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LLEWELLYN BROWN of the various poles involved:"! the creator is distinct from the image he produces of himself in the video, where he sees himself as another; the camera produces an image that the spectator does not control but that, on the contrary, points to his own powerlessness. Neither spectator nor creator is able to capture or rationalize the part that escapes: the unseen that each one attempts to discern by scrutinizing the strange form on the screen. BIBLIOGRAPHY ACKERLEY, Chris — GONTARSKI, S. E. (eds.): The Grove Companion to Samuel Beckett, New York, Grove, 2004. ACKERLEY, Chris — Brown, Llewellyn: Samuel Beckett, “Textes pour rien” / “Texts for Nothing”: annotations, Paris, Lettres modernes Minard, La Revue des Lettres modernes; Série Samuel Beckett, no. 5, 2018. ALBERA, Francois: Nauman cinématique, in Nauman Bruce: image/texte, 1966-1996, Paris, Centre Georges-Pompidou, 1997, 50-59. ASSCHE, Christine Van (ed.): Nauman Bruce : image/texte, 1966-1996, Paris, Centre Georges-Pompidou, 1997. BECKETT, Samuel: The Complete Dramatic Works, London, Faber & Faber, 2006. BECKETT, Samuel: The Complete Short Prose: 1929-1989, New York, Grove, 1995. BECKETT, Samuel: Disjecta, London, John Calder, 1983. BECKETT, Samuel: Quad [...] suivi de L’Epuise par Gilles Deleuze. Paris, Minuit, 1992. BECKETT, Samuel: Theatre Workbook 1: Samuel Beckett, Krapp’s Last Tape, James Knowlson (ed.), London, Brutus Books, 1980. BECKETT, Samuel: Watt, New York, Grove, 1953. BROWN, Llewellyn: The Monad and the Cut in Samuel Beckett’s Endgame, Sanglap, Arka Chattopadhyay, Arunava Banerjee and Dipanjan Maitra (ed.), Sanglap Vol. 4, No. 2 (January—February 2018), 55-79, http://sanglap-journal.in/index.php/sanglap/article/view/39. BRUGGEN, Coosje van: Bruce Nauman, Rizzoli, First Edition edition, 1988. BurGoNn, Ruth: Pacing the Cell: Walking and Productivity in the Work of Bruce Nauman, Tate Papers, no. 26 (Autumn 2016), http://www.tate.org.uk/research/publications/tate-papers/26/pacing-the-cell. CHIONG, Kathryn: Nauman’s Beckett Walk, October 86 (Autumn 1998), 6381. 64 This is summed up by Gérard Wajcman in a diagram where the summits of a triangle (spectator, work of art and author) circumscribe the place of the object in the center (L’Objet du siécle, 68). + 112°
