Pendant le confinement, Geneviève Morel reçoit par Skype, téléphone, FaceTime, Whatsapp, etc., aux horaires habituels

The Art of Madness Clinical Study Days Friday to Sunday, 27 – 29 April 2012 Fordham University

The Art of Madness

Clinical Study Days
Friday to Sunday, 27 – 29 April 2012
Fordham University                                               
Richard Boothby, Néstor Braunstein, Shanna Carlson, Fred Casale, Marilyn Charles, Dan Collins, Olga Cox-Cameron, Guy Dana, Todd Dean, Martine Fourré, Michael Garfinkle, Patricia Gherovici, Martin Harries, Reine Henaff-Cohen, Shannon Kelly, Juliet MacCannell, Paola Mieli, Geneviève Morel, Chrysanthi Nigianni, Dany Nobus, Ray O’Neill, Jean-Michel Rabaté, Tom Ratekin, Bill Richardson, Ed Robins, Mark Stafford, Manya Steinkoler, Barbara Tholfsen, Jamieson Webster, Stephen Whitworth, Angela Woods
Madness—a term reintroduced in our times as if it were sorely needed—is not merely a doubling
of the coldly clinical psychosis. While clearly-diagnosed psychosis is sequestered in hospitals or
is nowadays more often contained and controlled in a private regimen of prescriptions and
pills, madness is more public, more fluid, more threatening. It is measured only against the
social order that somehow always fails to exclude it. It crops up everywhere. Few of us are
psychotic, but we all feel at times that we may be a bit mad. If madness is a disturbance in the
social, a social disorder that we fear, how strange, then, that one of its products should be art,
offered up to the public as if to put madness on display. How strange that the social order
accepts and accommodates the art of madness and the madness of art. Our study days will
consider this strangeness.
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