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What is theory doing in America? Does high French theory continue to be a significant force in American intellectual life? This volume of new work presents both discussions of these questions and demonstrations of what French theory looks like today, thirty years after its first appearance.
Author Biography: Sylvere Lottringer is Professor of French Literature and Philosophy at Columbia University and Visiting Professor at Art Center, College of Design, Pasadena, California. Sande Cohen is Professor in the School of Critical Studies, California Institute of the Arts
Baudrillard's remarkably prescient meditation on terrorism throws
light on post-9/11 delusional fears and political simulations.
Published one year after Forget Foucault, In the Shadow of the
Silent Majorities (1978) may be the most important sociopolitical
manifesto of the twentieth century: it calls for nothing less than
the end of both sociology and politics. Disenfranchised
revolutionaries (the Red Brigades, the Baader-Meinhof Gang) hoped
to reach the masses directly through spectacular actions, but their
message merely played into the hands of the media and the state. In
a media society meaning has no meaning anymore; communication
merely communicates itself. Jean Baudrillard uses this last
outburst of ideological terrorism in Europe to showcase the end of
the "Social." Once invoked by Marx as the motor of history, the
masses no longer have sociological reality. In the electronic media
society, all the masses can do-and all they will do-is enjoy the
spectacle. In the Shadow of the Silent Majorities takes to its
ultimate conclusion the "end of ideologies" experienced in Europe
after the Soviet invasion of Hungary and the death of revolutionary
illusions after May 1968. Ideological terrorism doesn't represent
anything anymore, writes Baudrillard, not even itself. It is just
the last hysterical reaction to discredited political illusions.
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Nancy Spero (Paperback)
Jon Bird, Jo Anna Isaak, Sylvere Lotringer
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R899
R737
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American artist Nancy Spero (b.1929) concentrates on the depiction
of women: mythological women, movie women, tortured women. Inspired
by classical and modern sources, she collages and imprints her
contemporary goddesses on to long, papyrus-like friezes that scroll
around museum walls. Her subject matter, which has ranged from the
writings of Artaud to the Vietnam War, mirrors her life. Working in
Paris in the cultural ferment of the 1960s, she moved to New York
in the 1970s to co-establish the feminist gallery A.I.R. and to
join with artists and critics such as Leon Golub, Robert Morris and
Lucy R Lippard in forming the Art Workers' Coalition. Since the
1980s she has attracted international acclaim, her exquisite works
giving form to feminist issues and new critical discourses. The
Survey by Jon Bird, cultural theorist and curator of the first
British retrospective of Spero's work, discusses developments in
her practice since the 1950s. Contemporary art scholar and critic
Jo Anna Isaak talks with the artist about her life and work. Art
historian Sylvere Lotringer, Edtior of Semiotext(e) and author of
Overexposed, focuses on her 1993 installation at the Whitney Museum
of American Art. In recognition of the impact Stanley Kubrick's Dr
Strangelove made on her, Spero has chosen a scene from the
screenplay; key excerpts from Gynesis: Configurations of Woman and
Modernity by feminist theorist Alice Jardine on the place of women
in a patriarchal culture complete the Artist's Choice section. Also
included are a selection of Spero's own writings, many published
here for the first time.
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Josephine Meckseper (Hardcover)
Heike Munder, Sylvere Lotringer, Hooper Rachel
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R969
R798
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In her photography, videos and installations, Josephine Meckseper
(born 1964) sets images of political activism-photographs of
demonstrations, newspaper cuttings-against twinkling consumer goods
and advertising motifs. This publication concentrates on a new
series of works, such as the installation "Ten High" (2007) in
which silver mannequins bear anti-war slogans
Jean Baudrillard meets Cookie Mueller in this gathering of French
theory and new American fiction. Compiled in 2001 to commemorate
the passing of an era, Hatred of Capitalism brings together
highlights of Semiotext(e)'s most beloved and prescient works.
Semiotext(e)'s three-decade history mirrors the history of American
thought. Founded by French theorist and critic Sylvere Lotringer as
a scholarly journal in 1974, Semiotext(e) quickly took on the
mission of melding French theory with the American art world and
punk underground. Its Foreign Agents, Native Agents, Active Agents
and Double Agents imprints have brought together thinkers and
writers as diverse as Gilles Deleuze, Assata Shakur, Bob Flanagan,
Paul Virillio, Kate Millet, Jean Baudrillard, Michelle Tea, William
S. Burroughs, Eileen Myles, Ulrike Meinhof, and Fanny Howe. In
Hatred of Capitalism, editors Kraus and Lotringer bring these
people together in the same volume for the first time.
