Paul Virilio is a manly kind of name. Here he is on speed, as it were (my emphasis). Read it as fast as you can:
Paul Virilio's treatise The Aesthetics of Disappearance -- more virtuosic meditation than traditional scholarship -- considers the motivations and repercussions of a contemporary society fascinated by speed. Speed, or velocity, is understood literally as space (distance) mapped against time (duration), reaching its absolute limit in light, which collapses both space and time.
Speed and velocity aren't the same thing, but moving swiftly on:
Indeed, Virilio is attuned precisely to the culturally correlated obsession with moving (driving, flying, riding) at high speeds and viewing (watching) moving (light) images. At this limit, light (absolute speed) dissolves the implicit dualism suspended between these phenomena, that of embodied motion and that of disembodied stimulus, anticipating a neuro-psychological event effectuated by the simultaneous or synchronic discharge of neurons to the brain resulting in an epileptic, or, in Virilio's terms, picnoleptic, seizure. Such lapses are quite common in maturing children whose developing psychic mechanisms are often momentarily incapable of assimilating the prevailing contingency of outside experience, and in adults during their waking moments -- Virilio's example, which opens the book, is of dropping one's morning coffee, a lapse in consciousness for which one is fundamentally unaccountable. Crucial to these two moments, each operating synecdochly, is their structural place at the point of passage between radical binaries: unconscious sleep and conscious awareness; unconscious infancy and conscious adulthood. Speed, then, by inducing such sensory overload, supplants the project of reason (mature consciousness) by eliding observable difference, situating the observer in a perch between things -- between binaries -- the observer himself marked, en passant, as indifferent. Indeed, the world sped up (or the world from the vantage of speed) is experienced as multiplicitous variety irreducible to diachronic singularity or topographical proximity, history, discourse, context, obfuscated for the experience of pure, undifferentiated surface: light.
I was speed-reading with no trouble, until I stumbled over "synecdochly". I can only say part of it, but not all of it - will that do?
It's an il Duce who fouls his own Naples on Larry Summers' Eve.