Here as Virilio states, "all one can do is guess." But Virilio's position is not one of pure guessery. His extrapolationist position against his delirium state, has the architecture of a 23rd century scientist: three parts - fractal geometry, two parts - theory of general relativity, one part - Philip K. Dick. One must step back and stare down the medusa of progress with a mirror. This is Virilio's call for a grey ecology. PAUL VIRILIO is a renowned urbanist, political theorist and critic of the art of technology.Born in Paris in 1932, Virilio is best known for his 'war model' of the growth of the modern city and the evolution of human society. He is also the inventor of the term 'dromology' or the logic of speed. Identified with the phenomenology of Merleau-Ponty, the futurism of Marinetti and technoscientific writings of Einstein, Virilio's intellectual outlook can usefully be compared to contemporary architects, philosophers and cultural critics such as Bernard Tschumi, Gilles Deleuze and Jean Baudrillard. Virilio is the author, among other books of Speed and Politics, The Information Bomb, Open Sky, and most recently, The Original Accident.

City of Panic takes the reader on a journey across the airy boulevards of Paris and into the crypt of its Metro. For Virilio, whose sense of cities was formed by earlier wars, Paris is both the City of Light and the City of Panic. Written in the shadow of war, City of Panic argues that cities everywhere have been the dedicated target of political and technological terror throughout the 20th century. The wanton erasure of the past, the construction of identikit places, the proliferation of gated-communities, the ever-widening net of surveillance, the privatisation of what was public ...Now every metropolis is a war zone and every metropolis is the same. In this globalized and militarized everywhere, all citizens are becoming one citizen - saturated, standardized and synchronized - ever-more reliant on a media fabricating a world of fear. For the panic of the 21st century is simply the final phase of the pincer movement. Place-less, media-fed, panic-struck - welcome to the desert of the real.

Sheds light on the reflections that led to the creation of EXIT, the 360° video installation created for the exhibition spaces of the Fondation Cartier pour l’art contemporain in Paris

Based on an idea by French philosopher and urbanist, Paul Virilio, the 360° video installation EXIT was created in 2008 by the New York-based studio of artists and architects Diller Scofidio + Renfro for the exhibition spaces of the Fondation Cartier pour l’art contemporain in Paris. Composed of a series of animated maps generated by data, this immersive installation investigates human migrations today and their leading causes, including the impact of climate change. Through six scenarios – Population Shifts: Cities; Remittances: Sending Money Home; Political Refugees and Forced Migration; Rising Seas, Sinking Cities; Natural Disasters; and Speechless and Deforestation – it provides the rare opportunity to understand visually the complex relationships between the various economic, political and environmental factors underpinning contemporary human migrations. The work was updated entirely in 2015, reflecting the alarming evolution of the data since it was first presented in 2008. Through various texts, descriptions of the animated maps, and numerous illustrations, this book sheds light on the reflections that led to the creation of EXIT, and proposes to delve deeper into the very notions and questions that it raises and that are more relevant today than ever.

If nothing else, the war in Iraq and the 1991 Gulf War have taught us much about media and technology as key players in how war is waged, packaged for public consumption, and exported in real time to the rest of the globe. A critic of the art of technology, Paul Virilio has keenly observed that media images quite often constitute a strategy of war and that accident is becoming indistinguishable from attack. For more than fifty years Virilio has offered incisive and provocative criticism on technology and its moral, political, and cultural implications. Yet until now, much of his work, originally published in French, remains elusive in full English translation.

"The Paul Virilio Reader" collects for the first time English extracts reflecting the entire range of Virilio's diverse career. The book's introduction demonstrates that Virilio has produced an important -- if controversial -- "theory at the speed of light" that uncannily illuminates the impact of new information and communications technologies in a world that collapses time and distance as never before. The inventor of "dromology," which views speed as a defining concept for contemporary civilization, Virilio is noted for his proclamation that the logic of ever-increasing acceleration lies at the heart of the organization and transformation of the contemporary world.

