Brooke Marcy

 

Summery of Beyond Postmodernism by John Armitage

 

In his essay, Beyond Postmodernism, John Armitage looks at the work of the French cultural theorist Paul Virilio.  Armitage notes that many of Virilio’s theories, such as ‘dromology’ and ‘logic of acceleration,’ are misunderstood. His essay defends Vililio’s theories and suggests “that they exist beyond the terms of postmodernism and that they should be conceived of as a contribution to the emerging debate over ’hypermodernism’.”

 

Armitage begins by outlining Virillio’s biography starting with his birth in 1932. He notes the effects Hitler’s Blitzkrieg had on Virilio, and how early in his career, he spent time working as a stained-glass artist alongside Matisse.  In 1950, Virilio converted to Christianity and later studied phenomenology with Merleau-Ponty.  Virilio’s first major work was Bunker Archeology, which was a study of the architecture of war.  His concepts included ‘military space’, ‘dromology’, and the ‘aesthetics of disappearance’.  Though not a trained architect, Virillio was nominated Professor at the Ecole Speciale d’Architecture. Though producing many works, Speed & Politics: An Essay on Dromology, The Aesthetics of Disappearance etc, Virilio’s theories are just now being realized by the “English speaking world.”

 

Armitage states, “the importance of Virilio’s theoretical work stems from his central claim that, in a culture dominated by war, the military-industrial complex is of crucial significance in debates over the creation of the city and special organization of cultural life.”  Virilio states that the stationary and fortified cities of the feudal era, have been superseded by today’s cities, because weaponry itself has become transportable, thus creating a “war of movement.” He notes that this new form of city has changed how people and the city are governed. Virilio also proposes that it was not the economy that spurred the transition from feudalism to capitalism, but rather “a military, spatial, political and technological metamorphosis.”

 

Many of Virilio’s theories are based on his belief in the ‘gesalt theory of perception,’ which lead to his theory of ‘oblique function’. In the 1970s, Virilio began looking at how  communication and military technology was changing and effecting society. Virilio’s work, in the 1980s and 1990s, focused on the notions of “disappearance; the fractalization of physical space, war, cinema, logistics, and perception.” During that time,  he also concentrated on the acceleration of the ‘techno culture’ and its ramifications, and he equated the “third age of military weaponry” with the every growing technologies such as the internet. “ Armitage points out that Virilio does not consider himself a social theorist, but rather a “critic of the art of technology.”

 

Next Armitage looks at Virilio’s “dromocratic conception of power.” Virilio states that the foundation of society is not only the political economy of wealth but also the political economy of speed.  He looks at what he terms “infowar” and how the threat of “unspecific civilian enemies” is used to justify spending to increase the advancements of communication technologies.  Virilio believes that,” in the near future it will no longer be war that is the continuation of politics by other means, it will be the integral accident that is the continuation of politics by other means.”

 

Armitage examines Virillio’s theory that, “ modern vision and the contemporary city are both products of military power and time-based cinematic technologies of disappearance.”  Virilio sees the city as being overexposed by technology and that the cinematographic field is causing fractured perspectives. He points out how war and cinema have become inseparable, and how cinematic images have become substitutions for the real images of war, creating an “infowar.”  Virilio states,” military perception in warfare is comparable to civilian perception and, specifically, to the art of filmmaking.”  This being the case, people “no longer believe their eyes” and the belief in ones own perceptions of reality has been transformed into a belief of the “technical sight line.”

 

Virillo looks at the differences between video screens and “real perspectual objects,” like mirrors, noting the differences between “classical optical communication” and “ electro-optical communication.” Armitage then examines Virilio’s proposal that real time has taken over real space, and the development of what Virilio terms “polar inertia.” He uses Howard Huges as the perfect example of a human being who has allowed ”polar inertia” and technology to replace an active and interactive existence.  He even notes that armies now “watch battles from the barracks” and that “today the army only occupies the territory once the war is over.”

 

Armitage examines Virilio’s concern that in the future the distinction between the human body and technology will be lost; he calls this the “transplant revolution.”  He believes that there is a possibility that not only will body parts be substituted by machines but so to will human functions.  Armitage points out that Virillio does not see men and women as separate entities but rather the human body as a whole.

 

In Virilio’s latest work, Armitage examines his theory that “ while war was a failure both for Europe and for NATO it was a success for the United States.”  He believes that the US used Kosovo as an experiment, testing out new “informational and cybernetic tools, “ in hopes of reaching their goal of “Global Information Dominance.”

 

Armitage next looks at why Virilio’s work should not be labeled as “postmodern cultural theory.” He believes the Virilio is not “reacting against modernism” or against the international style.  Virilio states, postmodernism “has been a ‘catastrophe’ in architecture and has nothing to do with his phenomenological grounded writing,” and that his own work is based on “the modernist tradition of arts and sciences.”  Virilio sees no bases for connection with anti-humanism, structuralism, or theorists like Derrida, and he has no interest in the structural linguistics of Saussure. Armitage notes, “unlike the poststructural theorists, Virilio is a humanist and a practicing Christian.”  Virillio does not condemn modernity but rather views his work as a “critical analysis of modernity, but through a perception of technology which largely…catastrophic, not catastrophist.”

Virilio even defines modernity differently than most postmodernist, and his primary focus is on how the speed of modernity affects technology and society.

 

Armitage concludes by examining how Virilio’s work “remains true to the principle of hope with regards to making sense of history.” He looks at the differences between Virilio and Mcluhan, pointing out that they have little in common. Armitage notes that Virilio’s work cannot be looked at in terms of postmodern cultural theory, instead he should be looked at as a cultural theorist addressing “ hypermodernism.” To understand Virilio’s work one must abandon assumption based on modernist and postmodernist thought, and concentrate on his “work on acceleration through the excessive intensities and placements inherent within hypermodern cultural thought about the military-scientific complex.”

 

Finally, Armitage proposes a brief critique of Virilio’s work and the controversy surrounding his ideas. Deleuze and Guattari look at Virilio’s ideas as problematic. Harvey believes Virillio (and Baudrillard) “seem hell-bent on fusing with time-space compression and replacing it in their own flamboyant rhetoric.”  Harvey sees Virilio’s theories as being limited and likely to rest not on his similarities to Nietsche but “with his differences.”  Yet, Virilio’s theories are beginning to collide with other cultural theorists like Krokers. Armitage states that though his theories are debatable, Virilio “ is one of the most important and thought- provoking cultural theorists on the contemporary battlefield” and that “ his theoretical positions and cultural sensibilities concerning technology thus remain beyond the realm of even cultural theory.”