century and the place of human subjects within its increasingly technical armature.

This article assesses some potential approaches to museums and cities propelled by a theoretical preoccupation with modernity as a condition of speed. Here, one can extrapolate two variants in the writings and interventions of Marinetti, Simmel, Virilio, and writers in the postmodern tradition: (a) the museum is slow, it is a brake on modernity, it is modernity’s sedentary other and (b) the museum is fast, it is as quick as the city, reflecting modernity’s impulse toward acceleration. To finesse these approaches, the article will move toward the method of rhythmanalysis and an emphasis on time—space considerations. It is Lefebvre’s teasing last snippets on the concept of rhythm, the article will argue, presaged by Benjamin’s approach to the variant tempos of modernity in The Arcades Project, that point to a fuller and more advanced approach to urban—museological relations and the multiple rhythms that feature in both.

This paper argues for a sustained revaluation of the concept of ‘globalization’. Developing a poststructural reading, it focuses on the context in which the concept has arisen, and the mechanisms through which it has disseminated. Drawing on a range of continental thinkers, from Foucault through Virilio, to Cassirer and Deleuze, I develop a framework through which we may better understand how the discourse of globalization has been normalised, and transformed from concept to action. These developments are part of what I take to be the configuration of three new social spheres in late modernity: ‘reflex-politics’; ‘speed-politics’; and ‘mytho-politics’, wherein we are witness to new modes of objectification and governmentality. ‘Globalization’ itself becomes a powerful structure of governance as we pass the millennium. When the discourse has become a vector of power, our best hope might be to ‘forget globalization’.

In measure to the development of projectile weaponry, the conduct of modern war has accorded perception with destruction, marshalling and enfolding human vision into ever more sophisticated sociotechnical assemblages of targeting. Drawing upon Paul Virilio’s notion of a “logistics of perception”, this article charts the four successive orders of targeting constituted by the alignment of the line of sight with the line of fire (aiming), the measurement of distance to a target (ranging), the trailing and prediction of a target’s movement (tracking), and the directed navigation to a target’s position in space (guiding). Alongside the functional specification of each of these orders are concurrently drawn out the accompanying corporeal regimentations of the living organisms thus imbricated. With its capillaries now spanning the wider ranges of the electromagnetic spectrum, the contemporary war machine has simultaneously extended its sensorial reach far beyond the confines of its original human strictures. Its culmination may well lie in the advent of laser technology and the promise of a weaponisation of light through which the definitive coincidence of perception and annihilation will be realised, even as it dispenses with the ocular orb that initiated their convergence.

How can anyone talk about the contemporary? The target, the reference, the focus, the ambit moves as one attempts to address it: one moves oneself and not necessarily in lockstep with the contemporary. Some are more contempor­ary than others; some, as Nietzsche argued, are born posthumously, contem­poraries of an era yet to come; or, and this is indistinguishable, there are those whose time is past and those who belong to no time at all.
It is in this sense that Giorgio Agamben (2009, 40) defines the contemporary as inattuale, referring to Nietzsche's "contemporariness," expressed as Nietzsche articulates his timely "relevance (attualita)" (ibid.), qua what Nietzsche with all due historical preci­sion designates as the "untimely" (unzeitgemaess). The question of the currency, the relevance of the untimely, is tied to the question of the timely as such: when is it? how is it? and how can we say (for sure)? How are we to know? Undergirded by a tendency toward nonbeing, as Augustine mused of time as such, precisely in its present immediacy: "we cannot rightly say that time is, except by reason of its impending state of not being" ( Confessions, bk u, chap. 14). Like a moving sidewalk, the contemporary carries you along with it and passes as you pass, cliche, amenable to categorisation as belonging to a bygone present, the latest thing in its eclipse, already foreclosed. The question of "the contemporary" has a specific meaning with reference to art, such as modem and postmodern art but also conceptual art and, perhaps espe­cially significantly, pop art. In philosophy of art, Giorgio Agamben and Jean-Luc Nancy, along with other philosophers hailing from the analytic tradition, espe­cially Arthur Dan to, have made the theme of the contemporary central to their thought. Likewise, and more colloquially, the contemporary is tied to remix culture ( quite along with issues of piracy and profit'), remakes, and revivals, but also readymade and found and pop art-and now we are back to Danto--and, in music, at least pop music, also including the musical cover.

