In Handbook of Inaesthetics Badiou both draws on the original Greek meaning and later Kantian concept of "aesthesis" as "material perception" and coins the phrase "inaesthetic" to refer to a concept of artistic creation that denies "the reflection/object relation" yet, at the same time, in reaction against the bourgeois idea of mimesis, or poetic reflection of "nature", he affirms that art is "immanent" and "singular". Art is immanent in the sense that its truth is given in its immediacy in a given work of art, and singular in that its truth is found in art and art alone—hence reviving the ancient materialist concept of "aesthesis". His view of the link between philosophy and art is tied into the motif of pedagogy, which he claims functions so as to "arrange the forms of knowledge in a way that some truth may come to pierce a hole in them". He develops these ideas with examples from the prose of Samuel Beckett and the poetry of Stéphane Mallarmé and Fernando Pessoa (who he argues has developed a body of work that philosophy is currently incapable of incorporating), among others.