Arranged chronologically, the Reader illustrates the development and interconnectedness of Virilio's work. Each extract is prefaced by bibliographical and contextual commentary, and the book includes an innovative guide to reading Virilio.

Written with his characteristic flair, Virillo's latest book is a trenchant denunciation of the Kosovo war in which he successfully unites theory with a riveting study of the conflict. Tearing aside the veil of hypocrisy in which the USA and its allies wrapped the war, Virillo demonstrates that the nature of the bombing was set by strategic rather than ethical considerations.
Beneath the humanitarian rhetoric, Virillo sees a sinister innovation in the methods of waging war: territorial space is being replaced by orbital space in which a system of global telesurveillance is linked to the destructive power of bombers and missiles. Governments, the military and the media are becoming part of a seamless and self-justifying process linked by new information and arms technologies.
Passionate and political, "Strategy of Deception" is a vital examination not only of the war in Yugoslavia but also what Virillo calls our "fin-de-siecle infantilization" in which the reality of battle is reduced to flickering images on a screen.

With this book Paul Virilio inaugurated the new science whose object of study is the "dromocratic" revolution. Speed and Politics (first published in France in 1977) is the matrix of Virilio's entire work. Building on the works of Morand, Marinetti, and McLuhan, Virilio presents a vision more radically political than that of any of his French contemporaries: speed as the engine of destruction. Speed and Politics presents a topological account of the entire history of humanity, honing in on the technological advances made possible through the militarization of society. Paralleling Heidegger's account of technology, Virilio's vision sees speed-not class or wealth-as the primary force shaping civilization. In this "technical vitalism," multiple projectiles-inert fortresses and bunkers, the "metabolic bodies" of soldiers, transport vessels, and now information and computer technology-are launched in a permanent assault on the world and on human nature. Written at a lightning-fast pace, Virilio's landmark book is a split-second, overwhelming look at how humanity's motivity has shaped the way we function today, and what might come of it.

A vision of the city as a web of interactive, informational networks that turn our world into a prison-house of illusory transcendence. "Where does the city without gates begin? Perhaps inside that fugitive anxiety, that shudder that seizes the minds of those who, just returning from a long vacation, contemplate the imminent encounter with mounds of unwanted mail or with a house that's been broken into and emptied of its contents. It begins with the urge to flee and escape for a second from an oppressive technological environment, to regain one's senses and one's sense of self." -from Lost Dimension Originally written in French in 1983, Lost Dimension remains a cornerstone book in the work of Paul Virilio: the one most closely tied to his background as an urban planner and architect, and the one that most clearly anticipates the technologically wired urban space we live in today: a city of permanent transit and internalized borders, where time has overtaken space, and where telecommunications has replaced both our living and our working environments. We are living in the realm of the lost dimension, where the three-dimensional public square of our urban past has collapsed into the two-dimensional interface of the various screens that function as gateways to home, office, and public spaces, be they the flat-screen televisions on our walls, the computer screens on our desktops, or the smartphones in our pockets. In this multidisciplinary tapestry of contemporary physics, architecture, aesthetic theory, and sociology, Virilio describes the effects of today's hyperreality on our understanding of space. Having long since passed the opposition of city and country, and city and suburb, the speed-ridden city and space of today are an opposition between the nomadic and the sedentary: a web of interactive, informational networks that turn our world into a prison-house of illusory transcendence.

The Art of the Motor includes analyses of such recent developments as nanotechnology and virtual reality. It conjures a world in which information is speed and duration is no more. Information as speed? This, Paul Virilio tells us, is the third dimension of matter-the speed of the transmission of information has collapsed the extension of the dimension of space and the duration of the dimension of time.

