The phenomenology of Gaston Bachelard holds that readers, or viewers, relate to spatial imagery through the use of age-old archetypes. These archetypes form a collective image-memory that is employed when reading space. One such image is the house. The house for Bachelard is, however, never solely an image, but constitutes a familiar space that becomes inscribed in our bodies through the repeated physical contact with this domestic space. The house teaches us to interact with space, and comes to inform the way that human beings understand images of space.

The following text constitutes an attempt to present the French philosopher Gilbert Simondon's genetic ontology through an account of his reconfiguration of the problem of individuation in his doctoral thesis from 1958, L'individuation à la lumière des notions de forme, information, potentiel, métastabilité. The intention is to show how Simondon through this reconfiguration of a classical philosophical problem ? in which concepts and schemas from contemporary physics and technology is utilised in a critique of the bi-polar hylomorphic schema as its traditional, substantialistic solution ? becomes able to articulate an anti-substantialistic and anti-reductionistic ontogenesis as first philosophy. A systematic philosophical conception that according to Simondon precedes every critical investigation of the subject as well as every scientific ontology ? not by establishing a pre-critical position, but by exceeding Kant's critical position: that is, through a displacement toward a conception of the transcendental conditions for the genesis of being and thought as real conditions, rather than conditions of mere possibility.

Captured in the room of Göran Tunström?s spoken language, fenced behind his barrier of manic words. This essay is about the limit of language and world?s necessity to be spoken to be experience, about telling as a manufacturer of meaning and a subject?s motion between fiction and reality. Based on the novel Skimmer from 1996, my purpose is to identify ?a linguistic room? in Tunström?s narration and show how this room is given an existential character by its temporal and spatial dimensions.