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First English language collection of the writing of French social critic, Paul Virilio. This volume represents his most important work, including five new translations and an exclusive interview with Virlio conducted by the editor reflecting the diverse career of this great social commentator on life in the late twentieth century.

Edited by one of the leading Virilio authority′s, this book offers the reader a guide through Virilio′s work. Using the interview form, Virilio speaks incisively and at length about a vast assortment of cultural and theoretical topics, including architecture and `speed-space′, `chronopolitics′, art and technoculture, modernism, postmodernism and `hypermodernism′, the time of the trajectory and the `information bomb′. His thoughts on Foucault, Baudrillard, Deleuze and Guattari, the performance artist Stelarc, the Persian War and the Kosovo War, are also gathered together.

Edited by one of the leading Virilio authority′s, this book offers the reader a guide through Virilio′s work. Using the interview form, Virilio speaks incisively and at length about a vast assortment of cultural and theoretical topics, including architecture and `speed-space′, `chronopolitics′, art and technoculture, modernism, postmodernism and `hypermodernism′, the time of the trajectory and the `information bomb′. His thoughts on Foucault, Baudrillard, Deleuze and Guattari, the performance artist Stelarc, the Persian War and the Kosovo War, are also gathered together.

Paul Virilio is a challenging and original thinker whose work on technology, state power and war is increasingly relevant today. Exploring Virilio's main texts from their political and historical contexts, and case studies from contemporary culture and media in order to explain his philosophical concepts, Ian James introduces the key themes in Virlio's work, including: speed virtualization war politics art. As technological and scientific innovations continue to set the agenda for the present and future development of culture, communications, international economy, military intervention and diverse forms of political organization, Virilio's unique theoretical and critical insights are of enormous value and importance for anyone wishing to understand the nature of modern culture and society.

Paul Virilio is a challenging and original thinker whose work on technology, state power and war is increasingly relevant today. Exploring Virilio's main texts from their political and historical contexts, and case studies from contemporary culture and media in order to explain his philosophical concepts, Ian James introduces the key themes in Virlio's work, including: speed virtualization war politics art. As technological and scientific innovations continue to set the agenda for the present and future development of culture, communications, international economy, military intervention and diverse forms of political organization, Virilio's unique theoretical and critical insights are of enormous value and importance for anyone wishing to understand the nature of modern culture and society.

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.

Paul Virilio is one of the most significant and stimulating French cultural theorists writing today. Increasingly hailed as the ′archaeologist of the future′, 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. The first book to afford a properly critical evaluation of Virilio′s cultural theory, it includes an interview with Virilio; a recently translated example of his work; and a select bibliography of his writings. The commissioned contributions by leading cultural and social theorists examine Virilio′s work from his early speculations on military and urban space to his current writings on dromology, politics, ne

In the 1960s the Architecture Principe group, formed by Claude Parent and Paul Virilio, designed and built the modern bunker church for Bernadette of Banlay in Nevers, as an experiment with a new rapport between man and his environment. With a series of texts and hitherto unpublished images this book traces the history and impact of this 20th century masterpiece.

Nouvel vague: France's leading architect   Jean Nouvel, winner of the 2008 Pritzker Prize, is widely regarded as France’s most original and important contemporary architect. From 1967 to 1970 he assisted influential architects Claude Parent and Paul Virilio, before creating his own practice in Paris. His first widely acclaimed project was the Institut du Monde Arabe in Paris (1981–87). Since then he has completed the Lyon Opera House and the Fondation Cartier, Paris. His major completed projects since 2000 include the Culture and Convention Center in Lucerne, Switzerland, the spectacular Agbar Tower in Barcelona, the Quai Branly Museum in Paris, the Guthrie Theater in Minneapolis, Minnesota, and the Hotel Sofitel Vienna Stephansdom with shopping mall. Jean Nouvel was the 2001 recipient of the RIBA Royal Gold Medal for Architecture. In his citation, Peter Cook said of Nouvel: "In an age of blandness, imitation, or doubt, his work shines through as having both clarity and finesse, originality and lyricism."   About the Series: Each book in TASCHEN’s Basic Architecture Series features: an introduction to the life and work of the architect the major works in chronological order information about the clients, architectural preconditions as well as construction problems and resolutions a list of all the selected works and a map indicating the locations of the best and most famous buildings approximately 120 illustrations (photographs, sketches, drafts and plans)

