Remembering Paul Virilio John Armitage Abstract Paul Virilio, Who
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Redalyc.CLAUDE PARENT EN NUEVA FORMA: LA RECEPCIÓN
proyecto, progreso, arquitectura ISSN: 2171-6897 [email protected] Universidad de Sevilla España Pérez Moreno, Lucía C. CLAUDE PARENT EN NUEVA FORMA: LA RECEPCIÓN DE ARCHITECTURE PRINCIPE EN ESPAÑA proyecto, progreso, arquitectura, núm. 11, noviembre, 2014, pp. 76-89 Universidad de Sevilla Sevilla, España Disponible en: http://www.redalyc.org/articulo.oa?id=517651580007 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto 11 ARIECRAS E COM 76 CLAUDE PARENT EN NUEVA FORMA : LA RECEPCIÓN DE ARCHITECTURE PRINCIPE EN ESPAÑA CLAUDE PARENT AT NUEVA FORMA : THE READING OF ARCHITECTURE PRINCIPE IN SPAIN Lucía C. Pérez Moreno RESUMEN En los agitados aos sesenta en países como Francia Inglaterra o Japón proli eraron equipos de arquitectos soció logos y urbanistas que planteaban radicales visiones del hecho arquitectónico. De entre todos ellos destacó por su repercusión en Espaa esencialmente debido a la estrecha relación entre Claude Parent uno de sus undadores y Juan Daniel Fullaondo director de la revista . Las teorías de Claude Parent y Paul Virilio en torno a y se divulgaron en la revista madrilea de orma coetánea con su país de origen. Sin embargo la recepción de sus propuestas visionarias se vio desvirtuada con respecto a su propaganda original. Fullaondo dio un valor sobresaliente a las posibilidades reales de su arquitectura, lo que conllevo dejar en un segundo plano la condición utópica del grupo y jar la atención en lo verosímil de sus propuestas. -
Virilio – Art and Fear
ART AND FEAR Paul Virilio Translated by Julie Rose continuum This work is published with the support of the French Ministry of Culture - Centre National du Livre. This book is supported by the French Ministry for Foreign Affairs, as part of the Burgess programme headed for the French Embassy in London by the Institut Français du Royaume- Uni. Liberté • Égalité • Fraternité RÉPUBLIQUE FRANÇAISE Continuum The Tower Building 80 Maiden Lane 11 York Road Suite 704 London SE1 7NX New York, NY 10038 www.continuumbooks.com First Published in France 2000 under the title La Procedure silence © 2000 Editions Galilee English translation © 2003 Julie Rose (Introduction © 2003 John Armitage) English translation first published 2003 by Continuum This edition published 2006 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN 0-8264-8796-3 Typeset by BookEns Ltd, Royston, Herts. Printed and bound in Great Britain by MPG Books, Cornwall Contents Translator's preface vii Art and Fear: an introduction 1 John Armitage A Pitiless Art 15 Silence on Trial 35 Notes 51 Bibliography 55 Index 57 v This page intentionally left blank Translator's preface Immediately after September 11 - an event that did not take him by surprise - people who had always dismissed Virilio as a pessimist started plaguing him for interviews. -
Monolithes.Pdf
MONOLITHES OU L’ARCHITECTURE EN SUSPENS (1950—2010) Artistes et Architectes du FRAC Centre Raimund Abraham, Paul Andreu, Architecture Principe, André Bloc, Frédéric Borel, Andrea Branzi, Chanéac, dECOi, DOGMA, David Georges Emmerich, Günter Günschel, Hans Hollein, IaN+, Jan Kempenaers, Aglaia Konrad, Ugo La Pietra, Claude Parent, Gianni Pettena, Walter Pichler, Charles Simonds, Superstudio, Pierre Székely, Marino Di Teana. Artiste invité : Vincent Mauger. EXPOSITION AU FRAC CENTRE 18 SEPTEMBRE 2010 — 30 JANVIER 2011 Cette exposition thématique à partir de la collection du FRAC Centre a réussi le pari de mettre en résonance des œuvres d’artistes avec des projets d’architectes autour du thème du « monolithe ». Ce fil métaphorique nous fait voyager de l’utopie aux projets construits, des « rochers suspendus » de Hans Hollein à l’aéro- port de Roissy 1 de Paul Andreu. On remarquera l’importance du programme liturgique dans le renouveau du langage architectural de l’après-guerre, comme en témoignent l’église du Carmel de Saint-Saulve de Székely et l’église de Nevers de Claude Parent et Paul Virilio. Cette exposition augure bien de celles qui seront présen- tées sur le nouveau site du FRAC Centre, nourrissant un dialogue entre les expressions artistique et architecturale ainsi qu’entre des projets des années 1960 et des œuvres d’artistes actuels. Par ailleurs, l’incroyable richesse de la collection du FRAC Centre sera enfin accessible grâce à une Galerie permanente sur son nouveau site dès l’automne 2011. En lien étroit avec ses partenaires culturels à Orléans et en région, le FRAC Centre s’y affirmera comme un lieu convivial, ouvert à tous, où la culture se donnera dans toute sa vitalité et sa diversité. -
