"...Behind the vision machine and the failure of the plastic arts, I believe there is a substitution. It has to do with digital technology. Digital technology is a filter that is going to modify perception by means of generalized morphing, and this in real time. We are faced with something which is more than the failure of the traditional static arts, both visual and plastic: we are faced with the failure of the analogical in favor of calculation and the numerology of the image. Every sensation is going to be digitized or digitalized. We are face with the reconstruction of the phenomenology of perception according to the machine. The vision machine is not simply the camera that replaces Monet's eye - "An eye, but what an eye!" said C lemenceau - no, now it's a machine that's reconstructing sensations pixel by pixel and bits by bits. Not just visual or auditory sensations, the audio-visible, but also olfactory sensation, tactile sensations. We are faced with a reconstruction of the sensas." pp. 65-66
Lotringer, Sylvère, and Paul Virilio. The Accident of Art (Semiotext(E) / Foreign Agents). Semiotext(e), 2005.
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Virilio speaks of the digital mode of perception as a new kind of human anatomy - the new set of eyes that reconstructs reality. Machines are made as extensions to our beings, but what is unique about the trend of digital perception now is the emergence of a new organism, a new filmmaker, almost, that has to be taken into account when one creates his narrative.
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