Below are several passages from the forth and longest chapter of
Fatal Strategies that I found especially helpful. I've been treating them as a collaged mission statement, using the various objectives Buadrillard articulates as loose guidelines for working with the visual details of my disaster -- for thinking/designing with them.
...a work of art that bewilders in its venality, mobility, effects of missing referent, chance, vertigo -- a pure object of marvelous commutability, since, the causes having disappeared, all effects are virtually equivalent. (148)
The work of art...should work to deconstruct its own traditional aura, its authority and power of illusion, in order to shine resplendent in the pure obscenity of the commodity. It must annihilate itself as a familiar object and become monstrously foreign. (149)
The strategy of the object...is to be confused with the thing desired. (153)
...like the eruption of a pure unidentified object that renders the subject unidentifiable to himself…the object becomes powerful with all the powers of the subject. (170)
....suddenly erase all conscious and unconscious determinism. (171)
...tear beings from the psychological sphere of fantasy, repression, the primal scene, to return them to the vertiginous and superficial play of appearances. (176)
...everything is fatally, admirably connection…no at all according to rational relations, but…according to the seductive rapports of form and appearance…everything bursts with connection, seduction; nothing is isolated, nothing happens by chance—there is total correlation. (185)
...provoke a deescalation of rational causes and an inverse escalation of magical linkage. (188)
It is never causes but rather appearances that, when they link themselves up, lead to catastrophe. (192)
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