Speed and Politics
SPEED AND POLITICS Paul Virilio Translated by Marc Polizzotti <e> SEMIOTEXT (E) FOREIGN AGENTS SERIES Oiginally published in 1977 as "Vitesse et Politique," Edition Galilee, Paris. Copyright © 1977 Paul Virilio Copyright© 2006 Semiotext(e) Translation © Semiotext(e) and Mark Polizzotti All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted by any means, electronic, mechanical, photo copying, recording, or otherwise, without prior permission of the publisher. Published by Semiotext(e) 2007 Wilshire Bl".d., Suite 427, Los Angeles, CA 90057 www.semiotexte.com Special thanks to Nicholas Zurko and Mark Polizzotti. Cover: Map of Paris published in 1847 depicting Baron Georges Eugene Haussman's plan to transform Paris into "the capital of capitals." In red are the networks of new streets and boulevards and in green are the parks. Courtesy of the New York City Public Library. Back Cover Photography: Sylvere Locringer Design: Hedi EI Kholti ISBN-10: 1-58435-040-7 ISBN-13: 978-1-58435-040-8 Distributed by The MIT Press, Cambridge, Mass. and London, England Printed in the United States of America Contents Introduction: Logistics of Habitable Circulation 7 PART 1. THE DROMOCRATIC REVOLUTION 27 1. From Street Fight to State Right 29 2. From Highway Right to State Right 49 PART 2. DROMOLOGICAL PROGRESS 59 1. From Space Right to State Right 61 2. Practical War 73 PART 3. DROMOCRATIC SOCIETY 81 1. Unable Bodies 83 2. The Boarding of Metabolic Vehicles 96 3. The End of the Proletariat 115 4. The Consumption of Security 136 PART 4. -
Claude Parent, L'oeuvre Construite, L'oeuvre Graphique
Claude Parent, l'oeuvre construite, l'oeuvre graphique Extrait du Médiathèque Jacques BAUMEL https://www.mediatheque-rueilmalmaison.fr/Claude-Parent-l-oeuvre-construite Claude Parent, l'oeuvre construite, l'oeuvre graphique - Les collections - Bibliographies - Musique, Cinéma, Arts & Loisirs - Arts - Le temps d'une expo - Date de mise en ligne : mercredi 17 mars 2010 Description : L'exposition de la Cité de l'architecture et du patrimoine met en lumière l'oeuvre architecturale de Claude Parent , le représentant de la fonction oblique en architecture, et présente aussi son oeuvre graphique. Copyright © Médiathèque Jacques BAUMEL - Tous droits réservés Copyright © Médiathèque Jacques BAUMEL Page 1/3 Claude Parent, l'oeuvre construite, l'oeuvre graphique L'exposition Reconnu aujourd'hui par les jeunes générations, Claude Parent fut longtemps oublié, marginalisé dans une utopie qui fascine encore hors de nos frontières, en Amérique comme en Asie. "Utopiste du territoire", comme le qualifiait récemment Paul Virilio, son complice dans l'aventure de la "Fonction oblique", Claude Parent est l'un des héros de la modernité. <span class='spip_document_8269 spip_documents spip_documents_left' style='float:left;'> L'expérimentation est son champ d'investigation permanent. On lui doit deux des icônes de l'architecture contemporaine : la Maison de l'Iran à la Cité universitaire de Paris et l'église Sainte-Bernadette du Banlay à Nevers. Auteur également de « maisons cultes » comme la Maison Drusch à Versailles (le célèbre cube renversé), ou la Maison Bloc à Antibes, Claude Parent a travaillé en série sur deux programmes qui manient la grande échelle : les centres commerciaux et les centrales nucléaires. Pour EDF, il deviendra en quelque sorte le directeur artistique du programme "architecture du nucléaire" et dessinera personnellement deux "Maisons de l'atome" sur les sites de Cattenom et de Chooz. -
Time War: Paul Virilio and the Potential Educational Impacts of Real-Time Strategy Videogames
