We are all hostages, and we are all terrorists. This circuit has replaced that other one of masters and slaves, the dominating and the dominated, the exploiters and the exploited. It is worse than the one it replaces, but at least it liberates us from liberal nostalgia and the ruses of history.

It is always the same: once you are liberated, you are forced to ask who you are.

The sad thing about artificial intelligence is that it lacks artifice and therefore intelligence.

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

The sickly cultural pathos which the whole of France indulges in, that fetishism of the cultural heritage.

Deep down, no one really believes they have a right to live. But this death sentence generally stays tucked away, hidden beneath the difficulty of living. If that difficulty is removed from time to time, death is suddenly there, unintelligibly.

If you say, I love you, then you have already fallen in love with language, which is already a form of break up and infidelity.