In this way, it seems to me that, since 1984, my book on the logistics of perception has been proved totally correct. For instance, almost every conflict since then has involved the logistics of perception, including the war in Lebanon, where Israel made use of cheap drones in order to track Yasser Arafat with the aim of killing him.

The cinema was certainly an art, but television can't be, because it is the museum of accidents. In other words, its art is to be the site where all accidents happen. But that's its only art.

I have said many times before, interactivity is the equivalent of radioactivity. For interactivity effects a kind of disintegration, a kind of rupture.

Because Man is God, and God is Man, the world is nothing but the world of Man - or Woman.

In this way, history now inscribes itself in real time, in the 'live', in the realm of interactivity. Consequently, history no longer resides in the extension of territory.

The ideals of technological culture remain underdeveloped and therefore outside of popular culture and the practical ideals of democracy. This is also why society as a whole has no control over technological developments. And this is one of the gravest threats to democracy in the near future. It is, then, imperative to develop a democratic technological culture.

Many people question their religious identity today, not necessarily by thinking of converting to Judaism or to Islam: it's just that technologies seriously challenge the status of the human being. All technologies converge toward the same spot, they all lead to a Deus ex Machina, a machine-God.