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.

Art is drama. Any relationship to art is also a relationship to death.

The body is not simply the combination of dance, muscles, body-building, strength and sex: it is a universe.

Art is alive because it is mortal.

Of course, one of the most disturbing features is the fact that while we have had roughly a ten year pause in the arms race where a lot of good work was done, this has now come to an end. For what we are seeing at the present time are new developments in anti-missile weaponry, drones, and so on.

I am always concerned with ideas of territory and movement. Indeed, my first book after Bunker Archeology was entitled L'insecurite du territoire (1976).

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