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Crepuscular Dawn (Paperback)
Paul Virilio, Sylvere Lotringer; Translated by Mike Taormina
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R503
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The "genetic bomb" marks a turn in the history of humanity. The
accident is a new form of warfare. It is replacing revolution and
war. Sarajevo triggered the First World War. New York is what
Sarajevo was. September 11th opened Pandora's box. The first war of
globalization will be the global accident, the total accident,
including the accident of science. And it is on the way. In 1968,
Virilio abandoned his work in oblique architecture, believing that
time had replaced space as the most important point of reflection
because of the dominance of speed. We were basically on the verge
of converting space time into space speed... Speed facilitates the
decoding of the human genome, and the possibility of another
humanity: a humanity which is no longer extra-territorial, but
extra-human. Crespuscular Dawn expands Virilio's vision of the
implosion of physical time and space, onto the micro-level of
bioengineering and biotechnology. In this cat-and-mouse dialogue
between Sylvere Lotringer and Paul Virilio, Lotringer pushes
Virilio to uncover the historical foundations of his biotech
theories. Citing various medical experiments conducted during World
War II, Lotringer asks whether biotechnology isn't the heir to
eugenics and the "science for racial improvement" that the Nazis
enthusiastically embraced. Will the endocolonizataion of the body
come to replace the colonization of one's own population by the
military? Both biographical and thematic, the book explores the
development of Virilio's investigation of space (architecture,
urbanism) and time (speed and simultanaeity) that would ultimately
lay the foundation for his theories on biotechnology and his
startling declaration that after the colonization of space begins
the colonization of the body.
Artist David Wojnarowicz on his work, his aspirations, his personal
history, his political views; Wojnarowicz in dialogue with Sylvere
Lotringer, along with personal accounts from friends and fellow
artists collected after Wojnarowicz's death. In February 1991, the
artist David Wojnarowicz (1954-1992) and the philosopher Sylvere
Lotringer met in a borrowed East Village apartment to conduct a
long-awaited dialogue on Wojnarowicz's work. Wojnarowicz was then
at the peak of his notoriety as the fiercest antagonist of morals
crusader Senator Jesse Helms-a notoriety that Wojnarowicz
alternately embraced and rejected. Already suffering the last
stages of AIDS, David saw his dialogue with Lotringer as a chance
to set the record straight on his aspirations, his personal
history, and his political views. The two arranged to have this
three-hour dialogue video-recorded by a mutual friend, the artist
Marion Scemama. Lotringer held on to the tape for a long time.
After Wojnarowicz's death the following year, he found the
transcript enormously moving, yet somehow incomplete. David was
trying, often with heartbreaking eloquence, to define not just his
career but its position in time. The subject was huge, and
transcended the actual dialogue. Lotringer then spent the next
several years gathering additional commentary on Wojnarowicz's life
and work from those who knew him best-the friends with whom he
collaborated. Lotringer solicited personal testimony from
Wojnarowicz's friends and other artists, including Mike Bildo,
Steve Brown, Julia Scher, Richard Kern, Carlo McCormick, Ben Neill,
Kiki Smith, Nan Goldin, Marguerite van Cook, and others. What
emerges from these masterfully-conducted interviews is a surprising
insight into something art history knows, but systematically hides:
the collaborative nature of the work of any "great artist." All
these respondents had, at one time, made performances, movies,
sculptures, photographs, and other collaborative works with
Wojnarowicz. In this sense, Wojnarowicz appears not only as a great
originator, but as a great synthesizer.
Cutting-edge theorist Jean Baudrillard on the complicitous dance of
art, politics, economics, and media; includes "War Porn," on Abu
Ghraib as a new genre of reality TV. The images from Abu Ghraib are
as murderous for America as those of the World Trade Center in
flames. The whole West is contained in the burst of sadistic
laughter of the American soldiers, as it is behind the construction
of the Israeli wall. This is where the truth of these images lies.
Truth, but not veracity. As virtual as the war itself, their
specific violence adds to the specific violence of the war. In The
Conspiracy of Art, Baudrillard questions the privilege attached to
art by its practitioners. Art has lost all desire for illusion:
feeding back endlessly into itself, it has turned its own
vanishment into an art unto itself. Far from lamenting the "end of
art," Baudrillard celebrates art's new function within the process
of insider-trading. Spiraling from aesthetic nullity to commercial
frenzy, art has become transaesthetic, like society as a whole.
