“The futility of everything that comes to us from the media is the inescapable consequence of the absolute inability of that particular stage to remain silent. Music, commercial breaks, news flashes, adverts, news broadcasts, movies, presenters—there is no alternative but to fill the screen; otherwise there would be an irremediable void. We are back in the Byzantine situation, where idolatry calls on a plethora of images to conceal from itself the fact that God no longer exists. That's why the slightest technical hitch, the slightest slip on the part of a presenter becomes so exciting, for it reveals the depth of the emptiness squinting out at us through this little window.”

“But what becomes of the divinity when it reveals itself in icons, when it is simply incarnated in images as a visible theology? Or does it volatilize itself in the simulacra that, alone, deploy their power and pomp of fascination - the visible machinery of icons substituted for the pure and intelligible Idea of God? This is precisely what was feared by Iconoclasts, whose millennial quarrel is still with us today. This is precisely because they predicted this omnipotence of simulacra, the faculty simulacra have of effacing God from the conscience of man, and the destructive, annihilating truth that they allow to appear - that deep down God never existed, even God himself was never anything but his own simulacra - from this came their urge to destroy the images. If they could have believed that these images only obfuscated or masked the Platonic Idea of God, there would have been no reason to destroy them. One can live with the idea of distorted truth. But their metaphysical despair came from the idea that the image didn't conceal anything at all.”

“Perhaps our eyes are merely a blank film which is taken from us after our deaths to be developed elsewhere and screened as our life story in some infernal cinema or dispatched as microfilm into the sidereal void.”

“Whence the possibility of an ideological analysis of Disneyland (L. Marin did it very well in Utopiques, jeux d'espace [Utopias, play of space]): digest of the American way of life, panegyric of American values, idealized transposition of a contradictory reality. Certainly. But this masks something else and this "ideological" blanket functions as a cover for a simulation of the third order: Disneyland exists in order to hide that it is the "real" country, all of "real" America that is Disneyland (a bit like prisons are there to hide that it is the social in its entirety, in its banal omnipresence, that is carceral). Disneyland is presented as imaginary in order to make us believe that the rest is real, whereas all of Los Angeles and the America that surrounds it are no longer real, but belong to the hyperreal order and to the order of simulation. It is no longer a question of a false representation of reality (ideology) but of concealing the fact that the real is no longer real, and thus of saving the reality principle.”

“…sense of futility that comes from doing anything merely to prove to yourself that you can do it: having a child, climbing a mountain, making some sexual conquest, committing suicide.The marathon is a form of demonstrative suicide, suicide as advertising: it is running to show you are capable of getting every last drop of energy out of yourself, to prove it… to prove what? That you are capable of finishing. Graffiti carry the same message. They simply say: I’m so-and-so and I exist! They are free publicity for existence.Do we continually have to prove to ourselves that we exist? A strange sign of weakness, harbinger of a new fanaticism for a faceless performance, endlessly self-evident.”

“In the past, we had objects to believe in—objects of belief. These have disappeared. But we also had objects not to believe in, which is just as vital a function. Transitional objects, ironic ones, so to speak, objects of our indifference, …Ideologies played this role reasonably well. These, too, have disappeared. And we survive only by a reflex action of collective credulity, which consists not only in absorbing everything put about under the heading of news or information, but in believing in the principal and transcendence of information.”

“But it must be seen that the term 'catastrophe' has this 'catastrophic' meaning of the end and annihilation only in a linear vision of accumulation and productive finality that the system imposes on us. Etymologically, the term only signifies the curvature, the winding down to the bottom of a cycle leading to what can be called the 'horizon of the event,' to the horizon of meaning, beyond which we cannot go. Beyond it, nothing takes place that has meaning for us - but it suffices to exceed this ultimatum of meaning in order that catastrophe itself no longer appear as the last, nihilistic day of reckoning, such as it functions in our current collective fantasy.”