Inspired by Nietzsche's notion of Eternal Recurrence - which Paquet treated not as a doctrine but an operational principle, that is as a means of disentangling ourselves from secondary aspects of our identity (determined by cultural, religious and moral factors) in order to recover our primary nature - he considered a return to the body as the sole ethical value.

[4] He developed this Spinozan theme in a number of different directions: ontology (L'enjeu de la philosophie, Platon: l’éternel retour de la liberté), political philosophy (Nous autres Européens, Le Fascisme Blanc) and esthetics, the latter in particular in relation to painting which he defined as the art of rendering the sensory visible.

[5] He is the author of a large number of essays consecrated to visual artists whom he knew personally: Jean Dubuffet, Alexander Calder, André Masson, René Magritte, Paul Delvaux, Fernando Botero, Sophia Vari, Corneille (one of the six founders of the Cobra movement),[6] Bram Bogart, Anna Wilczynska-Wilska, Amann.

He did research into fanaticism and published a number of articles including "Essai sur l’absolu" (Essay on the concept of the Absolute) which brought him to the attention of French philosopher Gérard Lebrun[9] and led to a professorship in the history of German Philosophy at the University of Tunis.

In 1981, he took part, together with Hans-Georg Gadamer in the colloquium "1881: The great year of Zarathustra" organised at the Brock University of Saint-Catharines in Canada:[13] he made a presentation of his concept of "dansité", a play on words which suggests both "innerness" and dance, which was later incorporated into his book Magritte ou l’éclipse de l’être.

This school organized amongst other things courses on the concept of "ethical conciliation" and on a draft political constitution for Wallonia which Paquet drew up.