And so one can imagine that in amorous seduction the other is the locus of your secret - the other unknowingly holds that which you will never have the chance to know.

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.

Our entire linear and accumulative culture collapses if we cannot stockpile the past in plain view. "

When the real is no longer what it was, nostalgia assumes its full meaning. "The Precession of Simulacra,"

"The Precession of Simulacra,"

Such would be the successive phases of the image:it is the reflection of a profound reality;it masks and denatures a profound reality;it masks the absence of a profound reality;it has no relation to any reality whatsoever: it is its own pure simulacrum.In the first case, the image is a good appearance-representation is of the sacramental order. In the second, it is an evil appearance-it is of the order of maleficence. In the third, it plays at being an appearance-it is of the order of sorcery. In the fourth, it is no longer of the order of appearances, but of simulation.

The Jesuits founded their politics on the virtual disappearance of God and on the worldly and spectacular manipulation of consciences-the evanescence of God in the epiphany of power-the end of transcendence, which now only serves as an alibi for a strategy altogether free of influences and signs. Behind the baroqueness of images hides the éminence grise of politics.

"If he is this good at acting crazy, it's because he is." Nor is military psychology mistaken in this regard: in this sense, all crazy people simulate, and this lack of distinction is the worst kind of subversion. It is against this lack of distinction that classical reason armed itself in all its categories. But it is what today again outflanks them, submerging the principle of truth.

To dissimulate is to pretend not to have what one has. To simulate is to feign to have what one doesn't have. One implies a presence, the other an absence. But it is more complicated than that because simulating is not pretending: "Whoever fakes an illness can simply stay in bed and make everyone believe he is ill. Whoever simulates an illness produces in himself some of the symptoms" (Littré). Therefore, pretending, or dissimulating, leaves the principle of reality intact: the difference is always clear, it is simply masked, whereas simulation threatens the difference between the "true" and the "false," the "real" and the "imaginary."

For it is with the same imperialism that present-day simulators try to make the real, all of the real, coincide with their simulation models.

It is the real, and not the map, whose vestiges persist here and there in the deserts that are no longer those of the Empire, but ours: The desert of the real itself.

Simulation is no longer that of a territory, a referential being or substance. It is a generation by models of a real without origin or reality: a hyperreal.

The simulacrum is never what hides the truth-it is truth that hides the fact that there is none. The simulacrum is true.

The discourse of truth is quite simply impossible. It eludes itself. Everything eludes itself, everything scoffs at its own truth, seduction renders everything elusive. The fury to unveil the truth, to get at the naked truth, the one which haunts all discourses of interpretation, the obscene rage to uncover the secret, is proportionate to the impossibility of ever achieving this. ...But this rage, this fury, only bears witness to the eternity of seduction and to the impossibility of mastering it.

Take provocation, for instance, which is the opposite and the caricature of seduction. It says: "I know that you want to be seduced, and I will seduce you." Nothing could be worse than betraying this secret rule. Nothing could be less seductive than a provocative smile or inciteful behaviour, since both presuppose that one cannot be seduced naturally and that one needs to be blackmailed into it, or through a declaration of intent: "Let me seduce you"

The real is not only what can be reproduced, but that which is already reproduced, the hyper-real.