Virilio introduces his understanding of "picnolepsy"-the epileptic state of consciousness produced by speed. Virilio himself referred to his 1980 work The Aesthetics of Disappearance as a "juncture" in his thinking, one at which he brought his focus onto the logistics of perception-a logistics he would soon come to refer to as the "vision machine." If Speed and Politics established Virilio as the inaugural-and still consummate-theorist of "dromology" (the theory of speed and the society it defines), The Aesthetics of Disappearance introduced his understanding of "picnolepsy"-the epileptic state of consciousness produced by speed, or rather, the consciousness invented by the subject through its very absence: the gaps, glitches, and speed bumps lacing through and defining it. Speed and Politics defined the society of speed; The Aesthetics of Disappearance defines what it feels like to live in the society of speed. "I always write with images," Virilio has claimed, and this statement is nowhere better illustrated than with The Aesthetics of Disappearance. Moving from the movie theater to the freeway, and from Craig Breedlove's attainment of terrifying speed in a rocket-power car to the immobility of Howard Hughes in his dark room atop the Desert Inn, Virilio himself jump cuts from such disparate reference points as Fred Astaire, Franz Liszt, and Adolf Loos to Dostoyevsky, Paul Morand, and Aldous Huxley. In its extension of the "aesthetics of disappearance" to war, film, and politics, this book paved the way to Virilio's follow-up: the celebrated study, War and Cinema.This edition features a new introduction by Jonathan Crary, one of the leading theorists of modern visual culture. Foreign Agents seriesDistributed for Semiotext(e)

A new interview with the philosopher of speed, addressing the ways in which technology is utilized in synchronizing mass emotions. We are living under the administration of fear: fear has become an environment, an everyday landscape. There was a time when wars, famines, and epidemics were localized and limited by a certain timeframe. Today, it is the world itself that is limited, saturated, and manipulated, the world itself that seizes us and confines us with a stressful claustrophobia. Stock-market crises, undifferentiated terrorism, lightning pandemics, "professional" suicides.... Fear has become the world we live in. The administration of fear also means that states are tempted to create policies for the orchestration and management of fear. Globalization has progressively eaten away at the traditional prerogatives of states (most notably of the welfare state), and states have to convince citizens that they can ensure their physical safety. In this new and lengthy interview, Paul Virilio shows us how the "propaganda of progress," the illuminism of new technologies, provide unexpected vectors for fear in the way that they manufacture frenzy and stupor. For Virilio, the economic catastrophe of 2007 was not the death knell of capitalism, as some have claimed, but just further evidence that capitalism has accelerated into turbo-capitalism, and is accelerating still. With every natural disaster, health scare, and malicious rumor now comes the inevitable "information bomb"-live feeds take over real space, and technology connects life to the immediacy of terror, the ultimate expression of speed. With the nuclear dissuasion of the Cold War behind us, we are faced with a new form of civil dissuasion: a state of fear that allows for the suspension of controversial social situations.

Paul Virilio is one of contemporary continental thought's most original and provocative critical voices. His vision of the impact of modern technology on the contemporary global condition is powerful and disturbing, ranging over art, architecture, science, politics, visual culture and warfare. In Art and Fear, Virilio traces the twin development of art and science over the 20th century. In his provocative vision, art and science vie with each other for the destruction of the human form as we know it. This is a radical take on the state of art for a post-human and post-historical world. In Art as Far as the Eye Can See Virilio considers the effects that the technological advances of the 20th century have had on art, aesthetics and politics and looks at the way in which these technologies alienate us from our physical environment.

Paul Virilio puts art back where it matters - at the centre of politics. Art used to be an engagement between artist and materials. But in our new media world art has changed, its very materials have changed and have become technologized. This change reflects a broader social shift. Speed and politics - what Virilio defined as the key characteristics of the twentieth century - have been transformed in the twenty-first century to speed and mass culture. And the defining characteristic of mass culture today is panic. This induced panic relies on a new, all-seeing technology. And the first casualty of this is the human response. What we are losing is the very human 'art of seeing', one individual's engagement with another or with an event, be that political or artistic. What we are losing is our sense of the aesthetic. Where art used to talk of the aesthetics of disappearance, it must now confront the disappearance of the aesthetic.

Here as Virilio states, "all one can do is guess." But Virilio's position is not one of pure guessery. His extrapolationist position against his delirium state, has the architecture of a 23rd century scientist: three parts - fractal geometry, two parts - theory of general relativity, one part - Philip K. Dick. One must step back and stare down the medusa of progress with a mirror. This is Virilio's call for a grey ecology.

