The media network has its idols, but its principal idol is its own style which generates an aura of winning and leaves the rest in darkness. It recognizes neither pity nor pitilessness.

The essence of songs is neither vocal nor cerebral but organic. We follow songs in order to be enclosed. We find ourselves inside a message. The unsung, impersonal world remains outside, on the other surface of a placenta. All songs, even when their content or rendering is strongly masculine, operate maternally.

Traditional Chinese art looked at the Earth from a Confucian mountain top; Japanese art looked closely around screens; Italian Renaissance art surveyed conquered nature through the window or door-frame of a palace. For the Cro-Magnons, space is a metaphysical arena of continually intermittent appearances and disappearances.

All publicity works upon anxiety.

A drawing is essentially a private work, related only to the artist's own needs; a 'finished' statue or canvas is essentially a public, presented work - related far more directly to the demands of communication.

All nationalisms are at heart deeply concerned with names: with the most immaterial and original human invention. Those who dismiss names as a detail have never been displaced; but the peoples on the peripheries are always being displaced. That is why they insist upon their continuity - their links with their dead and the unborn.

'Fahrenheit 9/11' is astounding. Not so much as a film - although it is cunning and moving - but as an event.