In Technologized Desire, the cultural pathologies that mark the panic ecstasy and terminal doom of the posthuman condition are powerfully rehearsed in the language of science fiction. Here, images of prosthetic subjects, zombies, cut-ups and armies of the medieval dead actually slip off the pages of literature to become the terminal hauntology of these technologized times. Technologized Desire is nothing less than a brilliant data screen of future memories. Read it well: it's a survival guide for bodies flatlined by the speed of accelerating technology.

Elvis' disappearing body is like a flashing event horizon at the edge of the black hole that is America today.

In Technologized Desire, the cultural pathologies that mark the panic ecstasy and terminal doom of the posthuman condition are powerfully rehearsed in the language of science fiction. Here, images of prosthetic subjects, zombies, cut-ups and armies of the medieval dead actually slip off the pages of literature to become the terminal hauntology of these technologized times. Technologized Desire is nothing less than a brilliant data screen of future memories. Read it well: it's a survival guide for bodies flatlined by the speed of accelerating technology.

Just like those other black holes from outer space, Hollywood is postmodern to this extent: it has no center, only a spreading dead zone of exhaustion, inertia, and brilliant decay.

The future of America may or may not bring forth a black President, a woman President, a Jewish President, but it most certainly always will have a suburban President. A President whose senses have been defined by the suburbs, where lakes and public baths mutate into back yards and freeways, where walking means driving, where talking means telephoning, where watching means TV, and where living means real, imitation life.

Shopping malls are liquid TVs for the end of the twentieth century. A whole micro-circuitry of desire, ideology and expenditure for processed bodies drifting through the cyber-space of ultracapitalism.