The Perfect Crime Quotes

“It is the simulacrum which ensures the continuity of the real today, the simulacrum which now conceals not the truth, but the fact that there isn’t any—that is to say, the continuity of the nothing... Well, that is paradise: we are beyond the Last Judgment, in immortality. The only problem is to survive there. For there the irony, the challenging, the anticipation, the maleficence come to an end, as inexorably as hope dies at the gates of hell. And it is indeed there that hell begins, the hell of the unconditional realization of all ideas, the hell of the real.”
― Jean Baudrillard, The Perfect Crime

“It is the simulacrum which ensures the continuity of the real today, the simulacrum which now conceals not the truth, but the fact that there isn’t any—that is to say, the continuity of the nothing... Well, that is paradise: we are beyond the Last Judgment, in immortality. The only problem is to survive there. For there the irony, the challenging, the anticipation, the maleficence come to an end, as inexorably as hope dies at the gates of hell. And it is indeed there that hell begins, the hell of the unconditional realization of all ideas, the hell of the real.”
― Jean Baudrillard, The Perfect Crime

“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.”
― Jean Baudrillard, The Perfect Crime

“What we ourselves have fallen victim to -- and by no means allegorically -- is a virus destructive of otherness. And we may predict that -- even more than in the case of AIDS -- no science will be able to protect us from this viral pathology which, by dint of antibodies and immune strategies, aims at the extinction, pure and simple, of the other. Though, for the moment, this virus does not affect the biological reproduction of the species, it affects an even more fundamental function, that of the symbolic reproduction of the other, favouring, rather, a cloned, asexual reproduction of the species-less individual. For to be deprived of the other is to be deprived of sex, and to be deprived of sex is to be deprived of symbolic belonging to any species whatsoever.”
― Jean Baudrillard, The Perfect Crime

“If the body is no longer a site of otherness but of identification, then we have urgently to become reconciled with it, repair it, perfect it, turn it into an ideal object. Everyone treats their bodies the way men treat women in projective identification: they invest them as a fetish, making an autistic cult of them, subjecting them to a quasi-incestuous manipulation. And it is the body's resemblance to its model which becomes a source of eroticism and 'white' seduction -- in the sense that it effects a kind of white magic of identity, as opposed to the black magic of otherness.

This is how it is with body-building: you get into your body as you would into a suit of nerve and muscle. The body is not muscular, but muscled. It is the same with the brain and with social relations or exchanges: body-building, brainstorming, word-processing. Madonna is the ideal specimen of this, our muscled Immaculate Conception, our muscular angel who delivers us from the weaknesses of the body (pity the poor shade of Marilyn!).

The sheath of muscles is the equivalent of character armour. In the past, women merely wrapped themselves in their image and their finery -- Freud speaks of those people who live with a kind of inner mirror, in a fleshly, happy self-reference. That narcissistic ideal is past and gone; body-building has wiped it out and replaced it with a gymnastic Ego-Ideal -- cold, hard, stressed, artificial self-reference. The construction of a double, of a physical and mental identity shell. Thus, in `body simulation', where you can animate your body remotely at any moment, the phantasy of being present in more than one body becomes an operational reality. An extension of the human being. And not a metaphorical or poetic extension, as in Pessoa's heteronyms, but quite simply a technical one.”
― Jean Baudrillard, The Perfect Crime

“Such are the incalculable effects of that negative passion of indifference, that hysterical and speculative resurrection of the other.

Racism, for example. Logically, it should have declined with the advance of Enlightenment and democracy. Yet the more hybrid our cultures become, and the more the theoretical and genetic bases of racism crumble away, the stronger it grows. But this is because we are dealing here with a mental object, an artificial construct, based on an erosion of the singularity of cultures and entry into the fetishistic system of difference. So long as there is otherness, strangeness and the (possibly violent) dual relation -- as we see in anthropological accounts up to the eighteenth century and into the colonial phase -- there is no racism properly so-called. Once that `natural' relation is lost, we enter into a phobic relationship with an artificial other, idealized by hatred. And because it is an ideal other, this relationship is an exponential one: nothing can stop it, since the whole trend of our culture is towards a fanatically pursued differential construction, a perpetual extrapolation of the same from the other.
Autistic culture by dint of fake altruism.

