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.
Michel FoucaultAbout author
- Author's profession: Historian
- Nationality: french
- Born: October 15, 1926
- Died: June 26, 1984
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The script sits in front of you. The writer’s translated into ink what is in his spirit and his soul and his mind. Bum. [Thumps table.] I come along, I pick it up, and the ink goes into my eyes, into my mind, into my body, flows around and that part starts to inhabit me. And I know a good part when I see one.
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There he was. The infant Titus. His eyes were open but he was quite still. The puckered-up face of the newly-born child, old as the world, wise as the roots of trees. Sin was there and goodness, love, pity and horror, and even beauty for his eyes were pure violet. Earth's passions, earth's griefs, earth's incongruous, ridiculous humours - dormant, yet visible in the wry pippin of a face.
Mervyn Peake
Painting, by its nature, cannot provide an object of simultaneous collective reception... as film is able to do today... And while efforts have been made to present paintings to the masses in galleries and salons, this mode of reception gives the masses no means of organizing and regulating their response. Thus, the same public which reacts progressively to a slapstick comedy inevitably displays a backward attitude toward Surrealism.
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