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2-3. 1 ° But because the war machine is a form of exteriority it only exists in its metamorphoses; it exists just as much in an industrial innovation, a technological invention, a commercial channel, a religious creation, in all those flows and currents that are only appropriated by the state secondarily. It is not in terms of independence, but in terms of coexistence and competition, in a field of perpetual interaction, that we must think exteriority and interiority, metamorphosising war machines and identifying state apparatus, gangs and kingdoms, megamachines and empires.

From this result we can estimate not universal happiness, but the redoubtable strength of tyranny's tentacles. 12 The stage of late capitalism, or integrated spectacle, has been reached when the spectators have been so mesmerised by the spectacle that opposition to it has all but disappeared, "the spectator is simply supposed to know nothing, and deserve nothing. Those who are always watching to see what happens next will never act: such must be the spectator's condition": Once it attains the stage of the integrated spectacle, selfproclaimed democratic society seems to be generally accepted as the realisation of a fragile perfection.

284. Italo Calvino, "Under the Jaguar Sun", in Under the Jaguar Sun, London: Cape, 1992, p. 12. 21 Frederic Jameson, op. , p. 37. 22 David Harvey, op. , p. 306. , p. 593. 24 Deleuze and Guattari, op. 613-614. 25 Ibid. 26 ibid. cit, p. 12. 5 Frederic Jameson, Postmodernism, or, the Cultural Logic of Late Capitalism, London, Verso, 1991, p. 406. ° David Harvey, The condition of Postmodemity, Oxford: Blackwell, 1990, pp. 336-337. 7 Thomas Pynchon, Vineland, London: Minerva, 1991, p. 97. 574. (All translations from this work are mine) 2 64 20 65 ANDREW GOFFEY The Cruelty of the (neo-) Baroque For Valere Noverina the world is a problem to be treated with caution.

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