French sociologist, philosopher and cultural theorist (1929–2007)
(27 July 1929 – 6 March 2007) was a French sociologist, philosopher, cultural theorist, political commentator, and photographer. His work is frequently associated with postmodernism and specifically post-structuralism.
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To challenge and to cope with this paradoxical state of things, we need a paradoxical way of thinking; since the world drifts into delirium, we must adopt a delirious point of view. We must no longer assume any principle of truth, of causality, or any discursive norm. Instead, we must grant both the poetic singularity of events and the radical uncertainty of events. It is not easy. We usually think that holding to the protocols of experimentation and verification is the most difficult thing. But in fact the most difficult thing is to renounce the truth and the possibility of verification, to remain as long as possible on the enigmatic, ambivalent, and reversible side of thought.
Dying is nothing. You have to know how to disappear. Dying comes down to a biological chance and that is of no consequence. Disappearing is of a far higher order of necessity. You must not leave it to biology to decide when you will disappear. To disappear is to pass into an enigmatic state which is neither life nor death. Some animals know how to do this, as do savages, who withdraw while still alive, from the sight of their own people.
Photography and cinema contributed in large part to the secularization of history, to fixing it in its visible, "objective" form at the expense of the myths that once traversed it. Today cinema can place all its talent, all its technology in the service of reanimating what it itself contributed to liquidating. It only resurrects ghosts, and it itself is lost therein.
Once animals had a more sacred, more divine character than men. There is not even a reign of the "human" in primitive societies, and for a long time the animal order has been the order of reference. Only the animal is worth being sacrificed, as a god, the sacrifice of man only comes afterward, according to a degraded order. Men qualify only by their affiliation to the animal: the Bororos "are" macaws.
The end of history is, alas, also the end of the dustbins of history. There are no longer any dustbins for disposing of old ideologies, old regimes, old values. Where are we going to throw Marxism, which actually invented the dustbins of history? (Yet there is some justice here since the very people who invented them have fallen in.) Conclusion: if there are no more dustbins of history, this is because History itself has become a dustbin. It has become its own dustbin, just as the planet itself is becoming its own dustbin.
The apocalypse is finished, today it is the precession of the neutral, of forms of the neutral and of indifference. I will leave it to be considered whether there can be a romanticism, an aesthetic of the neutral therein. I don't think so—all that remains, is the fascination for desertlike and indifferent forms, for the very operation of the system that annihilates us. Now, fascination (in contrast to seduction, which was attached to appearances, and to dialectical reason, which was attached to meaning) is a nihilistic passion par excellence, it is the passion proper to the mode of disappearance. We are fascinated by all forms of disappearance, of our disappearance. Melancholic and fascinated, such is our general situation in an era of involuntary transparency. I am a nihilist. I observe, I accept, I assume the immense process of the destruction of appearances (and of the seduction of appearances) in the service of meaning (representation, history, criticism, etc.) that is the fundamental fact of the nineteenth century.