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 Sylvère 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 École Speciale d'Architecture in the wake of the 1968 rebellion. He has published twenty-five books, including Pure War and The Accident of Art, both with Sylvère Lotringer and published by Semiotext. Sylvère Lotringer, general editor of Semiotext, lives in New York and Baja California. He is the author of Overexposed: Perverting Perversions, 2007) and other books. (shrink)

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", 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. (shrink)

With this book Paul Virilio inaugurated the new science whose object of study is the "dromocratic" revolution. Speed and Politics 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. (shrink)

As will be argued in what follows, the central question of the death penalty is the question of time. That question begins, in the present case, with the time of a writing that attempts to address what we call current events, particularly an academic writing—as distinct, for example, from journalistic writing—whose rhythms of composition and publication obey particular protocols and render problematic the specifics of what we call political intervention, the relevance or efficacy of which is normally determined by a (...) certain “punctuality.” Hence Zola’s “J’accuse,” a paradigm within the genre of public intellectual intervention, published in L’Aurore on 13 January 1898. I do not know how to resolve the tension .. (shrink)

This edition makes available an entirely new version of Hegel's lectures on the development and scope of world history.

This article is about a period of technology transfer – the late 1910s and 1920s – when wartime aerial reconnaissance techniques and operations were being adapted to a range of civilian uses, including urban planning, land use analysis, traffic control, tax equalization, and even archaeology. At the center of the discussion is the ‘photomosaic’: a patchwork of overlapping aerial photographs that have been rectified and fit together so as to form a continuous survey of a territory. Initially developed during the (...) First World War to provide coverage of fronts, photomosaic mapping was widely practiced and celebrated during the postwar years as an aid to urban development. The article traces both the refinements in photomosaic technology after the Armistice and the rhetorical means by which the form’s avant-garde wartime reputation was domesticated into an ‘applied realism’ that often effaced its site-specific perspective, its elaborately rectified optics, and the oppositionality of both its military and civilian uses. The article has a broader theoretical aim as well. Classic statements of both structuralist and post-structuralist spatial theory (Barthes and de Certeau are the primary examples here) have produced an ossified geometry wherein the vertical is the axis of paradigm, top-down strategy, and manipulative distance and the horizontal the axis of syntagm, grassroots tactics, and resistant proximities and differences. In its close study of the technology and rhetoric surrounding interwar photogrammetry, the article provides an example of how one might reverse the long-standing misrecognition of high-altitude optics as effacing time, difference, and materiality – and what it might mean to view such optics as, instead, a resource in turning from abstract toward differential conceptions of both aerial photography and our theoretical habits. This turn I call ‘applied modernism’, a term that accesses both the wartime photomosaic’s affiliation with avant-garde painting and its insistence that portraits of the total are always projections from partial, specific vantages. (shrink)

The proponents of late modern war like to argue that it has become surgical, sensitive and scrupulous, and remotely operated Unmanned Aerial Vehicles or ‘drones’ have become diagnostic instruments in contemporary debates over the conjunction of virtual and ‘virtuous’ war. Advocates for the use of Predators and Reapers in counterinsurgency and counterterrorism campaigns have emphasized their crucial role in providing intelligence, reconnaissance and surveillance, in strengthening the legal armature of targeting, and in conducting precision-strikes. Critics claim that their use reduces (...) late modern war to a video game in which killing becomes casual. Most discussion has focused on the covert campaign waged by CIA-operated drones in Pakistan, but it is also vitally important to interrogate the role of United States Air Force-operated drones in Afghanistan. In doing so, it becomes possible to see that the problem there may not be remoteness and detachment but, rather, the sense of proximity to ground troops inculcated by the video feeds from the aerial platforms. (shrink)

Touching on issues of power, authority, and domination, Manhunts takes an in-depth look at the hunting of humans in the West, from ancient Sparta, through the Middle Ages, to the modern practices of chasing undocumented migrants.

Why does the air-target and its associated practices matter? This special section is about the politics, practices and ethics surrounding the target and efforts to subvert or circumvent them. Since Eyal Weizman’s groundbreaking essay on the ‘politics of verticality’ in 2002, there have been numerous attempts to critically open up the aerial gaze, but rarely have they come together for sustained analysis and critique, to explore the implications of the air-target’s techniques, processes, visual cultures and aesthetics for politics and life (...) itself. This special section brings together leading international experts in order to open out a fuller and more complete analysis of the kinds of tensions of verticality that lie at the heart of today’s warfare, security and politics. This introduction outlines three dominant problematics of the air-target, which the articles in the section will go on to explore in more detail. (shrink)

We are told our lives are too fast, subject to the accelerating demand that we innovate more, work more, enjoy more, produce more, and consume more. That’s one familiar story. Another, stranger, story is told here: of those who think we haven’t gone fast enough. Instead of rejecting the increasing tempo of capitalist production they argue that we should embrace and accelerate it. Rejecting this conclusion, "Malign Velocities" tracks this 'accelerationism' as the symptom of the misery and pain of labour (...) under capitalism. Retracing a series of historical moments of accelerationism - the Italian Futurism; communist accelerationism after the Russian Revolution; the 'cyberpunk phuturism' of the ’90s and ’00s; the unconscious fantasies of our integration with machines; the apocalyptic accelerationism of the post-2008 moment of crisis; and the terminal moment of negative accelerationism - suggests the pleasures and pains of speed signal the need to disengage, negate, and develop a new politics that truly challenges the supposed pleasures of speed. (shrink)

It has long been argued that robotic systems decrease the error margin of civilian casualties that are often the consequence of human error. The focus on algorithmic decision-making and the gradual reduction of human control unveils moral and juristic issues that lead to the crucial question: can we take algorithms to court?

Derrida analyzes Patocka's Heretical Essays on the History of Philosophy and develops and compares his ideas to the works of Heidegger, Levinas, and Kierkegaard.

"Ecological catastrophes are ony terrifying for civilians. For the military, they are but a simulation of chaos, an opportunity to justify an art of warfare which is the more autonomous as the political State dies out. At this point, all civilian populations are helpless victims of the scam, of this ransacking of the world's resources.".