“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.”

“It is the task of radical thought, since the world is given to us in unintelligibility, to make it more unintelligible, more enigmatic, more fabulous.”

“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?”

“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.”

“Like dreams, statistics are a form of wish fulfillment.”

“There is no aphrodisiac like innocence”

“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.... That’s why the slightest technical hitch, the slightest slip on the part of the presenter becomes so exciting, for it reveals the depth of the emptiness squinting out at us through this little window.”

“Television knows no night. It is perpetual day. TV embodies our fear of the dark, of night, of the other side of things.”