By Paul Virilio
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Additional resources for Crepuscular dawn
It no longer accepted the tyranny of the right angle. Entering into topology—you can say into “the fold,” even if Gilles Deleuze had not yet written his essay on the baroque at the 40 VIRILIO / LOTRINGER time—we did a lot of work on it. We had a lot of choices to play with, but they were dependent on the experiment. We had wooden structures, and we were going to live on top of them ... It’s like the fair you mentioned earlier. Were they temporary structures? Yes. They were suspended up there. And what kind of model did you have in mind?
Because we are in a populating period. Once again in the history of mankind we have great migratory movements, not circumstantial but structural, and we are entering one of these great periods. If you look at the recent history of Europe—Europe is the continent of sedentariness, contrary to Africa, contrary to Asia, contrary even to America—you realize that the nineteenth century opposes the city to the country; the twentieth century opposes the city to the suburb (we’re still there); and the twenty-first century opposes the resident to the nomad.
You know that already. It’s been recorded in the histories of the 46 VIRILIO / LOTRINGER May ’68 period: when I took the Odéon Theater in Paris with JeanJaques Lebel, with Julian Beck and the people from Living Theater, I passed into history. Now I don’t mean, of course, that I have become a historical figure. Not at all. I mean that I moved into time. Up to that point I had worked on topology, on the notion of oblique space, the fact of going beyond orthogonality, everything which is exploding today thanks to computer technology—it’s complex space in the manner of Frank Gehry and others—I was wrapped up in that stuff, and the question of time did not exist, even if I had some feeling for time through relativity, the spacetime continuum.