This article introduces the question of algorithmic catastrophe by reinterpreting Paul Virilio's concept of the original accident. Virilio finds Aristotle’s conflation of the  double meaning of accident—as 1) predicate of substance and 2) contingent event—to be fully realized in the time of technological catastrophe. Departing from Virilio, this article goes further in distinguishing the contingency of the “second nature” (a natural-technological organic structure, illustrated in the Fukushima catastrophe) from the contingency of the laws of nature elaborated by Émile Boutroux. The second nature results from the constant exteriorization of reason in its effort to overcome contingency—something already proposed in Plato's Protagoras, where reason was the measure for preventing the arrival of contingency (τὐχη, also meaning “luck”) in his anti-tragic theater. After Plato, Aristotle distinguishes between τὐχη and τὸ αὐτόματον as two forms of chance in the Physics; however, today we can observe that the automaton as automation is creating a new form of tuché or contingency, leading to the algorithmic catastrophe. These catastrophes are demonstrated by the “flash crash” of the financial market, the design principle of Amazon’s cloud computing (“everything fails”), and indeed were already warned about by Norbert Wiener in 1960 and more recently by Stephen Hawking in his commentary on AI. The article concludes by suggesting a way to understand the speculative aesthetics of algorithmic catastrophes through a reading of Quentin Meillassoux's absolutization of contingency.

We live in an age in which “esotericism” has become almost synonymous with “spiritual.” Everything from sex to politics has its occult side; in fact, this imagined esoteric counter-face—hidden yet ubiquitous—is often assumed to actually be the true meaning or reality that the material husk—the exoteric, well-known aspect—serves only to obscure. Modern culture is “occulture.” That is, today's everyman recognizes as legitimate cultural expression only that which is grounded in “rejected knowledge.” But rejected by whom and for what? These questions are rarely even acknowledged, much less tackled. All that matters is that their esoteric wisdom is in some sense anti-traditional and pro-gnostic.
Most distressing of all, for an Eastern Orthodox Christian, is the continued—even growing—confusion among theologians and laymen concerning the relationship between esotericism and the teachings of  Orthodoxy. The studies in this volume shed light on the historical development of esoteric thought from an Orthodox perspective.

O livro se articula sob o signo de três pensadores contemporâneos: Henri Bergson, Gilles Deleuze e Paul Virilio. Esses artigos, muito mais do que textos escritos para esclarecer determinados aspectos da obra e do pensamento daqueles filósofos franceses, procuram pensar – com eles, os filósofos – questões contemporâneas, questões do nosso tempo, de nosso tempo presente. A idéia de “virtualidade”, desdobrada em uma perspectiva ontológica – uma ontologia do virtual, pensada a partir de Bergson e Deleuze – e sob o prisma de seus desdobramentos no mundo contemporâneo – a emergência das novas tecnologias do virtual, pensada a partir de Paul Virilio, unifica nosso ponto de vista acerca das relações entre arte e subjetividade no tempo presente

Computer animation and remediation in The Matrix: painting, comics, anime, photogaprhy and cinema mix together to shape new spaces and new bodies. A case study to investigate some transformations of visual language in hybrid and digital media.

During the troubled sixties, in countries like France, England or Japan, there was a significant proliferation of teams of architects, sociologists and urban planners that proposed radical architectural visions. Among them, Architecture Principe stood out as the group that had the greater impact in Spain, essentially due to the close relation between one of its founders, Claude Parent, and Juan Daniel Fullaondo, the director of Spanish magazine Nueva Forma. Claude Parent and Paul Virilio’s theories about La fonction oblique and Le troisieme ordre Urbain were published in this Madrid-based magazine almost at the same time as in their home country. Nevertheless, the reading of their radical theories diverged from their original propaganda. Fullaondo gave the greatest value to the real possibilities of their architecture, which entailed setting aside the utopian condition of the group and focusing on the
pragmatic aspects of their proposals. Adding to this, Fullaondo was particularly interested in publishing Claude Parent’s first architectural projects, following previous collaborations with other architects like André Bloc or Ionel Schein, whose works were also published in Nueva Forma. This decision meant that Virilio’s role was minimized, making the figure of Claude Parent the real protagonist.