"Art as Far as the Eye Can See" puts art back where it matters -- at the center of politics. Art used to be an engagement between artist and materials but it has now become technologized. Its materials have become light rather than matter. In the 21st Century the new battleground is art as light versus art as matter. Virilio argues that this change reflects how speed and politics - the defining characteristics of the 20th Century - have been transformed in the 21st Century to speed and mass culture. Politics has been replaced with mass culture...and the defining characteristic of mass culture today is cold panic. The same panic which has used terrorism to derail democracy has hijacked the whole art enterprise. This panic is reliant on audio-visual technology to create a new all-seeing, panoptic politics. And the first casualty of this politics is "the art of seeing." Where art used to talk of the aesthetics of disappearance, it must now confront the disappearance of the aesthetic. In the 21st Century, the new battleground is art as light versus art as matter.

"Civilization or the militarization of science?"
With this typically hyperbolic and provocative question as a starting point, Paul Virilio explores the dominion of techno-science, cyberwar and the new information technologies over our lives ... and deaths. After the era of the atomic bomb, Virilio posits an era of genetic and information bombs which replace the apocalyptic bang of nuclear death with the whimper of a subliminally reinforced eugenics. We are entering the age of euthanasia.
These exhilarating bulletins from the information war extend the range of Virilio's work. "The Information Bomb "spans everything from Fukuyama to Larry Flynt, the Sensation exhibition of New British Art to space travel, all seen through the optic of Virilio's trenchant and committed theoretical position.

How would it be if what we take for human advance were simply a technological progress that literally leaves us out of its equations? What if progress is not humanity striking out bravely towards the future, but an ultimately destructive force? In a remarkable tour d'horizon, Paul Virilio paints a bleak picture of current scientific, cultural, social and political values. Art has succumbed to the techniques of advertising and in politics, the battle for hearts and minds has become a mere convergence of opinion. TV ratings have triumphed over universal suffrage. The events of September 11 reflect both the manipulation of a global sub-proletariat and the delusions of an elite of rich students and technicians who resemble the 'suicidal members of the Heaven's Gate cybersect'. And, in this post-humanist dystopia, we are morally rudderless before the threat of biological manipulations as yet undreamt. About the series Appearing on the first anniversary of the attacks on the World Trade Center and the Pentagon, these series of books from Verso present analyses of the United States, the media, and the events surrounding September 11 by Europe's most stimulating and provocative philosophers. Probing beneath the level of TV commentary, political and cultural orthodoxies, and 'rent-a-quote' punditry, Baudrillard, Virilio, and Zizek offer three highly original and readable accounts that serve as fascinating introductions to the direction of their respective projects, and as insightful critiques of the unfolding events. This series seeks to comprehend the philosophical meaning of September 11 and will leave untouched none of the prevailing views currently propagated.

In this series of overlapping essays on architecture and art, JohnRajchman attempts to do theory in a new way that takes off from the philosophy of the late Gilles Deleuze. foreword by Paul Virilio. In this series of overlapping essays on architecture and art, John Rajchman attempts to do theory in a new way that takes off from the philosophy of the late Gilles Deleuze. Starting from notions of folding, lightness, ground, abstraction, and future cities, he embarks on a conceptual voyage whose aim is to help "construct" a new space of connections, to "build" a new idiom, perhaps even to suggest a new architecture. Along the way, he addresses questions of the new abstraction, operative form, other geometries, new technologies, global cities, ideas of the virtual and the formless, and possibilities for critical theory after utopia and transgression.

"Virilio offers a cool, precise look at an impending future in which reality shall simply cease to exist. Highly recommended." Choice

Surveying art history as well as the technologies of war and urban planning, one of France s leading intellectuals provides an introduction to a new "logistics of the image.""

