(quoting Peter Sloterdijk)

“’We are all fanatical believers in this explosion, worshippers of this rapid liberation of a massive quantity of energy. I get the impression that the focal point of today’s adventure filmes – “action movies” – is that other primitive symbol of modern civilisation: the explosion of a car or a plane. Or rather, of a huge fuel tank that is the archetype of the religious movement of our times.’ This relationship between modern life and the explosion appears both literally and metaphorically throughout the twentieth century, from the Futurist eulogising of war to the ‘sudden liberations of great quantities of energy’ in the performances of the Gutai group or the Viennese Actionists, not to mention the fragmented forms of Dadaism, the self-destructive machines of Jean Tinguely or the ‘blown-up’ imagery of pop art.” p11 (my numbering)

“The cinema, whose birth was contemporary with that of the locomotive, handles narrative spontaneously like ‘a train passing in the night’, to quote Francois Truffaut; that is to say, like narrative rails organising the passage of images. What better metaphor for history as twentieth-century modernims perceived it than that of the train? Rosalind Krauss stated: ‘Perspective is the visual correlative of causality: things arrange themselves one after the other according to the rules.’ If pictoral modernism has done away with the monocular, centrist (spatial) perspective, it has substituted for it ‘a temporal perspective, i.e., history’. There still remains the question, a far more difficult one, of whether the era of the worldwide web and global hypermobility is really giving rise to new ways of perceiving human space. p13 “In a world every inch of which is under satellite surveillance, territory takes the form of a construction or a journey”.

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