All forms of sexist, racist, ethnic or cultural discrimination arise out of the same profound disaffection and out of a collective mourning, a mourning for a dead otherness, set against a background of general indifference -- a logical product of our marvellous planet-wide conviviality.

The same indifference can give rise to exactly opposite behaviour. Racism is desperately seeking the other in the form of an evil to be combated. The humanitarian seeks the other just as desperately in the form of victims to aid. Idealization plays for better or for worse. The scapegoat is no longer the person you hound, but the one whose lot you lament. But he is still a scapegoat. And it is still the same person.”
― Jean Baudrillard, The Perfect Crime

“There is a twofold, contradictory exigency in thought. It is not to analyse the world in order to extract from it an improbable truth, not to adapt to the facts in order to abstract some logical construction from them, but to set in place a form, a matrix of illusion and disillusion, which seduced reality will spontaneously feed and which will, consequently, be verified remorselessly (the only need is to shift the camera angle from time to time). For reality asks nothing other than to submit itself to hypotheses. And it confirms them all. That, indeed, is its ruse and its vengeance.
The theoretical ideal would be to set in place propositions in such a way that they could be disconfirmed by reality, in such a way that reality could only oppose them violently, and thereby unmask itself. For reality is an illusion, and all thought must seek first of all to unmask it. To do that, it must itself advance behind a mask and constitute itself as a decoy, without regard for its own truth. It must pride itself on not being an instrument of analysis, not being a critical tool. For it is the world which must analyse itself. It is the world itself which must reveal itself not as truth, but as illusion. The derealization of the world will be the work of the world itself.”
― Jean Baudrillard, The Perfect Crime

“Cipher, do not decipher. Work over the illusion. Create illusion to create an event. Make enigmatic what is clear, render unintelligible what is only too intelligible, make the event itself unreadable. Accentuate the false transparency of the world to spread a terroristic confusion about it, or the germs or viruses of a radical illusion -- in other words, a radical disillusioning of the real. Viral, pernicious thought, corrosive of meaning, generative of an erotic perception of reality's turmoil.”
― Jean Baudrillard, The Perfect Crime

“Live your life in real time -- live and suffer directly on-screen. Think in real time -- your thought is immediately encoded by the computer. Make your revolution in real time -- not in the street, but in the recording studio. Live out your amorous passions in real time -- the whole thing on video from start to finish. Penetrate your body in real time -- endovideoscopy: your own bloodstream, your own viscera as if you were inside them.

Nothing escapes this. There is always a hidden camera somewhere. You can be filmed without knowing it. You can be called to act it all out again for any of the TV channels. You think you exist in the original-language version, without realizing that this is now merely a special case of dubbing, an exceptional version for the `happy few'. Any of your acts can be instantly broadcast on any station. There was a time when we would have considered this a form of police surveillance. Today, we regard it as advertising.”
― Jean Baudrillard, The Perfect Crime

“This fetishistic transmutation separates Warhol from Duchamp and all his predecessors. For Duchamp, Dada, the Surrealists and all who worked to deconstruct representation and smash the work of art are still part of an avant-garde, and belong, in one way or another, to the critical utopia. For us moderns, at any rate, art has ceased to be an illusion; it has become an idea. It is no longer idolatric now, but critical and utopian, even when -- particularly when -- it demystifies its object or when, with Duchamp, it aestheticizes at a stroke, with its bottle-rack, the whole field of daily reality.

