导读维利里奥
最新书摘：
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Golachab2024-03-11在《极惰性》中，他以如下方式定义了这个术语：“这个“竞速层’（DROMOSPHERE），[是]相对于那种有限绝对的光速、那个普适常数而言的诸速度之活动范围，它决定了符合科斯摩斯逻辑的视限（the cosmological horizon），也就是说，决定了天文诸显相的能见度圆锥（the cone of visibility of astronomical appearanees)”（Virilio 2000d：45）。那么，就其受到光之通过（the passage of light）的限制并因此受到光行进时的速度的限制而言，竞速层就是“反映诸现象那特有现实的知觉活动范围（ the sphere of perception)”（Virilio 2000d：52）。维利里奥坚持认为，正是速度使得我们能够去看到，而且所有的相对速度，例如光穿过大气层时的相对速度，可以传递某种电视影像、卫星影像或数字影像的光电波的相对速度，都被认为是相对于光穿过真空时的速度所决定的那个常数来说的。
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Odeyodbejasfka2022-06-23维利里奥研究工作的伟大内在力量在于，它挑战了我们许多日常或清规的思考技术的方式，它在塑造我们的个人集体经验上发挥了基础作用。我们往往首先从工具性角度来看待不同的技术。换句话说，我们往往把技术设备视为用于实现某些有结果的的工具。这做的时候，我们经常假设这些工具本身是中性的或无关价值的。然而这种观点忽视了一个事实，那就是我们的日常活动、我们的移动以及传播形式在一种极为深奥的层面上都是被我们所使用的这些技术所结构或塑造的。正如理论家大卫卡普兰所言，“人的生活已经彻底被技术渗透。”可以说，一种技术设备或技术系统从来都不单单是或仅仅是一种工具而已，毋宁说 “各种技术设备和技术系统塑造了我们的文化与环境，修改了人的活动的种种惯行，影响了我们是谁和我们如何生活”。不管怎么说，技术是一种中性或无关价值的工具这样的工具主义者的观点都是难以为继的，因为，如果工具是出于各种特定的强调结果的目的或设法争取的目标而被制造出来，那么它们必然被嵌人人的生活和人互动的复杂网络中，或者再次如卡普兰所说的，“人性与技术位于一个循环关系中，任何一个都塑造和影响另一个”。
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血源2出了吗？2021-04-19One way of putting this would be to say that the cinematic image offers a different kind of window on the world. In The Aesthetics of Disappearance Virilio talks at some length of the way in which collective ways of viewing were transformed in the late nineteenth and early twentieth centuries by the advent of cinema halls. By way of newsreels or other footage the reality of global space could be seen as never before by millions of people. The motorized passage of celluloid in front of a projection lamp represents, therefore, nothing other than a different way of ‘lighting’ the world, that is, of making it accessible to vision and therefore to conscious apprehension. In this context Virilio speaks of the ‘appearance of the motor’ and here a double meaning can perhaps be inferred: motorized ...
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血源2出了吗？2021-04-19One way of putting this would be to say that the cinematic image offers a different kind of window on the world. In The Aesthetics of Disappearance Virilio talks at some length of the way in which collective ways of viewing were transformed in the late nineteenth and early twentieth centuries by the advent of cinema halls. By way of newsreels or other footage the reality of global space could be seen as never before by millions of people. The motorized passage of celluloid in front of a projection lamp represents, therefore, nothing other than a different way of ‘lighting’ the world, that is, of making it accessible to vision and therefore to conscious apprehension. In this context Virilio speaks of the ‘appearance of the motor’ and here a double meaning can perhaps be inferred: motorized ...
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血源2出了吗？2021-04-19In fact Virilio sees these concrete structures as monuments of the inner logic of the Third Reich;they testify to a certain mode of ideological organization proper to the Naziregime and to a specific logic which led, perhaps inexorably, to its destruction. In this context he affirms, somewhat elliptically, that ‘the bunkersof the European littoral were from the start the funerary monuments tothe German dream’ (Virilio 1994a: 29). First and foremost these bunkerstestify to the manner in which so much of Nazi political thinking andmilitary planning was orientated around specific conceptions of space andthe appropriation of living space for the German peoples. The bunkersor casemates (i.e. fortified enclosures) mark the natural outer limit of acertain territorial organization or asp...