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I am always concerned with ideas of territory and movement. Indeed, my first book after Bunker Archeology was entitled L'insecurite du territoire (1976).

Paul Virilio

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Paul Virilio
Age: 86 †
Born: 1932
Born: January 4
Died: 2018
Died: September 10
Architect
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Exhibition Curator
Painter
Philosopher
Photographer
Sociologist
Urban Planner
Writer
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Movement
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Archeology
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Bunker
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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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Writing is not possible without images. Yet, images don't have to be descriptive they can be concepts.
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Globalization cannot take shape without the speed of light.
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I believe that philosophy is part of literature, and not the reverse.
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Concepts are mental images.
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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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For example, we have developed an artistic and a literary culture. Nevertheless, the ideals of technological culture remain underdeveloped and therefore outside of popular culture and the practical ideals of democracy.
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I have said many times before, interactivity is the equivalent of radioactivity. For interactivity effects a kind of disintegration, a kind of rupture.
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Television can only destroy.
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The globally constituted accident can be compared to what people who work at the stock exchange call 'systemic risk'.
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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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For me, the Asian financial crisis of 1998 and the war in Kosovo in 1999 are the prelude to the integral accident.
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The creation of a virtual image is a form of accident. This explains why virtual reality is a cosmic accident. It's the accident of the real.
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To separate mind from body doesn't make any sense.
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The atomic bomb provoked a specific accident.
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There is, then, a link between the logistics of perception, the wars in Lebanon and the Gulf as well as with CNN and the Pentagon.
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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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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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The cinema was certainly an art, but television can't be, because it is the museum of accidents. In other words, its art is to be the site where all accidents happen. But that's its only art.
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