This is still true of a whole segment of Pop Art, with its lyrical vision of popcorn or comic strips. Banality here becomes the criterion of aesthetic salvation, the means of exalting the creative subjectivity of the artist. Obliterating the object the better to mark out the ideal space of art and the ideal position of the subject. But Warhol belongs to no avant-garde and to no utopia. And if he settles utopia's hash, he does so because, instead of projecting it elsewhere, he takes up residence directly at its heart, that is, at the heart of nowhere. He is himself this no place: this is how he traverses the space of the avant-garde and, at a stroke, completes the cycle of the aesthetic. This is how he at last liberates us from art and its critical utopia.”
― Jean Baudrillard, The Perfect Crime

“But surely, say these good apostles, you aren't going to discredit reality in the eyes of those who already find it difficult enough to get by, and who surely have a right to reality and the fact that they exist? The same objection for the Third World: surely you aren't going to discredit affluence in the eyes of those dying of starvation? Or: surely you aren't going to run down the class struggle in the eyes of those who haven't even had their bourgeois revolution?
Or again: you aren't going to discredit feminist and egalitarian demands in the eyes of all those who haven't even heard of women's rights, etc.? You may not like reality, but don't put others off it! It's a question of democratic morality: you must not demoralize the masses. You must never demoralize anyone.
Underlying these charitable intentions is a profound contempt. First, in the fact of instating reality as a kind of life insurance or a burial plot held in perpetuity, as a kind of human right or consumer good. But, above all, in crediting people with placing their hope only in the visible proofs of their existence: by imputing this plaster-saint realism to them, one takes them for naive and feeble-minded. In their defence, it has to be said that the propagandists of reality vent that contempt on themselves first of all, reducing their own lives to an accumulation of facts and evidence, causes and effects. Well-ordered resentment always begins at home.”
― Jean Baudrillard, The Perfect Crime

“They say there is always a photographic moment to be seized where the most banal of beings yield up their secret identity. But what is interesting is their secret alterity, and rather than looking for the identity beneath the appearances, we should look for the mask beneath the identity, the figure which haunts us and diverts us from our identities -- the masked divinity which, in effect, haunts each of us for a moment, one day or another.”
― Jean Baudrillard, The Perfect Crime

“Warhol himself was never anything but a kind of hologram. Famous people came to the Factory to hover around him without being able to get anything from him, but they tried to pass through him as you might with a filter or a camera lens, which is what he had in effect become. Valerie Solanas was even to try to shatter that lens by shooting at it, to pass through the hologram to establish that blood could still flow from it. So we can agree with Warhol: `You can't get more superficial than me and live'. And he nearly didn't come out of it alive.”
― Jean Baudrillard, The Perfect Crime

“The Japanese sense the presence of a divinity in every industrial object. For us, that sacred presence has been reduced to a tiny ironic glimmer, a nuance of play and distantiation. Though this is, none the less, a spiritual form, behind which lurks the evil genius of technology which sees to it itself that the mystery of the world is well-guarded. The Evil Spirit keeps watch beneath artefacts and, of all our artificial productions, one might say what Canetti says of animals: that behind each of them there is a hidden someone thumbing his nose at us.

Irony is the only spiritual form in the modern world, which has annihilated all others. It alone is the guardian of the mystery, but it is no longer ours to exercise. For it is no longer a function of the subject; it is an objective function, that of the artificial, object world which surrounds us, in which the absence and transparency of the subject is reflected. The critical function of the subject has given way to the ironic function of the object. Once they have passed through the medium or through the image, through the spectrum of the sign and the commodity, objects, by their very existence, perform an artificial and ironic function. No longer any need for a critical consciousness to hold up the mirror of its double to the world: our modern world swallowed its double when it lost its shadow, and the irony of that incorporated double shines out at every moment in every fragment of our signs, of our objects, of our models. No longer any need to confront objects with the absurdity of their functions, in a poetic unreality, as the Surrealists did: things move to shed an ironic light on themselves all on their own; they discard their meanings effortlessly. This is all part of their visible, all too visible sequencing, which of itself creates a parody effect.”
― Jean Baudrillard, The Perfect Crime