Full book available online (open access): https://www.transcript-verlag.de/media/pdf/4e/cd/ec/oa9783839450246.pdf

Fabian Kröger widmet sich in diesem Beitrag der Frage, ob die Machine Vision-Systeme autonomer Autos Blicke werfen können. Methodisch werden dazu Erkenntnisse der Kultur- und Medienwissenschaften – insbesondere der Visual Culture Studies – mit einem technikhistorischen Blick auf die Ingenieurswissenschaften in einen Dialog gebracht. Nach einer Vorstellung der verschiedenen Fahrzeugsensoren wird einer dieser Sensoren - die Kamera - genauer untersucht. Dazu werden die Thesen Paul Virilios mit der Entwicklung eines sehenden Automobils durch Ernst Dieter Dickmanns konfrontiert. Im Ausblick wird erörtert, inwiefern autonome Sehsysteme die Machtverhältnisse zwischen Mensch und Maschine umverteilen.

In this article, Fabian Kröger addresses the question if the machine vision systems of autonomous cars are able to gaze. Methodologically, findings from cultural and media sciences - especially Visual Culture Studies - are brought into a dialogue with a history of technology-perspective on engineering sciences. After a presentation of the various vehicle sensors, one of these sensors - the camera - is examined more closely. For this purpose, Paul Virilio's theses are confronted with the development of a seeing automobile by Ernst Dieter Dickmanns. In the outlook it is discussed to what extent autonomous visual systems redistribute the power relations between man and machine.

Giriş Genetik alanında meydana gelen devrimsel değişimler, biyopolitik teknolojilerin faz değiştirerek "gen-politik" içinde konumlanmasına neden olmuştur. Bu çalışmada, bütün canlıların temel "bilgi" bileşenlerine ait mesajları taşıyan DNA'nın yeniden-üretilebilirliğine işaret eden rekombinat teknolojilerin, teknobilimsel mimarlık praksisleri içinde nasıl konumlandırıldığı ve "rekombinant mimarlık" içinde kavramsallaştırılan bu praksislerin nasıl gen-politik uygulamalarının bir parçası haline geldiği tartışılacaktır. Gen-politik, davranışa, zihinsel faaliyetlere, mekâna, zamana, tarihe ve hatta geleceğe egemen olma gibi çok genel denetim mekanizmalarından, psikolojik cerrahi, tasarım bebek, insan/gen klonlama, gen terapisi, kalıtım haritasının üretilmesi gibi "özne teknolojileri" 1 kapsamında kavrayabileceğimiz araştırmalara ve beden-zaman-mekân kontrolünün genetik yazılımla yapılabildiği sibernetik bina teknolojilerine kadar pek çok tekno-bilimsel göstergeye işaret etmektedir. Bunlar, 2001 yılında tamamlanan "İnsan Genom Projesi"nin şekillendirdiği biyoendüstrinin vaatlerinden yalnızca birkaçıdır. İnsan organizmasına ait kimyasal moleküllerin performansları konusunda yürütülen bu proje, salt her birey için özgül ve yegâne olan biyolojik yaşamın sınırlarına değil, bu sınırlarla inşa edilecek bir sürecin zamansal-mekânsal praksislerine de açılmaktadır. Bu teknobilimsel praksisler, Foucault'nun deyişiyle, biyoiktidarın "yalnızca yaşamı düzenleme değil, yaşamı çoğaltma, canlı üretme, canavar üretme,-hatta-denetlenemez ve evrensel yıkıcılığı olan virüsler üretme olanağı"nı kurguladığı hayata müdahele zeminlerini meydana getirmektedir. 2 Virilio'nun deyişiyle, 21. yüzyıla varmadan bilişim-iletişim teknolojileri aracılığıyla küresel kapitalizmin üç silahını, "atom, enformasyon ve demografi bombalarını" tekilleştiren "genetik" bilimi, biyopolitiğin mekânsal tahayyüllerinin bağlacı haline gelerek, gezegende yürütülen sibernetik ve panoptik fetih hareketlerinin lideri haline gelmiştir. 3 Bir anlamda, Nietzsche'nin "üstinsan"ının [übermensch] 4 inşası yolunda 1 Foucault, Michel. Özne ve İktidar Çev. I.Ergüden ve O. Akınhay, 2000b 2 Foucault, M. Toplumu Savunmak Gerekir, Çev. : Ş. Aktaş. İstanbul :YKY, 2003a. s.259 Ayrıca, gen-politiğin göstergeleri kapsamında sıralanan bu uygulamalarla ilgili kronolojik ayrıntılar için bkz Euchner, Walter. "Baba Ben Niye Faşist Oldum?"-Biyo-politikanın Temelleri ve Sınırları Üzerine. Çev.

