In industrialized warfare, where the representation of events outstripped the presentation of facts, the image was starting to gain sway over the object, time over space. Soon a conflict of strategic and political interpretation would ensue, with radio and then radar completing the picture.

Newshounds are people with mini-video cameras, people who are continually taking pictures in the street and sending the tapes in to CNN. These Newshounds are a sort of pack of wolves, continually looking for quarry, but quarry in the form of images.

To someone like Zurbaran, who paints still lifes, lemons and pears are the objects of art. But to the electronics engineer who works on the technologies of virtual reality, the whole reality has become the object of art, with a possibility to substitute the virtual with the real.

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

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.

For the US, the Kosovo War was a success because it encouraged the development of the Pentagon's 'Revolution in Military Affairs' (RMA). The war provided a test site for experimentation, and paved the way for emergence of what I call in Strategie de la deception 'the second deterrence'.

Television exposes the world to the accident. The world is exposed to accidents through television.