If I Won A Few Billion In

Madness Is The Absolute Break With The Work Of Art; It Forms The Constitutive Moment Of Abolition, Which Dissolves In Time The Truth Of The Work Of Art.

The Lyricism Of Marginality May Find Inspiration In The Image Of The Outlaw, The Great Social Nomad, Who Prowls On The Confines Of A Docile, Frightened Order.

In The Renaissance, Madness Was Present Everywhere And Mingled With Every Experience By Its Images Or Its Dangers. During The Classical Period, Madness Was Shown, But On The Other Side Of Bars; If Present, It Was At A Distance, Under The Eyes Of A Reason That No Longer Felt Any Relation To It And That Would Not Compromise Itself By Too Close A Resemblance. Madness Had Become A Thing To Look At: No Longer A Monster Inside Oneself, But An Animal With Strange Mechanisms, A Bestiality From Which Man Had Long Since Been Suppressed.

In The Middle Ages And The Renaissance, Man's Dispute With Madness Was Dramatic Debate In Which He Confronted The Secret Powers Of The World; The Experience Of Madness Was Clouded By Images Of The Fall And The Will Of God, Of The Beast And The Metamorphosis, And Of All The Marvelous Secrets Of Knowledge

Withdraw Allegiance From The Old Categories Of The Negative (law, Limit, Castration, Lack, Lacuna), Which The Western Thought Has So Long Held Sacred As A Form Of Power And An Access To Reality. Prefer What Is Positive And Multiple, Difference Over Uniformity, Flows Over Unities, Mobile Arrangements Over Systems. Believe That What Is Productive Is Not Sedentary But Nomadic.