I would add to this that as technological art works Baden's sculptures afford us a perspective on things. As Baudrillard demonstrates in this essay, technological things, such as the Beaubourg, deny the real world of truth and meaning as real and, at the same time, dissembles the world as such, never allowing it to appear as world. In the essay, the deterrence of the thing is juxtaposed to the notion of monument. The monument is a commemorative representation, a remembering of someone to the earth and hence is a place of rest. The deterrent, on the other hand, is a carcass, something which is taken from the earth.
Deterrence is the horror, fascination and constant movement produced by such a spectacle.
The technological art work, Baudrillard's example is Cesar's compression sculpture, is in a privileged position to show the relation of the carcass-thing to the earth. Although this disclosure may seem to be so obvious as to be of no concern, the homogeneous character of metal is nonetheless the site of Baudrillard's discussion of the mass of the masses. This will be demonstrated in the final section of the catalogue which deals with an interpretation of one of Baden's sculptures.