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While the human gaze becomes more and more fixed, losing some of its natural speed and sensitivity, photographic shots, on the contrary, become even faster.

Paul Virilio

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Paul Virilio
Age: 86 †
Born: 1932
Born: January 4
Died: 2018
Died: September 10
Architect
Art Theorist
Exhibition Curator
Painter
Philosopher
Photographer
Sociologist
Urban Planner
Writer
Paris
France
Becomes
Gaze
Natural
Sensitivity
Become
Fixed
Human
Faster
Humans
Speed
Even
Contrary
Shots
Losing
Photographic

More quotes by Paul Virilio

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Wealth is the hidden side of speed and speed the hidden side of wealth.
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If we turn to the war in Kosovo, what do we find? We find the manipulation of the audience's emotions by the mass media.
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Whoever controls the territory possesses it.
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If we consider my latest book, Strategie de la deception, what we need to focus on are the other aspects of the same phenomenon.
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In industrialized warfare, where the representation of events outstripped the presentation of facts, the image was starting to gain sway over the object, time over space. Soon a conflict of strategic and political interpretation would ensue, with radio and then radar completing the picture.
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Technologies first equipped the territorial body with bridges, aqueducts, railways, highways, airports, etc. Now that the most powerful technologies are becoming tiny - microtechnologies, all technologies can invade the body. These micro-machines will feed the body. Research is being conducted in order to create additional memory for instance.
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To separate mind from body doesn't make any sense.
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One can't even know what it means to be lost in reality. For instance, it is easy to know whether you are lost or not in the Sahara desert, but to be lost in reality! This is much more complex!
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GPS not only played a large and delocalizing role in the war in Kosovo but is increasingly playing a role in social life.
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In a way, technologies have negated the transcendental God in order to invent the machine-God. However, these two gods raise similar questions.
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Under the Occupation, we in Nantes were denied access to the coast of the Atlantic Ocean. It was therefore not until after the War was over that I saw the sea for the first time, in the vicinity of St Nazaire. It was there that I discovered the bunkers.
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Now all we have to do to enter the realm of art is to take a car.
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I have always been interested in the architecture of war, as can be seen in Bunker Archeology. However, at the time that I did the research for that book, I was very young. My aim was to understand the notion of 'Total War'.
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The thing about collaborators is that you don't know you are one whereas as a member of the resistance, you do. [In WWII,] the worst cases of collaboration weren't among the real collaborators, that official militia, but among the people at large, who were collaborators without knowing it, by a sort of laxity, an apathy.
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Hence not only the crisis of geopolitics and geostrategy but also the shift towards the emergence and dominance of chronostrategy.
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For instance, the Persian Gulf War was a miniature world war. It took place in a small geographical area. In this sense it was a local war. But it was one that made use of all the power normally reserved for global war.
Paul Virilio
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There are eyes everywhere. No blind spot left. What shall we dream of when everything becomes visible? We'll dream of being blind.
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I think that cinema and television have nothing in common. There is a breaking point between photography and cinema on the one hand and television and virtual reality on the other hand.
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The research on cyberspace is a quest for God. To be God. To be here and there.
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You cannot dissociate birth from death, creation from destruction, good from evil. Thus any art is a form of drama standing between the two extreme poles of birth and death, just like life is drama. This is not sad, because to be alive means to be mortal, to pass through.
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