Published on the occasion of an exhibition at the Musee des Arts Decoratifs, Paris, this catalogue features Virilio's photographic studies of German bunkers built on the Western and Northern coasts of France as well as architectural renderings of the interior layouts and facsimiles of memos by Adolf Hitler on the subject. The theoretical text links the growth of cities and the development of human society to the technological advancements of armaments and war. An influential book. Photographs and text by Paul Virilio. Perfect bound with French flaps; 186 pages; b&w photos, architectural drawings, and document reproductions throughout; 7.75 x 9.5 inches.

Summarizes Virilio's speculations about the impact that accidents will have on the planet now that we operate on one-world time.Based upon a 1996 conversation Paul Virilio had with French journalist Phillipe Petit, The Politics of the Very Worst summarizes Virilio's speculations about the impact that accidents will have on the planet now that we operate on one-world time. Virilio argues that accidents have now lost all particularity. Accidents and events can no longer be confined to markers in history like Auschwitz or Hiroshima. Trajectories once had three dimensions: past, present, and future. But now, the hyper-concentration of time into "real time" reduces all trajectories to nothing. Consequently, an accident of time is bound to affect our entire being as well as the entire planet. And this is the hidden face of technical and scientific progress that Virilio is attempting to reveal, shrugging off any illusion we may have left about its alleged benefits.Globalization doesn't make the planet bigger, it signals the beginning of "the great confinement." Speed pollutes the distances of the world. After the "green ecology" (the pollution of nature), we are now experiencing another, more invisible and mental, kind of pollution: the "gray ecology." Soon, Virilio suggests, we are going to experience the end of the world―not the apocalyptic end, but the world as finite. The communication revolution, the attainment of absolute speed, is the reduction of the world to a virtual city in which democracy is no longer possible. This extermination of world-space is a cataclysmic event. For the first time, history has hit a cosmological limit.

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.

To read these five essays of 1983 is to begin to come to terms with the theoretical cataclysm of the present. In Lost Dimension, Paul Virilio considers the displacement of the concept of dimensional space by Einsteinian space/time as it is related to the transparent boundaries of the postmodern city and contemporary economy. Virilio imagines a coming world of interactive, informational networks offering a prison-house of illusionary transcendence. He pictures global terrorism (perpetrated by and against technological states) filling up the surreal void of an abandoned real. In a multidisciplinary excavation of contemporary physics, architecture, esthetic theory, and sociology, Virilio traces the dystopic unity of the contemporary Western predicament with lightning prescience and clarity.

Out of print for almost a decade, we are thrilled to bring back one of our most requested hard-to-find titlesphilosopher and cultural theorist Paul Virilio's Bunker Archeology. In 1994 we published the first English-language translation of the classic French edition of 1975, which accompanied an exhibition of Virilio's photographs at the Centre Pompidou. In Bunker Archeology, urbanist Paul Virilio turns his attentionand camerato the ominous yet strangely compelling German bunkers that lie abandoned along the coast of France. These ghostly reminders of destruction and oppression prompted Virilio to consider the nature of war and existence, in relation to both World War II and contemporary times. Virilio discusses fortresses and military space in general as well as the bunkers themselves, including an examination of the role of Albert Speer, Hitler's architect, in the rise of the Third Reich.

