While being a legendary figure of the art world during the sixties and gravitating around the Fluxus movement, Robert Filliou has largely been ignored by the literary society, despite the “written” dimension of his work. Once replaced in this transdisciplinary network, denied lineages and clandestine inheritances help us to better understand the man who avoided disciplinary labels, thus producing a form of critical apathy. The sole ambition of this “philosophical art” was the introduction of co-creation. This is made possible by defining the poetic act and training the reader to reach a free and complete practice of poetry. The poem, as a spiritual exercise and process designed to lead to Enlightenment, is inscribed in space and time, in everyday life, and becomes a base for meditation. It tends to internalise the participation of the reader, rendering it obsolete in a Buddhist culture of exchange, without any verbal intermediary or lyrical subject. This everlasting struggle between direct exchanges and an aspiration to the Neutral, to withdrawal, transforms Filliou’s poetic production, giving it the texture of life. His work showcases a tension between opposites, always on the verge of tearing, that takes on a highly reflexive value. The poetic practice of individuation, inspired by Dewey’s conceptions of experience, is aiming for the evaporation of art, of its products and its names. The attentional act of writing becomes an actualisation, condensed in devices, as were the infra-ordinary practises of George Perec. Our focus here is the effect of Filliou’s work on literature; and how, with or sometimes without it, he creates a mode of existence which is the tool of his own disappearance.