Thus my research on dromology, on the logic and impact of speed, necessarily implies the study of the organisation of territory.

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 repeat what I suggest in my book [ Strategie de la deception]. The first deterrence, nuclear deterrence, is presently being superseded by the second deterrence: a type of deterrence based on what I call 'the information bomb' associated with the new weaponry of information and communications technologies.

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.

Indeed, the truth, the reality of the Kosovo War, was actually hidden behind all the 'humanitarian' faces.

For me, then, territory and movement are linked. For instance, territory is controlled by the movements of horsemen, of tanks, of planes, and so on.

Under the Occupation, we in Nantes were denied access to the coast of the Atlantic Ocean. It was therefore not until after the War was over that I saw the sea for the first time, in the vicinity of St Nazaire. It was there that I discovered the bunkers.