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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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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
Power
Global
Persian
Made
Areas
Gulf
World
Took
Reserved
Small
Normally
Use
Locals
War
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Miniature
Sense
Local
Geographical
Place
Instance
Miniatures

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I believe that philosophy is part of literature, and not the reverse.
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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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From the original watchtower through the anchored balloon to the reconnaissance aircraft and remote sensing-satellites, one and the same function has been indefinitely repeated, the eye's function being the function of a weapon.
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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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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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Concepts are mental images.
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Art is drama. Any relationship to art is also a relationship to death.
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I pursue through my research on speed and on my study of the organisation of the revolution of the means of transportation.
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Resistance is always possible! But we must engage in resistance first of all by developing the idea of a technological culture.
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Science, which is not so attached to 'truth' as it once was, but more to immediate 'effectiveness', is now drifting towards a decline, it's civic fall from grace.
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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 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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Let us put it this way, techno-scientific intelligence is presently insufficiently spread among society at large to enable us to interpret the sorts of techno-scientific advances that are taking shape today.
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To someone like Zurbaran, who paints still lifes, lemons and pears are the objects of art. But to the electronics engineer who works on the technologies of virtual reality, the whole reality has become the object of art, with a possibility to substitute the virtual with the real.
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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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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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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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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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