By Paul Virilio
Publication used to be nice yet I maintain going again to the canopy. Who says "you cannot pass judgement on a e-book by way of its cover". Wow that images is compelling. So clean, so new. who's the photographer???
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Extra resources for Crepuscular dawn
In my view, slowness is just one speed among many, don’t you agree? I never talk about slowness. I am talking about slowness as intensity. The gait of nomads in the desert is always extremely slow and aquatic. In the Sahara people move like kings or scuba divers, it’s extraordinary. And it’s not just due to the heat: in Timbuctu a Touareg friend of mine told me that as a child he was asked to walk even slower. Each of their gestures in slow motion had an unimaginable grace. For them walking was a dance.
Moreover, I’d like to say that this dialogue will be my last. Why? Because the whole thing is starting over in France. I’ll explain. In the sixties, when I was working on the “oblique function” with Claude Parent, no one took me seriously. OK. And I wound up in teaching. A year ago I left behind the teaching of architecture to work on these two spaces, on this cybernetic space which connects at once actual space and virtual space. But even old friends don’t seem to understand that. They say: Virilio is acting up again.
48 VIRILIO / LOTRINGER If there were no other flags around, I would move in with the black flags. Anarchist-Christian. And you know I haven’t changed. That’s how we found one other, too—huh, Sylvère? The idea was to express all of this in a public place, and that was the Odéon Theater. ; all the actors came to join us. And of course the people of the French Happenings, the Living Theater. ) As if by accident we found ourselves mixed up with theater people, but it was pretty logical. The relation to the body in the “oblique function” is the dancer, the actor.