Analysis of virtual reality as fantasy and as a historical symptom. Enthusiasm conjuration, a concept developed by Derrida, is applied to technology to understand our ambivalent relationship to the concept of the Real. This text develops an hantology for new media art.

Resumen:
Como homenaje a Adolfo Bioy Casares
En referencia a 'La invención de Morel':
“He discutido con su autor los pormenores de su trama, la he releído;
no me parece una imprecisión o una hipérbole calificarla de perfecta”.
Jorge Luis Borges
El presente artículo se ocupa de la novela de Adolfo Bioy Casares La invención de Morel (1949) novela fundacional de la literatura de anticipación, en la que a través de la ficción científica, policíaca y amatoria, concurren los tópicos del ingenio técnico, la reduplicación de la vida, los periplos de inmortalidad, los archivos de imágenes, los simulacros y finalmente los hologramas, alumbrando el estatuto ontológico de las imágenes en la nueva ecología de medios, cuestiones problematizadas por teóricos de la imagen como Jean Baudrillard, Paul Virilio o Susan Sontag. Dando lugar, finalmente, a una reflexión en torno al complejo paso de lo real a lo virtual en el cual el mundo de las imágenes amenaza por suplantar al mundo real.

Dr. Adolfo Vásquez Rocca

Ekologia w krótkim czasie zyskała rzesze zwolenników na całym świecie, stała się nie tylko nieodłącznym składnikiem intelektualnego krajobrazu i elementem codziennej praktyki, ale również doskonałym produktem marketingowym. Jednak podejrzliwi myśliciele postanowili nie szczędzić słów krytyki kierowanych pod jej adresem, jednocześnie próbując nadać teoretyczny kształt zjawisku przybierającemu charakter masowy.

"Natychmiast! To szalony refren współczesności" 1 -te słowa dobrze oddają istotę diagnozy współczesności, którą podaje Paul Virilio budując dromologię (od gr. dromosbieg, tor wyścigowy 2 ), quasi-naukę o prędkości. Świat postmodernistyczny pozostaje w nieustannym ruchu -rozum, wciąż przekraczający wcześniej zakreślone granice, jedynie "wałęsa się" w świecie, niczym Schizo znany z pism Gillesa Deleuze'a 3 . Nowy kształt świata nie pozostaje bez wpływu na poczucie realności, które staje się coraz słabsze. Ruch oznacza brak głębi, odczuwanie i rozumienie powierzchniowe, poruszanie się po świecie zjawisk bez odniesienia zarówno do całości, jak i ukrytych znaczeń. Rzeczy, które mogą być uchwycone jedynie w "dromologicznym pomiędzy", nie można jednoznacznie zdefiniować Te intuicje postmodernistyczne dobrze oddaje hasło "Mobilność jest realnością" 4 , pojawiające się w jednym z fragmentów powieści Olgi Tokarczuk Bieguni. Można w niej dostrzec wiele innych symptomatycznych śladów ponowoczesności, ze szczególnym wskazaniem na aspekty dromologiczne, które przejawiają się w różnych rodzajach ruchu i bezruchu, stanowiących osnowę opowieści.