While the human gaze becomes more and more fixed, losing some of its natural speed and sensitivity, photographic shots, on the contrary, become even faster.

Cyberspace is an accident of the real. Virtual reality is the accident of reality itself.

You cannot dissociate birth from death, creation from destruction, good from evil. Thus any art is a form of drama standing between the two extreme poles of birth and death, just like life is drama. This is not sad, because to be alive means to be mortal, to pass through.

For me, the Asian financial crisis of 1998 and the war in Kosovo in 1999 are the prelude to the integral accident.

The simulator is the stage in-between television and virtual reality, a moment, a phase. The simulator is a moment that leads to cyberspace, that is to say, to the process because of which we now have two bottles instead of one. I might not see this virtual bottle, but I can feel it. It is settled within reality. This explains why the word virtual reality is more important than the word cyberspace, which is more poetic.

We are entering a world where there won't be one but two realities, just like we have two eyes or hear bass and treble tones, just like we now have stereoscopy and stereophony: there will be two realities: the actual, and the virtual. Thus there is no simulation, but substitution. Reality has become symmetrical. The splitting of reality in two parts is a considerable event which goes far beyond simulation.

May I remind you that the bombs that were dropped by the B-2 plane on the Chinese embassy  or at least that is what we were told  were GPS bombs. And the B-2 flew in from the US.