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THE ACCIDENT OF ART (SEMIOTEXT(E) / FOREIGN AGENTS) By Sylvere Lotringer & Paul
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- Compralo SubitoTHE ACCIDENT OF ART (SEMIOTEXT(E) / FOREIGN AGENTS) By Sylvere Lotringer & Paul
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Numero oggetto eBay:336015989870
Specifiche dell'oggetto
- Condizione
- ISBN-10
- 1584350202
- Publication Name
- Semiotext(e)
- Type
- Paperback
- ISBN
- 9781584350200
Informazioni su questo prodotto
Product Identifiers
Publisher
Semiotexte The Limited
ISBN-10
1584350202
ISBN-13
9781584350200
eBay Product ID (ePID)
2487233
Product Key Features
Book Title
Accident of Art
Number of Pages
120 Pages
Language
English
Topic
Criticism & Theory, General
Publication Year
2005
Genre
Art, Philosophy
Book Series
Semiotext (E) / Foreign Agents Ser.
Format
Perfect
Dimensions
Item Height
0.3 in
Item Weight
6.9 Oz
Item Length
9 in
Item Width
6 in
Additional Product Features
Intended Audience
Trade
Dewey Edition
21
TitleLeading
The
Grade From
College Graduate Student
Dewey Decimal
701
Synopsis
There is a catastrophe within contemporary art. What I call the "optically correct" is at stake. The vision machine and the motor have triggered it, but the visual arts haven't learned from it. Instead, they've masked this failure with commercial success. This "accident" is provoking a reversal of values. In my view, this is positive: the accident reveals something important we would not otherwise know how to perceive.--Paul Virilio, The Accident of Art Urbanist and technological theorist Paul Virilio trained as a painter, studying under Henri Matisse, Georges Braque, Bazaine and de Stael. In The Accident of Art, his third extended conversation with Sylvère Lotringer, Virilio addresses the situation of art within technological society for the first time. This book completes a collaborative trilogy the two began in 1982 with Pure War and continued with Crepuscular Dawn, their 2002 work on architecture and biotechnology. In The Accident of Art, Virilio and Lotringer argue that a direct relation exists between war trauma and art. Why has art failed to reinvent itself in the face of technology, unlike performing art? Why has art simply retreated into painting, or surrendered to digital technology? Accidents, Virilio claims, can free us from speed's inertia. As technological catastrophes, accidents are inventions in their own right., Virilio discusses the relationship of war trauma and art and the failure of visual art to reinvent itself when confronted with technology., There is a catastrophe within contemporary art. What I call the "optically correct" is at stake. The vision machine and the motor have triggered it, but the visual arts haven't learned from it. Instead, they've masked this failure with commercial success. This "accident" is provoking a reversal of values. In my view, this is positive: the accident reveals something important we would not otherwise know how to perceive.--Paul Virilio, The Accident of Art Urbanist and technological theorist Paul Virilio trained as a painter, studying under Henri Matisse, Georges Braque, Bazaine and de Stael. In The Accident of Art, his third extended conversation with Sylv re Lotringer, Virilio addresses the situation of art within technological society for the first time. This book completes a collaborative trilogy the two began in 1982 with Pure War and continued with Crepuscular Dawn, their 2002 work on architecture and biotechnology. In The Accident of Art, Virilio and Lotringer argue that a direct relation exists between war trauma and art. Why has art failed to reinvent itself in the face of technology, unlike performing art? Why has art simply retreated into painting, or surrendered to digital technology? Accidents, Virilio claims, can free us from speed's inertia. As technological catastrophes, accidents are inventions in their own right., "There is a catastrophe within contemporary art. What I call the "optically correct" is at stake. The vision machine and the motor have triggered it, but the visual arts haven't learned from it. Instead, they've masked this failure with commercial success. This "accident" is provoking a reversal of values. In my view, this is positive: the accident reveals something important we would not otherwise know how to perceive.-- Paul Virilio, "The Accident of ArtUrbanist and technological theorist Paul Virilio trained as a painter, studying under Henri Matisse, Georges Braque, Bazaine and de Stael. In "The Accident of Art, his third extended conversation with Sylvere Lotringer, Virilio addresses the situation of art within technological society for the first time. This book completes a collaborative trilogy the two began in 1982 with "Pure War and continued with "Crepuscular Dawn, their 2002 work on architecture and biotechnology.In "The Accident of Art, Virilio and Lotringer argue that a direct relation exists between war trauma and art. Why has art failed to reinvent itself in the face of technology, unlike performing art? Why has art simply retreated into painting, or surrendered to digital technology? Accidents, Virilio claims, can free us from speed's inertia. As technological catastrophes, accidents are inventions in their own right., There is a catastrophe within contemporary art. What I call the "optically correct" is at stake. The vision machine and the motor have triggered it, but the visual arts haven't learned from it. Instead, they've masked this failure with commercial success. This "accident" is provoking a reversal of values. In my view, this is positive- the accident reveals something important we would not otherwise know how to perceive.-Paul Virilio, The Accident of Art Urbanist and technological theorist Paul Virilio trained as a painter, studying under Henri Matisse, Georges Braque, Bazaine and de Stael. In The Accident of Art, his third extended conversation with Sylv re Lotringer, Virilio addresses the situation of art within technological society for the first time. This book completes a collaborative trilogy the two began in 1982 with Pure War and continued with Crepuscular Dawn, their 2002 work on architecture and biotechnology. In The Accident of Art, Virilio and Lotringer argue that a direct relation exists between war trauma and art. Why has art failed to reinvent itself in the face of technology, unlike performing art? Why has art simply retreated into painting, or surrendered to digital technology? Accidents, Virilio claims, can free us from speed's inertia. As technological catastrophes, accidents are inventions in their own right.
LC Classification Number
N70
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Feedback sul venditore (305.025)
- 8***g (252)- Feedback lasciato dall'acquirente.Ultimi 6 mesiAcquisto verificatoA smooth and professional transaction throughout. The item was exactly as described, clearly listed, and fairly priced. Communication from the seller was prompt, polite, and helpful, with dispatch confirmed quickly. The parcel was securely packaged and arrived in excellent condition, ahead of the expected delivery date. Care was taken at every stage of the process. I would be happy to buy from this seller again—many thanks for a reliable and well-handled sale.FINLAND AND EUROPE: INTERNATIONAL CRISES IN THE PERIOD OF By Juhani Paasivirta (N° 335694307643)
- 0***t (10)- Feedback lasciato dall'acquirente.Mese scorsoAcquisto verificatoItem was exactly as described and packaged to protect it. Seller’s pricing was spot on and when I received it, it was in good condition. Seller actually messaged me when they shipped it (I really appreciated that). Overall I’m happy doing business with them!
- t***s (44)- Feedback lasciato dall'acquirente.Ultimi 6 mesiAcquisto verificatoThe Item itself I rate five stars. The seller, however, I stop at four stars. The seller met two out of three categories I look for when judging my purchasing experience: how well it was packaged, how quickly it was shipped, and how properly it was described; this seller provided prompt shipping and an accurate description, but failed when it came to packaging. The item arrived in a plastic bag without any reinforcement or protection whatsoever and suffered dinged corners on multiple fronts.