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We are no longer dealing with historical events, but with places of collapse.

Jean Baudrillard

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Jean Baudrillard
Age: 77 †
Born: 1929
Born: July 29
Died: 2007
Died: March 6
Anthropologist
Literary Critic
Philosopher
Photographer
Professor
Sociologist
Translator
Rheims
Ḻāṉ Pōtriyā
Collapse
Dealing
Historical
Places
Events
Longer

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Like dreams, statistics are a form of wish fulfillment.
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Driving is a spectacular form of amnesia. Everything is to be discovered, everything to be obliterated.
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The sumptuous age of stars and images is reduced to a few artificial tornado effects, pathetic fake buildings, and childish tricks which the crowd pretends to be taken in by to avoid feeling too disappointed. Ghost towns, ghost people. The whole place has the same air of obsolescence about it as Sunset or Hollywood Boulevard.
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Imagine the amazing good fortune of the generation that gets to see the end of the world. This is as marvelous as being there in the beginning.
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The desert is a natural extension of the inner silence of the body.
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For the heavenly fire no longer strikes depraved cities, it is rather the lens which cuts through ordinary reality like a laser, putting it to death.
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Prophesying catastrophe is incredibly banal. The more original move is to assume that it has already happened.
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Democracy is the menopause of Western society, the Grand Climacteric of the body social. Fascism is its middle-aged lust.
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Art does not die because there is no more art. It dies because there is too much.
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Postmodernity is said to be a culture of fragmentary sensations, eclectic nostalgia, disposable simulacra, and promiscuous superficiality, in which the traditionally valued qualities of depth, coherence, meaning, originality, and authenticity are evacuated or dissolved amid the random swirl of empty signals.
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All societies end up wearing masks.
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I hesitate to deposit money in a bank. I am afraid I shall never dare to take it out again
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History that repeats itself turns to farce. Farce that repeats itself turns to history.
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The sickly cultural pathos which the whole of France indulges in, that fetishism of the cultural heritage.
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The desert is no longer a landscape, it is a pure form produced by the abstraction of all others.
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the neighborhood is nothing but a protective zone- remodeling, disinfection, a snobbish and hygenic design- but above all in a figurative sense: it is a machine for making emptiness.
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Every woman is like a time-zone. She is a nocturnal fragment of your journey. She brings you unflaggingly closer to the next night.
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Neither dead nor alive, the hostage is suspended by an incalculable outcome. It is not his destiny that awaits for him, nor his own death, but anonymous chance, which can only seem to him something absolutely arbitrary. He is in a state of radical emergency, of virtual extermination.
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Smile and others will smile back. Smile to show how transparent, how candid you are. Smile if you have nothing to say. Most of all, do not hide the fact you have nothing to say nor your total indifference to others. Let this emptiness, this profound indifference shine out spontaneously in your smile.
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Nothing is wholly obvious without becoming enigmatic. Reality itself is too obvious to be true .
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