This book enters into a detailed discussion with many theorists of totalitarianism, and demands a re-evaluation of approaches that speak of mass manipulation of people and ideological control mechanisms. Zarko Paic shows that totalitarianism cannot be only a political-ideological problem, but rather a problem of the relationship between the technosphere, political power, and the narcissistic culture of the spectacle, which offers postmodern revisionism and forgetfulness of history as opposed to brave civic participation in the public sphere of acting together. He investigates the transformations the political and cultural processes linked to the notion of 'totalitarianism' undergo in the contemporary world, and the transformations (and differences) that this notion expresses today in comparison to what was realized by fascism, Nazism, and Stalinism in the 20th century.

This book builds on the works of Artaud and Deleuze, setting forth a different way of thinking on the body through the use of a whole new set of conceptual tools. Paic argues that the human body has become obsolete in relation to the development of cybernetics and artificial intelligence, proposing that it can be understood neither as a bare thing nor a machine, but instead as an event. The concept of White Holes serves both as a metaphor and as a guide for understanding constellations such as the visualization of the body, the corporeal turn, fascination with the digital image, and the technosphere. Through visualization of the body, we reach out to a space of singularity of thought that is not a description of reality, but rather its aesthetic construction. Leading a paradigm shift after the end of metaphysics in cybernetics, Paic argues that phenomenology and psychoanalysis can no longer be credible theoretical orientations for deep insight into what happens when artificial life takes over what remains of the body's immanence.

The main themes and aims of this book are understanding aesthetics, contemporary art and the end of the avant-garde not from the traditional viewpoint of the metaphysics of the beautiful and the sublime but rather thru close connection to the techno-genesis of virtual worlds. This book tackles problems in contemporary art theory such as the body in space and time of digital technologies, along with other issues in visual studies and image science. Further intentions exhibit the fundamental reasons for the disappearance of the picture in the era of virtual reality starting from the notion of contemporary art as realized iconoclasm; art has no world for its "image". The author argues that the iconoclasm of contemporary art has severe consequences. This text appeals to philosophers of art and those interested in contemporary art theory.