I believe that the politics of intervention and the Kosovo war prompted a fresh resumption of the arms race worldwide.

You cannot dissociate birth from death, creation from destruction, good from evil. Thus any art is a form of drama standing between the two extreme poles of birth and death, just like life is drama. This is not sad, because to be alive means to be mortal, to pass through.

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

Nowadays, the tragedy of war is mediated through technology. It is no longer mediated through a human being with moral responsibilities.

If you look at the Gulf War or new military technologies, they are moving towards cyberwars. Most video-technologies and technologies of simulation have been used for war. For example, video was created after the Second World War in order to radio-control planes and aircraft carriers. Thus video came with the war. It took twenty years before it became a means of expression for artists.

What I also discovered was that, during the War, the whole of Europe had become a fortress. And thus I saw to what extent an immense territory, a whole continent, had effectively been reorganized into one city, and just like the cities of old. From that moment on, I became more interested in urban matters, in logistics, in the organisation of transport, in maintenance and supplies.

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!