Philosophical Inquiry in Education, Volume 27 (2020), No. 1, pp. 46-61 Time War: Paul Virilio and the Potential Educational Impacts of Real-Time Strategy Videogames DAVID I. WADDINGTON Concordia University This essay explores the possibility that a particular type of video game—real-time strategy games—could have worrisome educational impacts. In order to make this case, I will develop a theoretical framework originally advanced by French social critic Paul Virilio. In two key texts, Speed and Politics (1977) and “The Aesthetics of Disappearance” (1984), Virilio maintains that society is becoming “dromocratic” – determined by and obsessed with speed. Extending Virilio’s analysis, I will argue that the frenetic, ruthless environment of real-time strategy games may promote an accelerated, hypermodern way of thinking about the world that focuses unduly on efficiency. Introduction Video games have been a subject of significant interest lately in education. A new wave of momentum began when James Paul Gee’s book, What Video Games Have to Teach Us About Learning and Literacy (2003a), was critically acclaimed, and was followed by a wave of optimistic studies and analyses. In 2010, a MacArthur Foundation report, The Civic Potential of Video Games, built on this energy, drawing on large-scale survey data to highlight the possibility that games that certain popular types of video games might promote civic engagement in the form of increased political participation and volunteerism. The hypothesis that video games, a perpetual parental bête-noire and the site of many a sex/violence media panic, might actually be educationally beneficial, has been gathering steam and is the preferred position of most educational researchers working in the field. -
French Theory
FLUSSER STUDIES 31 Martha Schwendener Flusser and French Theory “Saussure did not impress me.”1 So wrote Flusser in the 1969 essay “In Search of Meaning (Philosoph- ical Self-portrait),” before he returned to Europe and settled for the last decades of his life in France. Rather than Francophone writers – and particularly Saussure, the linguist and figurehead of a strain of language philosophy that would guide French thought in the twentieth century – Flusser acknowledged a host of other thinkers: Kant, Camus, José Ortega y Gasset, Nietzsche, Cassirer, Cohen, Hartmann, the entire Marburg School, the Viennese School, Bertrand Russell, Wittgenstein, and Heidegger, Joyce, Pound, Eliot, Goethe, Thomas Mann, and particularly Kafka and Rilke. In other words, practically anything but French writers. However, the last two decades of Flusser’s life brought him in close con- tact with French thinkers, from Abraham Moles to Jean Baudrillard. Moreover, his increasing contact with German media theory and the U.S. art world, which was besotted with French “theory” (a desig- nation I will explain in a moment) were crucial to his legacy. Paradoxically, even though Flusser’s reception lagged in France, I would argue that his importance is in large part due to the avenues opened up by French theory and the “model” – one of Flusser’s favorite terms – for his own visionary thinking. First, French “theory.” Anaël Lejeune, Olivier Mignon, and Raphaël Pirenne write that French theory refers “roughly to the structuralist and post-structuralist thought that developed in France from the 1960s to the 1980s” and which should be differentiated from “French thought.”1 French theory, as opposed to French thought, offered a degree of heterogeneity and intellectual freedom – which is why it was largely adopted by radical thinkers, in the vein of Flusser. -
Toward an Ontology of the Interface
