War and Cinema, is one of his most famous and successful works. In this Virilio has applied the idea of ‘substitution’ while elaborating over different kinds of reality that have appeared since the beginning of time. It is quiet similar to Baudrillard’s (Baudrillard)concept of ‘simulation’.Virilio’s primary concern was the connection between war, cinematic substitution and what he claimed to be the ‘logistics of perception’. (Clausewitz)The significance of the idea of the logistics of perception can also be perceived in the context of ‘post’ and ‘hyper’ modern wars like the Persian Gulf War of 1991 and the Kosovo War of 1998-9.
For in these kinds of wars not only do settled topographical features go invisible during war but so does the basic architecture that makes up these battlegrounds. Indeed, the military high command has a very limited choice. It can either entomb or encapsulate itself within the subterranean bunkers to eradicate what one of Coppola’s helicopters in the film Apocalypse Now named as ‘Death from Above’. (Baudrillard)Or, alternatively, it can take to the clouds with the intention of taking over what Virilio has dubbed in the CTHEORY interview, ‘orbital space’. While demarcating the logistics of perception in which the world vanishes in a war and where war phenomenon disappears from the eyes of the world, Virilio had been successful in critiquing in analyzing the association between the war, substitution, human and synthetic perception since the 1980s. This can be seen in some of his major texts such as L’ecran du desert: chroniques de guerre .Virilio derives his interests in war, cinema from military perception in warfare. According to various authors it remains quiet comparable to civilian perception and, particularly to the art of filmmaking. (Armitage)
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