“Atonement, expiation, laundering, prophylaxis, promotion and rehabilitation -- it is difficult to put a name to all the various nuances of this general commiseration which is the product of a profound indifference and is accompanied by a fierce strategy of blackmail, of the political takeover of all these negative passions. It is the `politically correct' in all its effects -- an enterprise of laundering and mental prophylaxis, beginning with the prophylactic treatment of language. Black people, the handicapped, the blind and prostitutes become `people of colour', `the disabled', `the visually impaired', and `sex workers': they have to be laundered like dirty money. Every negative destiny has to be cleaned up by a doctoring even more obscene than what it is trying to hide.
Euphemistic language, the struggle against sexual harassment -- all this protective and protectionist masquerade is of the same order as the use of the condom. Its mental use, of course -- that is, the prophylactic use of ideas and concepts. Soon we shall think only when we are sheathed in latex. And the data suit of Virtual Reality already slips on like a condom.”
― Jean Baudrillard, The Perfect Crime

“The AIDS obsession doubtless arises from the fact that the exceptional destiny of the sufferers gives them what others cruelly lack today: a strong, impregnable identity, a sacrificial identity -- the privilege of illness, around which, in other cultures, the entire group once gravitated, and which we have abolished almost everywhere today by the enterprise of therapeutic eradication of Evil [le Mal]. But in another way, the whole strategy of the prevention of illness merely shifts the problem [le mal] from the biological to the social body. All the anti-AIDS campaigns, playing on solidarity and fear -- `Your AIDS interests me' -- give rise to an emotional contagion as noxious as the biological. The promotional infectiousness of information is just as obscene and dangerous as that of the virus. If AIDS destroys biological immunities, then the collective theatricalization and brainwashing, the blackmailing into responsibility and mobilization, are playing their part in propagating the epidemic of information and, as a side-effect, in reinforcing the social body's immunodeficiency -- a process that is already far advanced -- and in promoting that other mental AIDS that is the Aids-athon, the Telethon and other assorted Thanatons -- expiation and atonement of the collective bad conscience, pornographic orchestration of national unity.
AIDS itself ends up looking like a side-effect of this demagogic virulence. `Tu me préserves actif, je te préservatif' ['You keep me active, I condom you']: this scabrous irony, heavy with blackmail, which is also that of Benetton, as it once was of the BNP, in fact conceals a technique of manipulation and dissolution of the social body by the stimulation of the vilest emotions: self-pity and self-disgust. Politicians and advertisers have understood that the key to democratic government -- perhaps even the essence of the political? -- is to take general stupidity for granted: `Your idiocy, your resentment, interest us!' Behind which lurks an even more suspect discourse: `Your rights, your destitution, your freedom, interest us!' Democratic souls have been trained to swallow all the horrors, scandals, bluff, brainwashing and misery, and to launder these themselves. Behind the condescending interest there always lurks the voracious countenance of the vampire.”
― Jean Baudrillard, The Perfect Crime

“The sad consequence of all this is that we no longer know what to do with the real world. We can no longer see any need whatever for this residue which has become an encumbrance. A crucial philosophical problem, that of the real which has been `laid off'. And we have the same problem with unemployment: what is to be done with labour in the computer age? What are we to make of this exponential waste? Dump it back into the dustbins of history? Put it into orbit, send it into space? It will be no easier getting rid of the corpse of reality. In desperation, we shall be forced to turn it into a special attraction, a historical tableau, a nature reserve: `Coming to you live from reality! Visit this strange world! Experience the thrill of the real world!”
― Jean Baudrillard, The Perfect Crime