G e n e r a l n o t e Toward an Ontology of the Interface Identifying the Interface as a Mediation Entity C risti n A S á The interface is more than an assemblage of processes and effects; it is Interface is defined within the theoretical framework more than a pure relational instance. The interface can be identified as of mediation and experience [3]. According to Kittler [4], an entity in itself and in relation to other entities. In this article, the author from Aristotle onward ontological studies have dealt only presents an ontological work on the interface, defining what it is and ABSTRACT how it exists, and discussing its relation to other entities. The interface with things—their matter and form—and not with the rela- is defined both abstractly as a mediation complex—by identifying tions between things in time and space, therefore leaving characteristics present in its multiple instantiations—and in relation to mediating entities out of such studies. Because I study the other entities—by observing the case of the human-computer interface. interface as a mediating entity, we must begin our discussion by defining the interface and describing its relationships in space-time (and matter, which can no longer be separated The interface is a system or device through which nonrelated from space and time). entities can interact [1]. From this definition, I conclude that the interface must have some characteristics that are com- What IS An InTeRface? mon to each of the entities it puts in connection, since it Definitions of interface often consider its space and actions must communicate with each of them. -
Die Cité De L'archi Tecture in Paris Würdigt Claude Parent
2 Wochenschau Bauwelt 15 | 2010 Bauwelt 15 | 2010 3 AUSSTELLUNG knüpfungspunkte bieten für die dringliche Aufforde- rung vor allem an die Megacities außerhalb der Venedig? Las Vegas? | Die Berliner westlichen Sphäre, Landschaft nicht lediglich als Ver- Akademie der Künste proklamiert die fügungsmasse zu betrachten. Ungleich greifbarer „Wiederkehr der Landschaft“ sind die im abschließenden Teil der Schau vorgestell- ten Projekte zeitgenössischer Landschaftsarchitek- In den Eröffnungsreden ist von unterhaltsamer Wis- ten, die Freiraum und Stadt auf pflegearme und res- sensvermittlung die Rede. Doch der ungebrochene sourcenschonende Weise zu gestalten versuchen. Landschaftsverbrauch durch die boomenden Mega- Für eine Übereinstimmung von Ökologie und Ästhe- cities ist alles andere als unterhaltsam, er ist bitter tik stehen etwa der Biomassepark Hugo auf einem ernst und nur durch eine grundlegende Veränderung ehemaligen Zechengelände in Gelsenkirchen oder die von vornehmlich wirtschaftlichen Zielsetzungen zu chinesische Regenstadt Putian. Ob derlei Konkre- stoppen – ein brisantes gesellschafts- und kulturpo- tisierungen auch bei den Ausstellungsbesuchern nach- litisches Thema, dessen sich die Berliner Akademie hallen, die über ihr nächstes Reiseziel vermutlich der Künste mit ihrer Ausstellung „Wiederkehr der auch nicht unbedingt mit Blick auf die Folgen für die Landschaft“ angenommen hat. Landschaft entschieden haben? Es grüßt der umfassende Anspruch der Akade- Der Landschaftsarchitekt Walter Rossow mie, wenn die Kuratoren einleitend versuchen, das (1910–1992), der einst als Mitglied der Berliner Aka- Die „fonction oblique“ in Entwurf (Le trans- Phänomen Landschaft mit Zitaten aus Literatur, demie die Sektion Baukunst leitete, schrieb uns versal – Intérieur 2, 1973) und Praxis (Sainte Film und Tanz jenseits romantischer Verklärung als vor einem halben Jahrhundert ins (Planer-)Stamm- Bernadette du Banlay in Nevers, 1963–66). -
Claude Parent Y Paul Virilio
EL HORMIGÓN CRÍPTICO DE L’ÉGLISE DE SAINTE BERNADETTE DU BANLAY EN NEVERS (1963-1966): CLAUDE PARENT Y PAUL VIRILIO THE CRYPTIC CONCRETE OF L’ÉGLISE DU BANLAY DE SAINTE BERNADETTE IN NEVERS (1963 -1966): CLAUDE PARENT AND PAUL VIRILIO María Pura Moreno Moreno, Montserrat Solano Rojo Universitat Politécnica de Cartagena (UPCT). [email protected] / [email protected] Revista EN BLANCO. Nº 26. Barclay&Crousse. Valencia, España. Año 2019. Recepción: 2019-01-09. Aceptación: 2019-03-10. (Páginas 105 a 117) https://doi.org/10.4995/eb.2019.11208 Resumen: En la arquitectura francesa de la segunda mitad del s.XX, la Abstract: In French architecture in the second half of the 20th century, reivindicación de planeamientos urbanos, críticos con los fundamentos the demand for urban planning, critical of the foundations of the Charter de la Carta de Atenas, apareció ligada a las exploraciones espaciales de of Athens, was linked to the Gestalt psychology’s exploration of space. The la psicología de la Gestalt. El patrimonio