Conceived and edited by life-long Baudrillard collaborator Sylvere
Lotringer, The Conspiracy of Art presents Baudrillard's writings on
art in a complicitous dance with politics, economics, and media.
Culminating with "War Porn," a scathing analysis of the spectacular
images from Abu Ghraib prison as a new genre of reality TV, the
book folds back on itself to question the very nature of radical
thought.
Gary Indiana's collected columns of art criticism from the Village
Voice, documenting, from the front lines, the 1980s New York art
scene. In 1985, the Village Voice offered me a job as senior art
critic. This made my life easier and lousy at the same time. I now
had to actually enter all those galleries instead of peeking in the
windows. At times, the only tangible perk was having the chump for
a fifth of vodka whenever twenty more phonies had flattered my ass
off in the course of a working week. -from Vile Days From March
1985 through June 1988 in The Village Voice, Gary Indiana
reimagined the weekly art column. Thirty years later, Vile Days
brings together for the first time all of those vivid dispatches,
too long stuck in archival limbo, so that the fire of Indiana's
observations can burn again. In the midst of Reaganism, the grim
toll of AIDS, and the frequent jingoism of postmodern theory,
Indiana found a way to be the moment's Baudelaire. He turned the
art review into a chronicle of life under siege. As a critic,
Indiana combines his novelistic and theatrical gifts with a
startling political acumen to assess art and the unruly
environments that give it context. No one was better positioned to
elucidate the work of key artists at crucial junctures of their
early careers, from Sherrie Levine and Richard Prince to Jeff Koons
and Cindy Sherman, among others. But Indiana also remained alert to
the aesthetic consequence of sumo wrestling, flower shows, public
art, corporate galleries, and furniture design. Edited and prefaced
by Bruce Hainley, Vile Days provides an opportunity to track
Indiana's emergence as one of the most prescient writers of his
generation.
In the mid-1970s, Sylvere Lotringer created Semiotext(e), a
philosophical group that became a magazine and then a publishing
house. Since its creation, Semio-text(e) has been a place of
stimulating dialogue between artists and philosophers, and for the
past fifty years, much of American artistic and intellectual life
has depended on it. The model of the journal and the publishing
house revolves around the notion of the collective, and Lotringer
has rarely shared his personal journey: his existence as a hidden
child during World War II; the liberating and then traumatic
experience of the collective in the kibbutz; his Parisian activism
in the 1960s; his time of wandering, that took him, by way of
Istanbul, to the United States; and then, of course, his American
years, the way he mingled his nightlife with the formal
experimentation he invented with Semiotext(e) and with his classes.
Since the early 2010s, Donatien Grau has developed the habit of
visiting Lotringer during his trips to Los Angeles; some of their
dialogs were published or held in public. This book is an entry
into Lotringer's life, his friendships, his choices, and his
admiration for some of the leading thinkers of our times. The
conversations between Lotringer and Grau show bursts of life,
traces of a journey, through texts and existence itself, with an
unusual intensity.
A new, expanded, and reorganized edition of a collection of texts
that present a fuller scope to Guattari's thinking from 1977 to
1985. This new edition of Soft Subversions expands, reorganizes,
and develops the original 1996 publication, offering a carefully
organized arrangement of essays, interviews, and short texts that
present a fuller scope to Guattari's thinking from 1977 to 1985.
This period encompasses what Guattari himself called the "Winter
Years" of the early 1980s-the ascent of the Right, the spread of
environmental catastrophe, the rise of a disillusioned youth with
diminished prospects for career and future, and the establishment
of a postmodernist ideology that offered solutions toward
adaptation rather than change-a period with discernible echoes
twenty years later. Following Semiotext(e)'s release last season of
the new, expanded edition of Chaosophy: Texts and Interviews
1972-1977, this book makes Guattari's central ideas and concepts
fully available in the format that had been best suited to
Guattari's temperament: the guerrilla-styled intervention of the
short essay and interactive dialogue. This edition includes such
previously unpublished, substantive texts as "Institutional
Intervention" and "About Schools," along with new translations of
"War, Crisis, or Life" and "The Nuclear State," interviews and
essays on a range of topics including adolescence and Italy, dream
analysis and schizo-analysis, Marcel Proust and Jimmy Carter, as
well as invaluable autobiographical documents such as "I Am an
Idea-Thief" and "So What."