“All these indifferent passions, or passions born of indifference, all these negative passions, culminate in hatred. A strange expression: `I've got the hate' [J'ai la haine]. No object. It is like `I'm demonstrating', but for whom, for what? `I take responsibility' [J'assume], but for what? Nothing in particular. One perhaps takes responsibility precisely for the nothing. One demonstrates for or against the nothing -- how are we to know? This is the fate of all these intransitive verbs. The graffiti said: `I exist', `I live at this particular place'. This was stated with a kind of exultation, yet at the same time it said: `There is no meaning to my life'. Similarly, `I've got the hate' says at the same time: `This hate I have has no object'; `There's no meaning to it'. Hatred is doubtless something which does indeed outlive any definable object, and feeds on the disappearance of that object. Who are we to take against today? There, precisely, is the object: the absent other of hatred. `Having' hatred is like a sort of potential of -- negative and reactive -- energy, but energy all the same. These are, indeed, the only passions we have today: hatred, disgust, allergy, aversion, rejection and disaffection. We no longer know what we want, but we know what we don't want. In its pure expression of rejection, it is a non-negotiable, irremediable passion. Yet there is in it something like an invitation to the absent other to offer himself as an object for that hatred.
The dream of hatred is to give rise to a heartfelt enmity, which is scarcely available at all in our world now, as all conflicts are immediately contained. Over against the hatred born of rivalry and conflict there is a hatred born of accumulated indifference which can suddenly crystallize in an extreme physical outburst. We are not speaking of class hatred now, which, paradoxically, remained a bourgeois passion. That had a target, and was the driving force behind historical action. This hatred is externalized only in episodes of `acting-out'. It does not give rise to historical violence, but to a virulence born of disaffection with politics and history. In this sense, it is the characteristic passion not of the end of history but of a history without end, a history which is a dead-end, since there has been no resolution of all the problems it posed. It is possible that beyond the end, in those reaches where things turn around, there is room for an indeterminate passion, where what remains of energy also turns around, like time, into a negative passion.”
― Jean Baudrillard, The Perfect Crime

“So the world, then, is a radical illusion. That is, at least, one hypothesis. At all events, it is an unbearable one. And to keep it at bay, we have to realize the world, give it force of reality, make it exist and signify at all costs, take from it its secret, arbitrary, accidental character, rid it of appearances and extract its meaning, divert it from all predestination and restore it to its end and its maximum efficacy, wrest it from its form to deliver it up to its formula. This gigantic enterprise of disillusionment -- of, literally, putting the illusion of the world to death, to leave an absolutely real world in its stead -- is what is properly meant by simulation.”
― Jean Baudrillard, The Perfect Crime

“Today, the contraceptive sheath is used for seduction. `He seeks to seduce her, she resists, he brings out his condom, she falls into his arms.' She would, in the past, have been seduced by the erection; now, she is seduced by the protection. A step further, and being HIV positive [séropositif] will be seductive in itself (`This product can damage your health' serves almost as an advertising slogan). We have seen on our walls and our buses: `I'm HIV positive -- will you come to the dining hall with me? (say yes!)'; `Im a mongol -- will you come and play with me?`; Sero is beautiful. The direst thing becomes an advertising statement. A new moral order, a new conviviality based on this marvellous legitimacy of difference, even when it is the difference of the negative and the lack of living.”
― Jean Baudrillard, The Perfect Crime

“These, too [ideologies], 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 principle and transcendence of information. While, at the same time, remaining deeply incredulous and resistant to that kind of knee-jerk consensus. We no more believe in information by divine right than serfs ever believed they were serfs by divine right, but we act as though we do. Behind this façade, a gigantic principle of incredulity is growing up, a principle of secret disaffection and the denial of any social bond.
There is a considerable danger of the inertia threshold being crossed, danger of a potential gravitational collapse by an exceeding of the critical mass, thanks to the absorption by the system of all negative elements: crashes, errors, scandals, conflicts -- everything is absorbed back into it as though by evaporation. All the wastes and disorders are digested and recycled. Maddening metastability which gives rise to a whole range of violent, virulent, destabilizing abreactions, which are the symptom of that collapse.
All our contemporary passions arise from this: objectless, negative passions, all born of indifference, all built (in the absence of a real object) on a virtual other, and thus doomed to crystallize for preference on any old thing at all.”
― Jean Baudrillard, The Perfect Crime

