There is nothing more natural than to consider everything as starting from oneself, chosen as the center of the world; one finds oneself thus capable of condemning the world without even wanting to hear its deceitful chatter.

He will essentially follow the language of the spectacle, for it is the only one he is familiar with.

Where the real world changes into simple images, the simple images become real beings and effective motivations of hypnotic behavior.

With the destruction of history, contemporary events themselves retreat into a remote and fabulous realm of unverifiable stories, uncheckable statistics, unlikely explanations and untenable reasoning.

Art need no longer be an account of past sensations. It can become the direct organization of more highly evolved sensations. It is a question of producing ourselves, not things that enslave us.

The more he identifies with the dominant images of need, the less he understands his own life and his own desires. The spectacle’s estrangement from the acting subject is expressed by the fact that the individual’s gestures are no longer his own; they are the gestures of someone else who represents them to him.

What is false creates taste, and reinforces itself by knowingly eliminating any possible reference to the authentic. And what is genuine is reconstructed as quickly as possible, to resemble the false.