Writer and urbanist Paul Virilio is considered to be one of the most important and incisive contemporary critics of technology and its moral, political, and cultural implications. His latest catalogue, published to accompany an exhibition he has conceived for the Fondation Cartier in Paris, examines the philosophical issues raised by our confrontation with accidents and their impact on our world. Accidents capture our attention, surprise or shock us, disrupt or ultimately alter the course of our existence. Whether significant or insignificant, benign or disastrous, accidents always reveal something about ourselves and the systems we construct. For Virilio, to invent the ship is to invent the shipwreck, to invent electricity is to invent electrocution. Accidents are consequently, in his view, inherent in all technological systems. This catalogue features over 200 illustrations, including press photographs, paintings, and engravings representing natural and industrial accidents from the past three centuries. It also contains reproductions of the works of the many artists included in the exhibit, most notably Lebbeus Woods, Nancy Rubins, Stephen Vitiello, Cai Guo Qiang, Bruce Conner, Tony Oursler, Jonas Mekas, and Jem Cohen. Paul Virilio has also invited visionary architect Lebbeus Woods and award-winning journalist Svetlana Aleksievitch to contribute texts to this catalogue. Distributed on behalf of the Fondation Cartier pour l'art contemporain. 200 color illustrations.

145pages. in8. broché. Un vol. couv. imp. , à  rabats, int. frais. Paul VIRILIO est un urbaniste et un essayiste français, né en 1932 à  Paris, En 1963, il fonde avec Claude Parent, le groupe «Architecture Principe» et il forme les plus grands architectes dont Jean Nouvel. En plus d'être d'urbanisme, il écrit sur l'art contemporain, sur la technologie et sur la vitesse. Dans «Ville panique» le principal sujet traité est la géopolitique.

Writer and urbanist Paul Virilio is considered to be one of the most important and incisive contemporary critics of technology and its moral, political, and cultural implications. His latest catalogue, published to accompany an exhibition he has conceived for the Fondation Cartier in Paris, examines the philosophical issues raised by our confrontation with accidents and their impact on our world. Accidents capture our attention, surprise or shock us, disrupt or ultimately alter the course of our existence. Whether significant or insignificant, benign or disastrous, accidents always reveal something about ourselves and the systems we construct. For Virilio, to invent the ship is to invent the shipwreck, to invent electricity is to invent electrocution. Accidents are consequently, in his view, inherent in all technological systems. This catalogue features over 200 illustrations, including press photographs, paintings, and engravings representing natural and industrial accidents from the past three centuries. It also contains reproductions of the works of the many artists included in the exhibit, most notably Lebbeus Woods, Nancy Rubins, Stephen Vitiello, Cai Guo Qiang, Bruce Conner, Tony Oursler, Jonas Mekas, and Jem Cohen. Paul Virilio has also invited visionary architect Lebbeus Woods and award-winning journalist Svetlana Aleksievitch to contribute texts to this catalogue. Distributed on behalf of the Fondation Cartier pour l'art contemporain. 200 color illustrations.

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.

Artwork by James Turrell. Edited by Peter Noever. Contributions by Georges Didi-Huberman. Text by Daniel Birnbaum, Paul Virilio.

“One day the day will come when the day will not come.” Bleak in its analysis of the social destruction wrought by modern technologies of communication and surveillance, but passionately political, Open Sky is Paul Virilio’s most far-reaching and radical book for many years. Deepening and extending his earlier work on speed perception and political control, and applying it now to the global ‘real time’ of the information superhighways, he explores the growing danger of what he calls a “generalized accident,” provoked by the breakdown of our collective and individual relation to time, space and movement.But this is not merely a lucid and disturbing lament for the loss of real geographical spaces, distance, intimacy or democracy. Open Sky is also a call for revolt—against the insidious and accelerating manipulation of perception by the electronic media and repressive political power, against the tyranny of “real time,” and against the infantilism of cyberhype. Paul Virillo makes a powerful case for a new ethics of perception, and a new ecology, one which will not only strive to protect the natural world from pollution and destruction, but will also combat the devastation of urban communities by proliferating technologies of control and virtuality.