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By Virilio, Paul

Paul Virilio is one in every of modern Continental thought's most unusual and provocative serious voices. His imaginative and prescient of the influence of recent know-how at the modern worldwide situation is strong and traumatic, ranging over artwork, technology, politics and battle.

In artwork and worry, Paul Virilio strains the dual improvement of paintings and technological know-how over the 20th century. In his provocative and difficult imaginative and prescient, paintings and technology vie with one another for the destruction of the human shape as we all know it. He lines the connections among the best way 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 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 worldwide ads, and the service provider of worldwide terrorism.

Now, initially of the twenty-first century, technology has eventually left artwork in the back of, as genetic engineers arrange to show themselves into the worst of expressionists, with the person the uncooked fabric for brand spanking new and titanic kinds of life.

Art and worry is vital studying for someone brooding about the place paintings has long gone and the place technological know-how is taking us.

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When they deported the Jews, I said nothing. ' Early warning signs of the pitiless nature of MODERN TIMES as portrayed by Charlie Chaplin, the visual arts of that historical period never ceased TORTURING FORMS before making them disappear in abstraction. Similarly others would not cease TORTURING BODIES afterwards to the tune of the screams of the tortured prior to their asphyxiation inside the gas chambers. On that note, let's hear the testimony of Valeska Gert, the actress who starred in German filmmaker G.

But before we bid the Artist farewell, we should not forget for a moment that the words PITY and PIETY are consubstantial - something the members of the Holy Inquisition obviously overlooked ... Let's not repeat their crimes, let's not become negationists of art. To suffer with or to sympathize with? That is a question that concerns both ethics and aesthetics, as was clearly intuited by Gericault, the man who made his famous 'portraits of the insane' at La Salpetriere Hospital in Paris over the winter of 1822 at the invitation of one Dr Georget, founder of 'social psychiatry'.

The case instituted against silence, citing the evidence of the works, then ends in out and out condemnation of that profane piety that was still an extension of the piety of bygone sacred art. 47 A R T A N D FEAR Silence suddenly stops being indulged: he who says nothing is deemed to consent in spite of himself'to judgement of the artist on mere intention. Accused of congenital weakness, the silence of forms and figures suddenly turns into MUTISM: the mutism of abstraction or that of an indeterminate figurative art whose victims were to be Giacometti, Bacon and co.

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