This book covers the key themes in Virilio's work: speed; society; virtuality; new technology."Negative Horizon" is Paul Virilio's most original and unified exploration of the key themes and ideas running through his thought. Provocative and forceful, it sets out Virilio's theory of dromoscopy: a means of apprehending speed and its pivotal - and potentially destructive - role in contemporary global society.Applying this theory to Western political and military history, Virilio exposes a compulsion to accelerate, and the rise of a politics of time - encapsulated in the importance accorded to speed - over territorial politics of space. Moving through human history from the cave paintings at Lascaux that depict the first hunters, to the 'stealth technologies' deployed in contemporary warfare, Virilio shows how resistance to speed and movement has consistently been eroded, and the physical world adapted, in order to satisfy the urge to move further and faster. In exposing what he believes to be the consequences of this constant acceleration for human sensory perception and, ultimately, global democracy, Virilio offers a vision of history and politics as disturbing as it is original.These books are seminal works of the finest minds in Western thought, including Adorno, Badiou, Derrida, Heidegger and Larkin. They are works of such power that they changed the cultural mind when they were written and continue to resonate today - landmark texts in the fields of philosophy, literature, popular culture, politics and theology - strikingly designed, accessibly priced.

Desert Screen is a vision of future war, in which Paul Virilio identifies the Gulf War as a turning-point in history, the last industrial and the first information war. Virilio argues that we live in a world of global sptio-temporal collapse, a world still exhausted from the geopolitics of the Cold War, a world in which the politics of military and media technology seem to preclude the possibility of negotiation and diplomacy. Virilio's original and far-reaching analysis is vital for an understanding of the current Middle East crisis. Paul Virilio (1932-) is Director of the Ecole Speciale d'Architecture in Paris and author of over 15 books including Art and Fear, Negative Horizon, War and Cinema and Open Sky.

"There is a catastrophe within contemporary art. What I call the "optically correct" is at stake. The vision machine and the motor have triggered it, but the visual arts haven't learned from it. Instead, they've masked this failure with commercial success. This "accident" is provoking a reversal of values. In my view, this is positive: the accident reveals something important we would not otherwise know how to perceive." --Paul Virilio, "The Accident of Art" Urbanist and technological theorist Paul Virilio trained as a painter, studying under Henri Matisse, Georges Braque, Bazaine and de Stael. In "The Accident of Art," his third extended conversation with Sylvere Lotringer, Virilio addresses the situation of art within technological society for the first time. This book completes a collaborative trilogy the two began in 1982 with "Pure War" and continued with "Crepuscular Dawn," their 2002 work on architecture and biotechnology. In "The Accident of Art," Virilio and Lotringer argue that a direct relation exists between war trauma and art. Why has art failed to reinvent itself in the face of technology, unlike performing art? Why has art simply retreated into painting, or surrendered to digital technology? Accidents, Virilio claims, can free us from speed's inertia. As technological catastrophes, accidents are inventions in their own right.

A rich and suggestive analysis of military ways of seeing, revealing the convergence of perception and destruction in the parallel technologies of warfare and cinema.

'If you've ever felt like we're going nowhere fast, and you'd like to know why - preferably sometime before you die - read this book' - James Der Derian, Brown University and UMASS/Amherst Examining how the 'here and now' of space, territory, the body, are being redefined by new technologies and how this undoes simplistic versions of the globalization thesis, Paul Virilio demonstrates how technology has made inertia the defining condition of modernity. An instantaneous present has replaced space and the sovereignty of territory; everything happens without the need to go anywhere.

City of Panic takes the reader on a journey across the airy boulevards of Paris and into the crypt of its Metro. For Virilio, whose sense of cities was formed by earlier wars, Paris is both the City of Light and the City of Panic. Written in the shadow of war, City of Panic argues that cities everywhere have been the dedicated target of political and technological terror throughout the 20th century. The wanton erasure of the past, the construction of identikit places, the proliferation of gated-communities, the ever-widening net of surveillance, the privatisation of what was public ...Now every metropolis is a war zone and every metropolis is the same. In this globalized and militarized everywhere, all citizens are becoming one citizen - saturated, standardized and synchronized - ever-more reliant on a media fabricating a world of fear. For the panic of the 21st century is simply the final phase of the pincer movement. Place-less, media-fed, panic-struck - welcome to the desert of the real.