This false distance is present everywhere: in spy films, in Godard, in modern advertising, which uses it continually as a cultural allusion. It is not really clear in the end whether this 'cool' smile is the smile of humour or that of commercial complicity. This is also the case with pop, and its smile ultimately encapsulates all its ambiguity: it is not the smile of critical distance, but the smile of collusion

Terror is as much a part of the concept of truth as runniness is of the concept of jam. We wouldn't like jam if it didn't, by its very nature, ooze. We wouldn't like truth if it wasn't sticky, if, from time to time, it didn't ooze blood.

It is exciting to hear one of your fondest ideas formulated in one fell swoop, better than you could have done yourself.

The era of the political was one of anomie: crisis, violence, madness and revolution. The era of the trans-political is that of anomaly: an aberration of no consequence, contemporaneous with the event of no consequence.

The only thing worse than being bored is being boring.

Perhaps our eyes are merely a blank film which is taken from us after our deaths to be developed elsewhere and screened as our life story in some infernal cinema or dispatched as microfilm into the sidereal void.

A society which allows an abominable event to burgeon from its dung heap and grow on its surface is like a man who lets a fly crawl unheeded across his face or saliva dribble from his mouth -- either epileptic or dead.