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Wars and Capital (Hardcover)
Eric Alliez, M Lazzarato, Sylvere Lotringer
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R828
R678
Discovery Miles 6 780
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A critique of capital through the lens of war, and a critique of
war through the lens of the revolution of 1968. "We are at war,"
declared the President of the French Republic on the evening of
November 13, 2015. But what is this war, exactly? In Wars and
Capital, Eric Alliez and Maurizio Lazzarato propose a
counter-history of capitalism to recover the reality of the wars
that are inflicted on us and denied to us. We experience not the
ideal war of philosophers, but wars of class, race, sex, and
gender; wars of civilization and the environment; wars of
subjectivity that are raging within populations and that constitute
the secret motor of liberal governmentality. By naming the enemy
(refugees, migrants, Muslims), the new fascisms establish their
hegemony on the processes of political subjectivation by reducing
them to racist, sexist, and xenophobic slogans, fanning the flames
of war among the poor and maintaining the total war philosophy of
neoliberalism. Because war and fascism are the repressed elements
of post-'68 thought, Alliez and Lazzarato not only read the history
of capital through war but also read war itself through the strange
revolution of '68, which made possible the passage from war in the
singular to a plurality of wars-and from wars to the construction
of new war machines against contemporary financialization. It is a
question of pushing "'68 thought" beyond its own limits and
redirecting it towards a new pragmatics of struggle linked to the
continuous war of capital. It is especially important for us to
prepare ourselves for the battles we will have to fight if we do
not want to be always defeated.
A collection of early and not-so-early work by the mistress of
gut-level fiction-making. You can say I write stories with sex and
violence and therefore my writing isn't worth considering because
it uses content much less lots of content. Well, I tell you this:
'Prickly race, who know nothing except how to eat out your hearts
with envy, you don't eat cunt'... Edited by Sylvere Lotringer and
published in 1991, this handy, pocket-sized collection of some
early and not-so-early work by the mistress of gut-level
fiction-making, Hannibal Lecter, My Father gathers together Acker's
raw, brilliant, emotional and cerebral texts from 1970s, including
the self-published 'zines written under the nom-de-plume, The Black
Tarantula. This volume features, among others, the full text of
Acker's opera, The Birth of the Poet, produced at Brooklyn Academy
of Music in 1985, Algeria, 1979 and fragments of Politics, written
at the age of 21. Also included is the longest and definitive
interview Acker ever gave over two years: a chatty, intriguing and
delightfully self-deprecating conversation with Semiotext(e) editor
Sylvere Lotringer-which is trippy enough in itself as Lotringer,
besides being a real person, has appeared as a character in Acker's
fiction. And last, but not least, is the full transcript of the
decision reached by West Germany's Federal Inspection Office for
Publications Harmful to Minors in which Acker's work was judged to
be "not only youth-threatening but also dangerous to adults," and
subsequently banned. Acker is the sort of the writer that should be
read first at 16, so that you can spend the rest of your life
trying to figure her out; she confuses, infuriates, perplexes and
then all of a sudden the writing seems to be in your bloodstream,
like some kind of benign virus. She's definitely not for the easily
offended-but then, there are worse things in life than being
offended. Such as the things that Acker writes about...
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Forget Foucault (Paperback, new edition)
Jean Baudrillard; Introduction by Sylvere Lotringer; Translated by Phil Beitchman, Nicole Dufresne, Lee Hildreth, …
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R369
R315
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Characterizing it as a "mythic discourse," Jean Baudrillard
proceeds, in this brilliant essay, to dismantle the powerful,
seductive figure of Michel Foucault. In 1976, Jean Baudrillard sent
this essay to the French magazine Critique, where Michel Foucault
was an editor. Foucault was asked to reply, but remained silent.
Forget Foucault (1977) made Baudrillard instantly infamous in
France. It was a devastating revisitation of Foucault's recent
History of Sexuality-and of his entire oeuvre-and also an attack on
those philosophers, like Gilles Deleuze and Felix Guattari, who
believed that desire could be revolutionary. In Baudrillard's eyes,
desire and power were interchangeable, so desire had no place in
Foucault's work. There is no better introduction to Baudrillard's
polemical approach to culture than these pages, in which
Baudrillard dares Foucault to meet the challenge of his own
thought. This Semiotext(e) edition of Forget Foucault is
accompanied by a dialogue with Sylvere Lotringer, "Forget
Baudrillard," a reevaluation by Baudrillard of his lesser-known
early works as a post-Marxian thinker. Lotringer presses
Baudrillard to explain how he arrived at his infamous
extrapolationist theories from his roots in the nineteenth and
early twentieth century social and anthropological works of Karl
Marx, Marcel Mauss, and Emil Durkheim.
