(Actually the issue being rather hot, it was decided to cool it off somewhat by only using “capitals” throughout the issue. In the next two years, Semiotext(e) will publish eight books by such Italian “Post-Fordist” intellectuals as Antonio Negri, Christian Marazzi, Paolo Virno, and Bifo, as they update the theories of Autonomia for the new century.Sylvère Lotringer, general editor of Semiotext(e), lives in New York and Baja California. Put together as events in Italy were unfolding, the Autonomia issue—which has no equivalent in Italy, or anywhere for that matter—arrived too late, but it remains an energizing account of a movement that disappeared without bearing a trace, but with a big future still ahead of it.—Sylvère LotringerSemiotext(e) is reissuing in book form its legendary magazine issue Italy: Autonomia: Post-Political Politics, originally published in New York in 1980. Today, it is the world itself that is limited, saturated, and manipulated, the world itself that seizes us and confines us with a stressful claustrophobia. 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.
They end their chapter with a long quote followed by this comment: Having long since passed the opposition of city and country, and city and suburb, the speed-ridden city and space of today are an opposition between the nomadic and the sedentary: a web of interactive, informational networks that turn our world into a prison-house of illusory transcendence.We are living under the administration of fear: fear has become an environment, an everyday landscape. Instead, they've masked this failure with commercial success. Globalization has progressively eaten away at the traditional prerogatives of states (most notably of the welfare state), and states have to convince citizens that they can ensure their physical safety. It was also the first issue for which we used the computer). Semiotext(e)'s three-decade history mirrors the history of American thought. Why has art simply retreated into painting, or surrendered to digital technology? Its Foreign Agents, Native Agents, Active Agents and Double Agents imprints have brought together thinkers and writers as diverse as Gilles Deleuze, Assata Shakur, Bob Flanagan, Paul Virillio, Kate Millet, Jean Baudrillard, Michelle Tea, William S. Burroughs, Eileen Myles, Ulrike Meinhof, and Fanny Howe. Based upon a 1996 conversation Paul Virilio had with French journalist Phillipe Petit, "Pure war" is the name of the invisible war that technology is waging against humanity. First experimented with in South America, this kind of "endo-colonization" (the military cracking down on its own population) was gradually extended to all the post-industrial countries through the exponential development of the techno-military complex.Numerous international exhibitions and biennials have borne witness to the range of contemporary art engaged with the everyday and its antecedents in the work of Surrealists, Situationists, the Fluxus group, and conceptual and feminist artists of the 1960s and 1970s. The survival of the last politically creative movement in the West was at stake, but no one in the United States seemed to realize that, or be willing to listen. Books with strange, alien titles such as Negative Horizon, Polar Inertia, Bunker Archaeology and the Lost Dimension – and books written in a style that can be equally strange (and alienating), filled with concepts such as endo-colonization, dromology, the integral accident and the aesthetics of disappearance. The project landed somewhere between humor, anarchy, science-fiction, utopia and apocalypse. Since 1998, Virilio was teaching intensive seminars at According to geographers Tim Luke & Gearóid Ó Tuathail, Virilio was a "historian of warfare, technology and photography, a philosopher of architecture, military strategy and cinema, and a politically engaged provocative commentator on history, terrorism, mass media and human-machine relations." In this series of overlapping essays on architecture and art, John Rajchman attempts to do theory in a new way that takes off from the philosophy of the late Gilles Deleuze. 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. The first war of globalization will be the global accident, the total accident, including the accident of science. As a consequence, the distinction between war and peace ceased to apply, inaugurating the military-industrial complex and the militarization of science itself.Every new invention casts a long shadow that we are generally unwilling to acknowledge in the name of progress: the invention of automobiles inaugurated car-crashes; the invention of nuclear energy, Hiroshima and Tchernobyl. “Globalization,” Virilio argues, is the planet's ultimate accident.Paul Virilio was born in Paris in 1932 to an immigrant Italian family.
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. Virilio developed what he called the "war model" of the modern city and of human society in general and is the inventor of the term 'dromology', meaning the logic of speed that is the foundation of technological society.
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