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.

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

Even among the elite, in government circles, technological culture is somewhat deficient.

As I pointed out in The Art of the Motor and elsewhere, from now on we need two watches: a wristwatch to tell us what time it is and a GPS watch to tell us what space it is!

Moreover, it is clear that the era of the information bomb, the era of aerial warfare, the era of the RMA and global surveillance is also the era of the integral accident.

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

War is cinema, and cinema is war