“This country is without hope. Even its garbage is clean, its trade lubricated, its traffic pacified. The latent, the lacteal, the lethal - life is so liquid, the signs and messages are so liquid, the bodies and the cars are so fluid, the hair so blond, and the soft technologies so luxuriant, that a European dreams of death and murder, of suicide motels, of orgies and cannibalism to counteract the perfection of the ocean, of the light, of that insane ease of life, to counteract the hyperreality of everything here.”

“Never resist a sentence you like, in which language takes its own pleasure and in which, after having abused it for so long, you are stupefied by its innocence.”

“…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.”

“Today...no performance can be without its control screen video...its goal is to be hooked up to itself...the mirror phase has given way to the video phase. What develops around the video or stereo culture is not a narcissistic imaginary, but an effect of frantic self-referentiality, a short-circuit which immediately hooks up like with like, and, in doing so, emphasizes their surface intensity and deeper meaninglessness.”

“There is nothing more mysterious than a TV set left on in an empty room. It is even stranger than a man talking to himself or a woman standing dreaming at her stove. It is as if another planet is communicating with you. Suddenly the TV reveals itself for what it really is; a video of another world, ultimately addressed to no one at all, delivering its own message.”

“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.”

“Philosophy leads to death, sociology leads to suicide.”