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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.

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
Turns
War
Manipulation
Find
Emotions
Mass
Emotion
Media
Turn
Audience

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Television can only destroy.
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Even among the elite, in government circles, technological culture is somewhat deficient.
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... the blinding Hiroshima flash... literally photographed the shadow cast by beings and things, so that every surface immediately became war's recording surface, its film.
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Already, viral contamination offers an initial response to the question of the downside of electronic circuits, but another area of research beckons the area of ecological pollution. The pollution not only of air, water, and other substances, but also the unperceived pollution of distances.
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For the US, the Kosovo War was a success because it encouraged the development of the Pentagon's 'Revolution in Military Affairs' (RMA). The war provided a test site for experimentation, and paved the way for emergence of what I call in Strategie de la deception 'the second deterrence'.
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France and Germany were opposed to a maritime blockade of the Adriatic Sea without a mandate from the United Nations (UN). So, what we witnessed in Kosovo was an extraordinary war, a war waged solely with bombs from the air.
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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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Whoever controls the territory possesses it.
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The body is not simply the combination of dance, muscles, body-building, strength and sex: it is a universe.
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What will prevail is this will to reduce the world to the point where one could possess it. All military technologies reduce the world to nothing. And since military technologies are advanced technologies, what they actually sketch today is the future of the civil realm.
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I believe that philosophy is part of literature, and not the reverse.
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I believe that the politics of intervention and the Kosovo war prompted a fresh resumption of the arms race worldwide.
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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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In the very near future, and I stress this important point, it will no longer be war that is the continuation of politics by other means, it will be what I have dubbed 'the integral accident' that is the continuation of politics by other means.
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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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Television was first conceived to be used as some kind of telescope, not for broadcasting. Originally, Sworkin, the inventor of television, wanted to settle cameras on rockets so that it would be possible to watch the sky.
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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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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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Earth is already being integrated into the Pentagon, and the man in the Pentagon is already piloting the world war - or the Gulf War - as if he were a captain whose huge boat would have become his own body. Thus the body simulates the relationship to the world.
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