GPS not only played a large and delocalizing role in the war in Kosovo but is increasingly playing a role in social life.

It was a total and absolute surprise to find out that what was inside the concentration camps was a sea of skeletons. What is clear to me, therefore, is that while the tragedy of war grinds on, the contemporary aesthetics of the tragedy seem not only confused but, in some way, suspicious.

A museum of accidents is needed. This museum already exists, it's television.

From the original watchtower through the anchored balloon to the reconnaissance aircraft and remote sensing-satellites, one and the same function has been indefinitely repeated, the eye's function being the function of a weapon.

Art has become more than painting, sculpture or music: art is more than Van Gogh painting a landscape or Wagner composing an opera. The whole of reality itself has become the object of art.

For the strategies of deception are concerned with deceiving an opponent through the logistics of perception. But these strategies are not merely aimed at the Serbs or the Iraqis but also at all those who might support [Slobodan] Milosevic or Saddam Hussein.

GPS are everywhere. They are in cars. They were even in the half-tracks that, initially at least, were going to make the ground invasion in Kosovo possible.