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Influenced by evolutions in mental health, a meeting house, “Villa Voortman”, was recently developed. It is based on an integration of therapeutic community (TC) and psychoanalytical Lacanian thinking. The purpose of this paper is to investigate the position of Villa Voortman in the treatment continuum for dually diagnosed clients. Two research questions are addressed: how does Villa Voortman operate ? and how do clients perceive the Villa?

The first question was tackled by a personal account of the founders of Villa Voortman. The second question was addressed by a qualitative study using video-material of 19 visitors’ personal accounts.

The visitors mentioned three themes: social inclusion, personal development and equality. These aspects are further refined into sub-themes including the provision of “asylum”; the instalment of a warm and welcoming atmosphere; the focus on real human encounter; a permissive, supportive and “waiting” environment; a minimal but “good enough” structure; the necessity of a place where persons can develop themselves; the striving for social inclusion and future perspectives; and the support in becoming inclusive citizens again.

The value of the paper lies in disclosing the visitors’ lived experience. This is an essential part of shedding light on the “active ingredients” of support, In reference to the title, visitors nor treatment staff have “carte blanche” with regard to how support develops, as this is driven by the dialectal course of everything that occurs during the support process.

The purpose of this paper is to search for connections rather than particularisation, for two exceptional figures: Broekaert and Platel, and to explore the intersections between science and art, art and science.

In this paper the authors work with a bricolage of possible lines and layers in a complex web of stories associated with the life story, career and private life of Eric Broekaert and of Alain Platel.

Broekaert felt the need to look for methods which had been tested in accordance with the models of hard science. In addition, and in alternating combinations, he searched for deeper layers via etymology, history, philosophy and art. Orthopedagogics as a righteous search for a good/happy life. For Platel, the choreographer of Ballets C de la B, accepting the imperfect/unfinished/abnormal brought the world of orthopedagogics and his work with dancers closer together. The “suffering”, the “abnormal” and the fear and aversion to these, the beautiful/poetic in what is different, looking at the abnormal and wanting to be looked at … are all questions which arise and connect orthopedagogics as a science with Platel’s productions. Platel poses the question: in what world do we want to live?

The authors need Eric Broekaert, Alain Platel and their work as a source of inspiration and as a bridge to new, not yet enough discovered ways of looking at “difference”.