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A Study on Stereo-Reality as a Dialectic Image of Reality and Virtual Reality : Paul Virilio’s Film Media Theory
The Journal of Aesthetics and Science of Art
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Via human history, the ever changing method of the miserable partnership between science and war hasled to the realization of a peak; that is visual media. Although technology represents scientific objectivity and visual media represents mysticism, these opposites reciprocally develop simultaneously. The film media theory of Paul Virilio is analysis of the current age and also the meaning of perception/consciousness when in the hands of governments and ruling states. If we follow the above notion, film equipment technology serves the expansion of the human consciousness by combining Euclidean geometry with the uneuclidean geometry. Virilio traces in a detailed fashion the nature of the velocity in which technology has accelerated and through the cogitation of the nature of film. Virilio presents the affinity between characteristics of film media and the light. This thesis will analysis the style of Virilio’s film media theory in the form magical realism. This style follows films that violate the laws of physics and through a coupling scheme, the illusion of image becomes established and through this transforms human consciousness. How the perception of media and one’s control sways will be clearly detailed through magical realism in film. Film’s phantasm uses optics technology when considering the audience, to create an oblique experience which results in effects binded by science technology. Yet the perspective process is not just generally the perception possibility. The general mental state all effects change. Also if reality’s image is to have conscious system and the virtual image are contradictory when attempting consciousness the cogitation possibility of human beings therefore would become disabled. Media aims to reconstruct and to inhabit human direct consciousness into an intermediate consciousness. This aim is established and is controlled by the vision machine which inhabits the movement of the camera and therefore incorporates the characteristics of film space/world. From this state, if we were to observe from the perspective of the objective camera, the audience will identify the vision machine much more rapidly. Also, the subject of perspective is something anyone can know, the subject of experience in the world can be identified clearly. Being conscious of the world of mystical realism is similar to being conscious of the modified world. The camera simultaneously makes conscious of reality and affects reality and shows a physical reality. Stereo-reality being the basis of magical reality, the camera not being conscious cannot exist. In that world, epistemology is the fundamental of the camera’s conscious. This world is not recognized by the human conscious bit in the consciousness of film media, where it is the fundamental. Through indirect consciousness, the altered reality to reach consciousness, the method that is nothing more than fictional violence. Human recognition through error is represented though the destruction of the human world. Virilio explains that this false violence through transformation of film media and through the violation method presents mimesis. Film media is the human’s imaginary possibility and is inclined in one’s own form. Film media through memesis, an irrational reality, offers not only social commentary but also resistance, mimesis therefore will become films aesthetical meaning.
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