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151 Notes Chapter 4 John Berger, The Accidental Masterpiece (New York: Penguin, 2005), 119. Chapter 5 1. Hans Prinzhorn, Artistry of the Mentally Ill: A Contribution to the Psychology and Psychopathology of Configuration, trans. Eric von Brockdorff (Wien, N.Y.: Springer-Verlag, 1995). Second German edition, Bildnerei der Geisteskranken, ed. James L. Foy (Wien, N.Y.: Springer-Verlag, 1995). 2. Four years after publishing his book on asylum art, Prinzhorn published a volume on the art of prisoners: Bildnerei der Gefangenen (Berlin: Axel Juncker, 1926). 3. Jean Dubuffet, “Art brut in Preference to the Cultural Arts,” Art & Text 27 (1988): 33. 4. Jean Dubuffet, Conversation with Jean Dubuffet, August 1976, p. 24. Cited in John M. MacGregor, The Discovery of the Art of the Insane (Princeton, N.J.: Princeton University Press, 1989), 303. 5. Paul Éluard, “Le genie sans miroir,” in Oeuvres complètes, t. II (Paris: Gallimard , Bibliothèque de la Pléiade, 1968), 786. 6. Ananda K. Coomeraswamy, The Transformation of Nature in Art (New York: Dover, 1956). 7. Salvador Dali, The Secret Life of Salvador Dali (London: Vision Press, 1968), 349. 8. John M. MacGregor, “Marginal Outsiders: On the Edge of the Edge,” in Simon Carr, Betsey Wells Farber, Allen S. Weiss, eds., Portraits from the Outside: Figurative Expression in Outsider Art (New York: Groegfeax, 1990), 12–13. 9. Roger Cardinal, “Figures and Faces in Outsider Art,” in Carr et al., Portraits from the Outside, 26. 10. Quoted in Colin Rhodes, Outsider Art: Spontaneous Alternatives (London : Thames & Hudson, 2000), 60. 11. John M. MacGregor, “Marginal Outsiders,” in Carr et al., Portraits from the Outside, 12. 12. Quoted in Marcus Field, “McTribal: How the Chapman Brothers Carve up Culture,” ArtReview 52 (February 2003): 43. 152 N O T E S T O P A G E S 3 9 – 4 2 Chapter 6 1. Martin Heidegger, Being and Time, trans. John Macquarrie and Edward Robinson (New York: Harper & Row, 1962), 79–80; and “Building Thinking Dwelling,” in Poetry, Language, Thought, trans. Albert Hofstadter (New York: Harper & Row, 1971), 145–61. 2. What we call nature are nature reserves, areas we institutionally set up as recreational areas, with staffs to fight forest fires, feed the deer during periods of heavy snowstorms and cull them when they become too numerous, and reintroduce species that have disappeared from the area. What the natural sciences and life sciences call “nature,” Heidegger explains, is a secondary, derivative, and abstract representation of our environment, our world, our habitat. (Heidegger, Being and Time, 147, 412–15) 3. Geertz emphatically rejects the kind of positivist theory espoused by Bronislaw Malinowski, according to which religion is a collection of magical pseudoremedies and assurances that illness will be cured and the dead reborn, if not in this world in the supernatural world. “Over its career religion has probably disturbed men as much as it has cheered them,” Geertz points out, “forced them into a head-on, unblinking confrontation of the fact that they are born to trouble . . . With the possible exception of Christian Science, there are few if any religious traditions . . . in which the proposition that life hurts is not strenuously affirmed.” (Clifford Geertz, The Interpretation of Cultures [New York: Basic Books, 1973], 103) 4. Ibid., 106. 5. Ibid., 119, referring to Alfred Schutz, Collected Papers, vol. 1, The Problem of Social Reality (The Hague: Martinus Nijhoff, 1962), 226ff. 6. Ibid., 118. 7. Ibid., 110. 8. Ibid., 94–96. 9. Concerning Aloïse (Aloïse Corbaz), who was interned in the Clinique de la Rosière at Gimel in Switzerland with a diagnosis of incurable dementia praecox, Jean Dubuffet wrote, “She had been cured for a long time. She cured herself by the process which consists in ceasing to fight against the illness and undertaking on the contrary to cultivate it, to make use of it, to wonder at it, to turn it into an exciting reason for living. The wonderful theater she was always putting on— that incessant talk, incoherent and hardly intelligible (she made it unintelligible on purpose)—was for her an unattackable place of refuge, a stage no one else could get on to, where no one could reach her. It could not have been more ingenious, nor more convenient. And with her great talent, her great inventive intelligence, she smoothed and perfected this theater, to astounding effect. She loved to astound. She had worked out little by little a technique which enabled her to do it with great ease, sparing herself trouble (thanks to her unintelligible elocution...