In actual fact. The manifold sexualities - those which appear with the different ages (sexualities of the infant or the child), those which become fixated on particular tastes or practices (the sexuality of the invert, the gerontophile, the fetishist), those which, in a diffuse manner, invest relationships (the sexuality of doctor and patient, teacher and student, psychiatrist and mental patient), those which haunt spaces (the sexuality of the home, the school, the prison)- all form the correlate of exact procedures of power.

It is one of my targets to show people that a lot of things that are part of their landscape - that people are universal - are the result of some very precise historical changes. All my analyses are against the idea of universal necessities in human existence. They show the arbitrariness of institutions and show which space of freedom we can still enjoy and how many changes can still be made.

Confined on the ship, from which there is no escape, the madman is delivered to the river with its thousand arms, the sea with its thousand roads, to that great uncertainty external to everything. He is a prisoner in the midst of what is the freest, the openest of routes: bound fast at the infinite crossroads. He is the Passenger par excellence: that is, the prisoner of the passage. And the land he will come to is unknown—as is, once he disembarks, the land from which he comes. He has his truth and his homeland only in that fruitless expanse between two countries that cannot belong to him.

I don't feel that it is necessary to know exactly what I am.

I'm no prophet. My job is making windows where there were once walls.

Once leprosy had gone, and the figure of the leper was no more than a distant memory, these structures still remained. The game of exclusion would be played again, often in these same places, in an oddly similar fashion two or three centuries later. The role of the leper was to be played by the poor and by the vagrant, by prisoners and by the 'alienated', and the sort of salvation at stake for both parties in this game of exclusion is the matter of this study.

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.