By Paul Virilio, Julie Rose
Paul Virilio strains the dual improvement of artwork and technology over the 20 th Century, a improvement that emerges as a nightmare dance of loss of life. In Virilio's sizzling imaginative and prescient, paintings and technological know-how vie with one another for the destruction of the human shape as we all know it. before everything of the twenty first Century technology has eventually left artwork in the back of as genetic engineers arrange to show themselves into the worst of expressionists, the Human Genome venture their godless manifesto, the individual, the uncooked fabric for brand new and large different types of lifestyles.
Virilio makes the entire connections transparent: among the way in which early twentieth Century avant-gardes twisted and tortured the human shape earlier than making it vanish in abstraction and the blasting to bits of guys who have been not more than cannon fodder within the trenches of the good struggle; among the German Expressionists' hate-filled graphics of the damned and the "medical" experiments of the Nazi eugenicists; among the mangled messages of sensationalist advertisements and terrorism. A brutal common sense principles this shattering of illustration: our methods of seeing are actually fatally formed by way of unheard of "scientific" modes of destruction.
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Extra resources for Art And Fear
In their designs the skin does not express the organization or disposition of interior functions neither is it expressively a structural system, but a flexible veil with which to wrap a volume potentially divorced from any rectangular or directional and proportional notions. The idea was for an aesthetic system without the intrinsic implication of form that would suggest a logical and functional relationship of the program. The evolution of their search into lightweight skin enclosures led in a series of Los Angeles buildings from the wrapping of the conventional rectangular volume in the Century City Medical Plaza building, to the curving of corners at One Park Plaza, to the more sculptured yet still basically rectilinear total volume of the Century Bank Plaza, to the totally undulating, curving facade of the Manufacturer's Bank.
Where in Hejduk's house elements are intentionally apart, in Eisenman's work components are inextricably interlocked as they become collapsed inward, almost slid onto organizing and regulating lines and entwined as they reemerge outward as layered exterior form. Such is the Miller House documented by Eisenman as House III. ) The anoxometric drawing shows the evolutionary transformations: A cube is divided by planes (walls), by a grid (columns), the solid is rotated, planes sheared, the solid split and rotated, the process repeats in its entirety in the relationship between solid and grid, and finally the two processes, solid-plane and solid-grid unite to become volume-wall-column of the house.
In not establishing a predetermined Â < previous page < previous page page_13 page_130 next page > next page > 37 38 Page 130 Left:Â PaulÂ Heyer,Â KnoedlerÂ Gallery,Â NewÂ YorkÂ City,Â 1976 (Photo:Â Â©Â NormanÂ McGrath). Right:Â PaulÂ Heyer,Â HammerÂ Gallery,Â NewÂ YorkÂ City,Â 1980 (Photo:Â Â©Â NormanÂ McGrath) Interpretation of the idea of purpose as a refined sense of function can also be the vehicle to form derivation and treatment of space as illustrated in my design of the Knoedler and Hammer galleries.