“Every system like our own, which functions by surface impulse, produces this kind of surface repulsion, which is its bodily manifestation. Every society which functions by rejection, by exclusion, causes this kind of inflammation or protective rash -- a barrage against the seduction of a world you fear, but also against the crowding-in of a world which disgusts you.
Contrary to the hysteric, who, by making an exhibition of himself, betrays his despair at not being there, allergy testifies to the confusion of being there, and to the excessive presence of the body. Let us not forget that allergy is hypersensitivity to a particular substance. It is an excess of positive reaction. Thus an allergic world is a world of excess, of an oversensitivity to anything whatever -- precisely, to others? -- but one which turns around in a negative conversion. The same pattern in anorexia: denial of the excess of body, metaphor for the hypertrophy of the system.”
― Jean Baudrillard, The Perfect Crime

“The coming of the problematic of gender, now taking over from that of sex, illustrates this progressive dilution of the sexual function. This is the era of the Transsexual, where the conflicts linked to difference -- and even the biological and anatomical signs of difference -- survive long after the real otherness of the sexes has disappeared.
When the sexes eye each other up, squint out through each other's eyes. The male eyes up the female, the female eyes up the male. This is no longer the seductive gaze but a generalized sexual strabismus, reflecting that of moral and cultural values: the true eyes up the false, the beautiful eyes up the ugly, good eyes up evil, and vice versa. They each `lock on to' the other in an attempt to misappropriate its distinctive signs. But both are in fact in league to short-circuit difference. They function like communicating vessels, according to the new machinic rituals of switching or commutation. The utopia of sexual difference ends in the switching of sexual poles, and in interactive exchange. Instead of a dual relation, sex becomes a reversible function. In place of alterity, an alternating current.”
― Jean Baudrillard, The Perfect Crime

“A negative passion cannot become universal. You cannot imagine a federation of hatreds. You might almost wish to see such a scenario come about. But the worst situation doesn't always materialize. The fact remains that from this point on there is something which is completely beyond social regulation. If this is not the end of History, it is certainly the end of the social. We are no longer in anomie, but in anomaly. Anomaly is what escapes not only the law but the rule. What is outside the game, `offside', no longer in a position to play. The outlaw space bred violence; this offside space breeds virulence. But as to what exactly is being bred in anomaly, we have no notion. When a system becomes universal (the media, networks, the financial markets, human rights), it automatically becomes anomalous and secretes virulences of all kinds: financial crashes, AIDS, computer viruses, deregulation, disinformation. Hatred itself is a virus of this kind.
Take Paulin, the man from Guadeloupe who went around murdering old ladies a few years ago. A monstrous individual, but cool, and with no apparent hatred in him. He had no identity, and was of indeterminate sex and mixed race. He committed his murders without violence or bloodshed. And he recounted them with an odd detachment. Being indifferent to himself, he was eliminating people who were themselves indifferent. But we can assume that behind all this there was a deep fund of radical hatred. Doubtless Paulin `had the hate', but he was too classy, too educated, to express it openly.”
― Jean Baudrillard, The Perfect Crime

“Such is the paradox of all thought which disputes the validity of the real: when it sees itself robbed of its own concept. Events, bereft of meaning in themselves, steal meaning from us. They adapt to the most fantastical hypotheses, just as natural species and viruses adapt to the most hostile environments. They have an extraordinary mimetic capacity: no longer is it theories which adapt to events, but the reverse. And, in so doing, they mystify us, for a theory which is verified is no longer a theory. It's terrifying to see the idea coincide with the reality. These are the death-throes of the concept. The epiphany of the real is the twilight of its concept.

