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A text work-in-progress. Delving in to the actor's capacities and limitations by taking as starting point the relation between Jerzy Grotowski and Antonin Artaud.

The method of intuition in Bergson is a method which promises novelty in creation. This essay focuses on the openness found in Bergson’s writing and puts forward the thesis that underneath the rhetoric of clarity broods a darker violent concept of intuition.

Emmanuel Levinas’ Time and The Other sees the emergence of an il y a (“there is”) which testifies against the existence of a pure nothingness. Juxtaposed against Heidegger’s notion of nothingness intimately tied to an I it becomes clear that Levinas, by positing il y a, does so in an attempt of refutation. In this essay another side to nothingness will be discussed which brings out the elements immanent in Levinas inspired by Henri Bergson.

The aim of this short essay is to look closer at Sigmund Freud’s writings on the concept of an instinctual death-drive found in Civilization and Its Discontents. In it, Freud develops his thesis that there is a universal force of destruction operating alongside, and in opposition to, the universal force of creation, which is Eros. I will consider this point of view taken up by Freud as a continuation of the early Pre-Socratic philosopher Empedocles’ notion of motion.



In Gilles Deleuze’s book Francis Bacon: The Logic of Sensation the question of sensation is dealt with as a proper philosophical problem. Delueze saw something particular that needed to be examined further. He saw different levels, or rather areas, of Bacon’s paintings that corresponded to the amalgamation of sensation as a directional force upon the spectator.

“For two thousand years life had held this body in its hands and had moulded it, had forged it, now listening, now hammering, night and day.”

- Rilke, Auguste Rodin

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