By Paul Virilio
Advent by means of Bernard Tschumi In A panorama of occasions, the distinguished French architect, city planner, and thinker Paul Virilio makes a speciality of the cultural chaos of the Nineteen Eighties and Nineties. It was once a time, he writes, that mirrored the "cruelty of an epoch, the hills and dales of way of life, the standard clumps of behavior and commonplaces."Urban disorientation, the machines of battle, and the acceleration of occasions in modern existence are Virilio's ongoing matters. He explores them in occasions starting from media assurance of the Gulf struggle to city rioting and lawlessness. a few will see Virilio as a pessimist discouraged by means of "the acceleration of the truth of time," whereas others will locate his recording of "atypical occasions" to be clairvoyant.
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Extra resources for A Landscape of Events (Writing Architecture)
The question remains. As you will note, the irruption at this end of the millennium of an indirect horizon, fruit of the appearance of a “third interval” of the light type (neutral sign), alongside the traditional intervals of space (negative sign) and time (positive sign), leads to the unexpected invention of one ﬁnal perspective in which the depth of real time wins out over the depth of the real space of territories. At this point, the indirect light of signals illuminates the world of sense experience a giorno by momentarily reducing the optical thickness of our planet to nothing.
Hesitation is a logical crossroads. If you don’t get past the hesitation barrier, you regress toward dogmatism, a kind of rigidity. . 2 A perceptual hesitation barrier, Odenbach’s slit is also a sort of logical crossroads that forces the viewer to choose. Otherwise he too regresses, refusing all subjective recognition of sequences. A dumbfounded spectator, he then retreats, like a “conscientious objector,” into his refusal to believe what he sees. Since seeing is also believing that you see correctly what you most often notice casually, Odenbach’s anorthoscopic work trains us to reject any pathological ﬁxation of the gaze, a ﬁxation that would soon lead to a form of optical dogmatism, a rigidity of observation that would rule out the “mutation in 40 41 existence” of which Oury speaks, a mutation that is only ever the relativistic commutation of what passes and what goes past our very eyes, here and now.
And yet what do I see from the window but hats and coats which may cover automatic machines? Yet I judge these to be men. ”1 The android attribution, whether involving pure mechanics or some ﬁguration of the living being, thus offers no Promethean vision of the world but the reverse: a nihilistic coming of its image, a tendency to break up the original unity of beings and things by means of those machines and automata, each of which is, in its own way, a scrap of movement, a piece of intellection, an animal portion, a spare part of time .
A Landscape of Events (Writing Architecture) by Paul Virilio