We have lost that lead which ideas had over the world, that distance which meant that an idea remained an idea. Thought has to be exceptional, anticipatory and at the margin -- has to be the projected shadow of future events. Today, we are lagging behind events. They may sometimes give the impression of receding; in fact, they passed us long ago. The simulated disorder of things has moved faster than we have. The reality effect has succumbed to acceleration --anamorphosis of speed. Events, in their being, are never behind themselves, are always out ahead of their meaning. Hence the delay of interpretation, which is now merely the retrospective form of the unforeseeable event.”
― Jean Baudrillard, The Perfect Crime

“Reality must be caught in the trap, we must move quicker than reality. Ideas, too, have to move faster than their shadows. But if they go too quickly, they lose even their shadows. No longer having even the shadow of an idea. ... Words move quicker than meaning, but if they go too quickly, we have madness: the ellipsis of meaning can make us lose even the taste for the sign. What are we to exchange this portion of shadow and labour against -- this saving of intellectual activity and patience? What can we sell it to the devil for? It is very difficult to say. We are, in fact, the orphans of a reality come too late, a reality which is itself, like truth, something registered only after the event.”
― Jean Baudrillard, The Perfect Crime

“Such is the allegory of otherness vanquished and condemned to the servile fate of resemblance. Our image in the mirror is not innocent, then. Behind every reflection, every resemblance, every representation, a defeated enemy lies concealed. The Other vanquished, and condemned merely to be the Same. This casts a singular light on the problem of representation and of all those mirrors which reflect us `spontaneously' with an objective indulgence.
None of that is true, and every representation is a servile image, the ghost of a once sovereign being whose singularity has been obliterated. But a being which will one day rebel, and then our whole system of representation and values is destined to perish in that revolt. This slavery of the same, the slavery of resemblance, will one day be smashed by the violent resurgence of otherness. We dreamed of passing through the looking-glass, but it is the mirror peoples themselves who will burst in upon our world. And `this time will not be defeated'.

What will come of this victory? No one knows. A new existence of two equally sovereign peoples, perfectly alien to one another, but in perfect collusion? Something other, at least, than this subjection and this negative fatality.

So, everywhere, objects, children, the dead, images, women, everything which serves to provide a passive reflection in a world based on identity, is ready to go on to the counter-offensive. Already they resemble us less and less ...

I'll not be your mirror!”
― Jean Baudrillard, The Perfect Crime

“Such is the well-tempered application of the principle of evil.
If the system fails to be everything, nothing will remain of it. If thought fails to be nothing, something will remain of it.”
― Jean Baudrillard, The Perfect Crime

“Nothing has the same meaning any more once it has been confronted not with its unfinished form, but with its accomplished or even excessive form. We are no longer fighting the spectre of alienation, but that of ultra-reality. We are no longer fighting our shadows, but transparency. And every step in technological progress, every advance in information and communications, brings us closer to that inescapable transparency. All the signs have been reversed as a result of this precession of the end, this irruption of the final term at the very heart of things and their unfolding. The same acts, the same thoughts and the same hopes which brought us nearer to that finality we so longed for now take us away from it, since it is behind us. Similarly, everything changes meaning once the movement of History crosses this fatal demarcation line: the same events have different meanings depending on whether they take place in a history that is being made or in a history being unmade. It's the same with the curve of History as it is with the trajectory of reality. It is the upward movement which gives them force of reality. On the downward curve -- or because the movement is simply continuing as a result of its own inertia -- everything is caught in a different refraction space, as in a gravity alternator. In that new space, as in Alice's looking-glass space, words and effects are stood on their head, and every movement impedes every other.

The balance which, by the force of the negative, governed our world has been upset. Events, discourses, subjects or objects exist only within the magnetic field of value, which only exists as a result of the tension between two poles: good or evil, true or false, masculine or feminine. It is these values, now depolarized, which are beginning to spin in the undifferentiated field of reality. And objects, too, are beginning to spin in the undifferentiated field of value. All there is now is a circular form of switching or substitution between disconnected and erratic values. Everything which stood in a fixed relation of opposition is losing its meaning by becoming indistinguishable from its opposite as a result of the upsurge of a reality which is absorbing all differences and conflating opposing terms by promoting them all unreservedly.”
― Jean Baudrillard, The Perfect Crime

“En último término, el objeto y el sujeto son lo mismo.”
― Jean Baudrillard, The Perfect Crime