If we look at the Gulf War, the same is also true. Indeed, my work on the logistics of perception and the Gulf War was so accurate that I was even asked to discuss it with high-ranking French military officers. They asked me: 'how is it that you wrote that book in 1984 and now it's happening for real?' My answer was: 'the problem is not mine but yours: you have not been doing your job properly!'

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.

The speed of light does not merely transform the world. It becomes the world. Globalization is the speed of light.

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

If we look at the Gulf War, the same is also true. Indeed, my work on the logistics of perception and the Gulf War was so accurate that I was even asked to discuss it with high-ranking French military officers. They asked me: 'how is it that you wrote that book in 1984 and now it's happening for real?' My answer was: 'the problem is not mine but yours: you have not been doing your job properly!'

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

France and Germany were opposed to a maritime blockade of the Adriatic Sea without a mandate from the United Nations (UN). So, what we witnessed in Kosovo was an extraordinary war, a war waged solely with bombs from the air.