The globally constituted accident can be compared to what people who work at the stock exchange call 'systemic risk'.

It was a total and absolute surprise to find out that what was inside the concentration camps was a sea of skeletons. What is clear to me, therefore, is that while the tragedy of war grinds on, the contemporary aesthetics of the tragedy seem not only confused but, in some way, suspicious.

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.

The high level of the technologies used during the Gulf War makes this conflict quite unique, but the very process of de-realization of the war started in 1945. War occured in Kuwait, but it also occured on the screens of the entire world. The site of defeat or victory was not the ground, but the screen.

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.

I am very interested in and that is what Sun Tzu in his ancient Chinese text calls The Art of War.

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.