ABSTRACT
This discovery about the method of the free drawings, that they had emerged from a particular kind of dialogic interplay between the two differences of ‘having ideas’ and ‘making a mark on paper’, led to a further observation. I noticed that in many of the drawings various sorts of antitheses were shown. Not only were there both malevolent and innocent creatures, there were also other kinds of either-or distinctions such as body and mind, spirit and flesh, things above and things below, standing apart and merging, reason and feeling. For instance, N.B.G. (Fig. 33) was to do with ‘things above’ and ‘things below’.
