Simulation (n.) is felt as diabolical because it picks up where heresy left off in the long history of thinking about evil.
Simulation (n.) is a patch over a void, so its very profusion and relentlessness only spread panic.
Simulation (n.) was missed precisely by the artists who took it literally: born inside the simulacrum, they mistook it for the truth.
Simulation (n.) is still a risky metaphoric game, a challenge with no outcome fixed in advance, not a license to say reality is gone so anything goes.
Simulation (n.) is a short circuit: reality and its image, the very parts that once built the reality principle, collide and cancel each other out.
Simulation (n.) has its own aura, just as the original had an aura of authenticity, so there is such a thing as authentic and inauthentic simulation.
Simulation (n.) is either our irreversible everyday obscenity and final nihilism, or it is an art: an irony that revives the world's appearances in order to destroy them.
Simulation (n.) is not Plato's cave: it is a new problem, and dressing it in the old philosophy of illusion is a serious mistake.
Simulation (n.) did not refute critical thought, it buried it: models began to come before the world, and the virtual cut loose from the real.