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Virilio and Visual Culture
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Paul Virilio’s major contribution to contemporary European thought has been to demonstrate that questions of visual culture are not only academic and cultural, aesthetic, historical, critical, philosophical and anthropological questions but also extremely important political questions. For Virilio, visual culture does not simply provide ways to understand the visual or examine images; it offers primarily a critical site of theory and contemporary cultural action and intervention, where relations of power in this field of study are both established in everything from film studies and psychoanalytic theory to gender studies, queer theory, television and video game studies, comics, the traditional artistic media of painting, advertising and the Internet, and potentially disturbed. Virilio’s initial ways into these areas of power relations that constitute the visual cultural scene and its usual analytic topics are odd and oblique, which provide them with their intellectual purchase, emerging as they do from his work as an urbanist interested in technology, speed and the military. These larger forces, according to Virilio, are the primary influences on and shapers of visual culture, with the standard areas of enquiry being mere effects of them. Virilio reminds us that the battlefield is primarily a visual and sensory domain: perception as aiming and targeting, hiding and uncovering, and that urban centres result from paths of movement and means of defence, all of which responds to and alters the visual field. The visual domain, in Virilio’s theoretical work, no matter how it manifests itself, is always concerned with movement, speed, time, the built environment, technology and their complex interactions, resulting in the constantly increasing militarisation of all aspects of daily life
John Armitage and Ryan Bishop - Personal Name
1st Edtion
978 0 7486 5446 8
NONE
Virilio and Visual Culture
Management
English
2013
1-265
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