de los maestros A. Perret y Le inheritance of teachers such as A. Perret and Le Corbusier regarding the Corbusier respecto al empleo del hormigón como material fetiche de la use of concrete as a fetish material of modernity was added to by proposals modernidad, se complementó con propuestas de arquitectos como Claude by architects like Claude Parent who sought the revaluation of his expressive Parent que buscaron la revalorización de sus propiedades expresivas properties, both visually and to the touch, and the sensory implications en lo visual y lo táctil, y de sus implicaciones sensoriales referidas al when referring to the imbalance of living. -
From Modernism to Hypermodernism and Beyond an Interview with Paul Virilio
From Modernism to Hypermodernism and Beyond An Interview with Paul Virilio John Armitage Postmodernism and Hypermodernism JA: Professor Virilio, I would like to begin by charting your place within the contemporary intellectual landscape.1 For instance, your work is closely associated with the cultural movement known as postmodernism. Certainly, your most recently translated study Open Sky (1997 [1995]) is being received as such in the English-speaking world.2 However, you have always been sceptical of the idea of postmodernism. Could you explain the basis of your critique of this concept? PV: Postmodernism is a notion that makes sense in architecture, through the work of [Robert] Venturi (Venturi et al., 1977) and so on. Since I am teaching architecture, to me, postmodernism is a `suitcase' word, a syncret- ism. In architecture it is a clear-cut phenomenon: styles are mixed up, history is ignored, one goes for a `melting pot' of approaches. But as far as thought is concerned, thought as developed in the years 1970±80, I simply cannot understand why people are talking about postmodernism. Post- structuralism? Yes, OK. Postmodernism? It doesn't make any sense to me. Hence, I do not feel linked at all with postmodernity. Moreover, as a teacher in a college of architecture, I believe postmodernism was a catastrophe in the history of modern architecture. Therefore there is no linkage between me and postmodernism. I know that many people tend to associate post- modernism with relativism, especially with cognitive relativism. Well, this is a new polemic that is cropping up, especially here in France, and which does not concern, let alone interest me in the slightest measure. -
UNIVERSITY of CALIFORNIA RIVERSIDE the Fantasy and Fear
UNIVERSITY OF CALIFORNIA RIVERSIDE The Fantasy and Fear of Chernobyl’s Ruins A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art History by Masha Rotfeld June 2012 Thesis Committee: Dr. Patricia Morton, Chairperson Dr. Susan Laxton Dr. Elizabeth Kotz Copyright by Masha Rotfeld 2012 The Thesis of Masha Rotfeld is approved: ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ Committee Chairperson University of California, Riverside ACKNOWLEDGMENTS My first acknowledgment is to my mother, Marina Kibrik, who instilled in me an unfaltering penchant for art and history and the curiosity that accompanies such learning. For the inspiration and encouragement they gave me as role models and mentors in the subsequent stage of my education, I would like to thank my undergraduate professors, Dr. Andrea Pappas and Dr. Blake de Maria. I feel deeply grateful to my advisor Dr. Patricia Morton for her guidance, patience, and endless insight. I would also like to recognize the two members of my thesis committee, Dr. Susan Laxton, and Dr. Elizabeth Kotz. I am grateful to my committee for choosing to share with me their keen knowledge of photography, architecture, and critical theory. Additionally, I would like to acknowledge several other faculty members in UCR’s History of Art department: Dr. Françoise Forster-Hahn for her course-altering thesis advice, Professor Erika Suderberg for her enlightening associations about war and memory in Eastern Europe, and Dr. Kristoffer Neville for personally extending his encouragement. I have truly appreaciated the Department of the History of Art at UC Riverside for their overall diligence and organization in ensuring the students’ success.