Those who are mad like Antonin Artaud, are they just as mad as he
was? Madness, like the plague, is contagious, and everyone, from
his psychiatrists to his disciples, family, and critics, everyone
who gets close to Artaud, seems to participate in his delirium.
Sylvere Lotringer explores various embodiments of this shared
delirium through what Artaud called "mental dramas"-a series of
confrontations with his witnesses or "persecutors" where we uncover
the raw delirium at work, even in Lotringer himself. Mad Like
Artaud does not intend to add one more layer of commentary to the
bitter controversies that have been surrounding the cursed poet's
work since his death in 1948, nor does it take sides among the
different camps who are still haggling over his corpse. This book
speaks of the site where "madness" itself is simmering.
A first-hand account of the Western world on the threshold of a
major global mutation, bridging art and intellect, culture and
politics, Europe and America. The German Issue (1982) was
originally conceived as a follow-up to Semiotext(e)'s
Autonomia/Italy issue, published two years earlier. Although
ideological terrorism was still a major issue in Germany, what
ultimately emerged from these pages was an investigation of two
outlaw cities, Berlin and New York, which embodied all the tensions
and contradictions of the world at the time. The German Issue is
the Tale of Two Cities, then, with each city separated from its own
country by an invisible wall of suspicion or even hatred. It is
also the complex evocation of the rebelling youth-squatters, punks,
artists and radicals, theorists and ex-terrorists-who gathered all
their energy and creativity in order to outlive a hostile
environment. Like a time capsule, The German Issue brings together
all the major "issues" that were being debated on both sides of the
Atlantic-which eventually found their abrupt resolution in 1989
with the fall of the Berlin Wall. It involved the most important
voices of the period-from writers and filmmakers to
anthropologists, activists and poets, terrorists and philosophers:
Joseph Beuys, Michel Foucault, Christo, Christa Wolf, Walter Abish,
Alexander Kluge, Paul Virilio, Ulrilke Meinhof, William Burroughs,
Jean Baudrillard, Hans Magnus Enzenberger, Maurice Blanchot, Hans
Jurgen Syberberg, Heidegger, Andre Gorz, Helke Sander. Opening with
Christo's "Wrapping Up of Germany" and the celebrated dialogue
between East German dramaturge Heiner Muller and Sylvere Lotringer
on the Wall ("Mauer"), since published in many languages, The
German Issue offers a first-hand account of the Western world on
the threshold of a major global mutation. It also embodies at its
best Semiotext(e)'s tenacious effort to establish a creative bridge
between art and intellect, culture and politics, Europe and
America.
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Pure War (Paperback, new edition)
Paul Virilio, Sylvere Lotringer; Introduction by Paul Virilio; Translated by Mark Polizzotti, Brian O'Keeffe
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R707
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Virilio and Lotringer revisit their prescient book on the invisible
war waged by technology against humanity since World War II. In
June 2007, Paul Virilio and Sylvere Lotringer met in La Rochelle,
France to reconsider the premises they developed twenty-five years
before in their frighteningly prescient classic, Pure War. Pure War
described the invisible war waged by technology against humanity,
and the lack of any real distinction since World War II between war
and peace. Speaking with Lotringer in 1982, Virilio noted the
"accidents" that inevitably arise with every technological
development: from car crashes to nuclear spillage, to the
extermination of space and the derealization of time wrought by
instant communication. In this new and updated edition, Virilio and
Lotringer consider how the omnipresent threat of the
"accident"-both military and economic-has escalated. With the fall
of the Soviet bloc, the balance of power between East and West
based on nuclear deterrence has given way to a more diffuse
multi-polar nuclear threat. Moreover, as the speed of communication
has increased exponentially, "local" accidents-like the collapse of
the Asian markets in the late 1980s-escalate, with the speed of
contagion, into global events instantaneously. "Globalization,"
Virilio argues, is the planet's ultimate accident.Paul Virilio was
born in Paris in 1932 to an immigrant Italian family. Trained as an
urban planner, he became the director of the Ecole Speciale
d'Architecture in the wake of the 1968 rebellion. He has published
twenty-five books, including Pure War (1988) (his first in English)
and The Accident of Art (2005), both with Sylvere Lotringer and
published by Semiotext(e). Sylvere Lotringer, general editor of
Semiotext(e), lives in New York and Baja California. He is the
author of Overexposed: Perverting Perversions (Semiotext(e), 2007)
and other books.
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The Accident of Art (Paperback)
Sylvere Lotringer, Paul Virilio; Translated by Mike Taormina
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R426
R344
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"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.
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