Jean Baudrillard

Take your desires for reality!" can be understood as the ultimate slogan of power.

Why did this [Vietnam] war, so hard, so long, so ferocious, vanish from one day to the next as if by magic?Why did this American defeat (the largest reversal in the history of the USA) have no internal repercussions in America? If it had really signified the failure of the planetary strategy of the United States, it would necessarily have completely disrupted its internal balance and the American political system.

But what becomes of the divinity when it reveals itself in icons, when it is multiplied in simulacra? Does it remain the supreme power that 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?

But this aura of an artificial menace was still necessary to conceal that they [Presidents] were no longer anything but the mannequins of power. Formerly, the king (also the god) had to die, therein lay his power. Today, he is miserably forced to feign death, in order to preserve the blessing of power. But it is lost.

The media represents world that is more real than reality that we can experience. People lose the ability to distinguish between reality and fantasy. They also begin to engage with the fantasy without realizing what it really is.They seek happiness and fulfilment through the simulacra of reality, e.g. media and avoid the contact/interaction with the real world.

What is man if the signs that predate him have such power? A human race has to invent sacrifices equal to the natural cataclysmic order that surrounds it.

Even the Middle Ages, which condemned and punished animals in due form, was in this way much closer to them than we are. They held them to be guilty: which was a way of honoring them. We take them for nothing, and it is on this basis that we are "human" with them.

The real joy of writing lies in the opportunity of being able to sacrifice a whole chapter for a single sentence, a complete sentence for a single word...

The only benefit of a Campbell's soup can by Andy Warhol (and it is an immense benefit) is that it releases us from the need to decide between beautiful and ugly, between real and unreal, between transcendence and immanence.

We find the same situation in the economy. On the one hand, the battered remnants of production and the real economy; on the other, the circulation of gigantic amounts of virtual capital. But the two are so disconnected that the misfortunes which beset that capital _ stock market crashes and other financial debacles _ do not bring about the collapse of real economies any more. It is the same in the political sphere: scandals, corruption and the general decline in standards have no decisive effects in a split society, where responsibility (the possibility that the two parties may respond to each other) is no longer part of the game.This paradoxical situation is in a sense beneficial: it protects civil society (what remains of it) from the vicissitudes of the political sphere, just as it protects the economy (what remains of it) from the random fluctuations of the Stock Exchange and international finance. The immunity of the one creates a reciprocal immunity in the other _ a mirror indifference. Better: real society is losing interest in the political class, while nonetheless availing itself of the spectacle. At last, then, the media have some use, and the __ociety of the spectacle_ assumes its full meaning in this fierce irony: the masses availing themselves of the spectacle of the dysfunctionings of representation through the random twists in the story of the political class__ corruption. All that remains now to the politicians is the obligation to sacrifice themselves to provide the requisite spectacle for the entertainment of the people.

Democracy is the menopause of Western society, the Grand Climacteric of the body social. Fascism is its middle-aged lust.

At the fourth, the fractal (or viral, or radiant) stage of value, there is no point of reference at all, and value radiates in all directions, occupying all interstices, without reference to anything whatsoever, by virtue of pure contiguity. At the fractal stage there is no longer any equivalence, whether natural or general. Properly speaking there is now no law of value, merely a sort of epidemic of value, a sort of general metastasis of value, a haphazard proliferation and dispersal of value. Indeed, we should really no longer speak of 'value' at all, for this kind of propagation or chain reaction makes all valuation possible.

To love someone is to isolate him from the world, wipe out every trace of him, dispossess him of his shadow, drag him into a murderous future. It is to circle around the other like a dead star and absorb him into a black light.

What is a society without a heroic dimension?

There is nothing funny about Halloween. This sarcastic festival reflects, rather, an infernal demand for revenge by children on the adult world.

A negative judgment gives you more satisfaction than praise, provided it smacks of jealousy.

Cowardice and courage are never without a measure of affectation. Nor is love. Feelings are never true. They play with their mirrors.

The sad thing about artificial intelligence is that it lacks artifice and therefore intelligence.