On the Masterpiece

On the Masterpiece

The Masterpiece is the best work, among those produced by an Author. It is the work that I prefer.
The Masterpiece, more than the other Works, becomes a text: it is arranged for my use. And, the more I like it, the more I want to own it, to make it mine, to make it pass through me. And return it to the use of others with the traces of the passage through me.

Accidental invention, by accident.
The choice of a text usually happens out of love. Love [affinity, contiguity] for that text. One makes it [that text] one’s own by rewriting it with one’s own pen. One makes it one’s own [that text] by listening to it read by one’s own voice.
And in this operation of copying [reproduction of ANOTHER text] one encounters some folds, folds of invention.
Invention fills in the gaps of an adaptive transcription. It is a mechanical operation.

About copying [and ABOUT THE PLEASURE OF APPROPRIATING A TEXT].
Copying is the partisan and superficial definition of a practice that is fundamental to the search for the position of a thought. The transcription of a text [the reproduction of a text].
Through this [copying] one always takes an active position.
From choosing the text [act of love], to preserving it [with care], to retrieving it in the form of reworking [new processing]. One avoids the [mystical/mysterious] tension of invention/creation and adopts the serene [all lay] availability to the inertia of [Darwinistic] evolution.
One avoids the [anxiogenic/paralyzing] tension of the invention/creation and adopts the serene availability [authorial or of the author] to the adaptation to oneself.

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Fidelity-infidelity. Faithful in transcription. Infidel in transcription.
Pedissequent-parallel. Pedissequent-divergent. Conscious-unconscious.

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Copying as a necessity for the transmission of another’s thought [through one’s own]. The transcription of texts as a necessity for the transmission of the thought of one’s own [through that of others].

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Exercise in copying. Not a photocopy, however. Not a mechanical, faithful reproduction. No. A re-production unfaithful to the original document but faithful to the reproducer. The copying exercise results in a new document that reproduces the first one by splitting it in two.
[The more the reproducer adapted the document to himself the more useful the exercise was].

Creativity has a mystical meaning. And it scares me. It demands [creativity] a demiurgic performance.
And it generates impotence.
More reassuring is instead the infinite transcription of things chosen among known things. And in this apparent automatism
one unexpectedly encounters invention.
Inventing-inventing-finding.
INVENTION OF COMPENSATION.
The serene act [because it does not presuppose the effort -even only of preparation- of the creative act] of the transcription of a text, chosen from among the texts I love and therefore even more dear, sometimes [sometimes] almost as an adaptation in itself fills some folds with the unexpected and light act [and for this reason marvelous, that generates wonder] of invention.
Invention as an act of filling in gaps.
Finding ways to complete a text.

About contamination and digression. For a theory of grafting.
About addition and juxtaposition. About infinite incompleteness. Asyndetically [without connecting features]. Writing/overwriting. About the lightness of constructing a text as [for] digression. [I follow your story with interest, but as you tell it I think of other stories (that arise from yours). And I follow them…].

About the usefulness of rewriting a text/About digression.
Rewriting a text leads to a new text. The original text is transfigured in the rewriting. [The author simply adapts it to himself]. The digression creeps into the folds of the narrative. The new text, derived from the rewriting and with the digression’s afterthoughts, becomes a paradigm.

A text exists if it can be interpreted.


Beniamino Servino develops theories on the monumental dimension of architecture for a post-ecologistic city-territory of superimposition.