« (p. 347-348, chapter 11, The Paradoxes of the Videophere) The physical image (index or analog: photo, TV, cinema) ignores the negative statement. A non-tree, a non-coming, an absence can be said, not show. A ban, a possibility, a program or a project - anything that denies or exceeds the actual workforce - does not pass in the image. A figuration is by definition full and positive. If the images of the world transform the world into images, this world will be self-sufficient and complete, a series of affirmations. "A brave new world." Only symbolism has markers of opposition and denial. The image can only show particular individuals in particular contexts, not categories or types. It ignores the universal. It must therefore be called not realistic but nominalist: is real only the individual, the rest does not exist. `...` The image ignores the syntactic operators of the disjunction (or else... or else) and the hypothesis (if... then). Subordinations, cause-and-effect relationships as well as contradiction. The stakes of a social or diplomatic negotiation - its concrete raison d'être in short - are, for the image, abstractions. Not the face of the negotiators, his extras. The plot matters less than the actor. The image can only proceed by juxtaposition and addition, on a single plane of reality, without the possibility of logical meta-level. Frame thinking is not illogical but alogical. `...` The image finally ignores the time markers. We can only be contemporary of it. Not early, not late. The duration? A linear succession of present moments equivalent to each other. The hard "long, I went to bed early"), the optative ("get up quickly, desired thunderstorms... "), the frequentative ("I often used to... "), the past future or the compound past have no direct visual equivalent (at least without the help of a voiceover). These four deficits are objective facts, not value judgments. And the whole art of cinema is to "turn" them. »

« You may be mad at me for making the flap-joy, but I must point out to you, to avoid you from possible hangovers, that the post-human galaxic has every chance to remain, once back in the atmosphere, the mammal with regrettable habits whose best minds are indignant, rightly. All available documents, since the Bronze Age, indicate a fairly stable biped in its fundamentals: xenophobic, fearful, aggressive, greedy as soon as it can and ready for the worst gutting as soon as it was persuaded that his opposite was the devil himself. »

« No more reading books ..., deserting theatres, riveted to her little phrases, flashes, text messages and banners, she allowed herself to be corrupted by a reactive illiteracy, clever in appearance and ultimately stupid. Little experience and little conviction: for a career, she only has to adapt to what she considers to be real: Paris-Match and Free. »