The Masterpiece is the best work, among those produced by an Author. It is the work that I prefer.
\nThe 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.<\/p>\n
Accidental invention, by accident.<\/strong> About copying<\/strong> [and ABOUT THE PLEASURE OF APPROPRIATING A TEXT]. ……………………………………………………………………………………………<\/p>\n Fidelity-infidelity. Faithful in transcription. Infidel in transcription. ……………………………………………………………………………………………<\/p>\n 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].<\/p>\n ……………………………………………………………………………………………<\/p>\n 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. Creativity has a mystical meaning<\/strong>. And it scares me. It demands [creativity] a demiurgic performance. About contamination and digression. For a theory of grafting.<\/strong>
\nThe 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.
\nAnd in this operation of copying [reproduction of ANOTHER text] one encounters some folds, folds of invention.
\nInvention fills in the gaps of an adaptive transcription. It is a mechanical operation.<\/small><\/p>\n
\nCopying 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].
\nThrough this [copying] one always takes an active position.
\nFrom 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.
\nOne avoids the [anxiogenic\/paralyzing] tension of the invention\/creation and adopts the serene availability [authorial or of the author] to the adaptation to oneself.<\/p>\n
\nPedissequent-parallel. Pedissequent-divergent. Conscious-unconscious.<\/p>\n
\n[The more the reproducer adapted the document to himself the more useful the exercise was].<\/p>\n
\nAnd it generates impotence.
\nMore reassuring is instead the infinite transcription of things chosen among known things. And in this apparent automatism
\none unexpectedly encounters invention.
\nInventing-inventing-finding.<\/small>
\nINVENTION OF COMPENSATION.
\nThe serene act [because it does not presuppose the effort -even only of preparation- of the creative act]<\/small> of the transcription of a text, chosen from among the texts I love and therefore even more dear,<\/small> 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]<\/small> of invention.
\nInvention as an act of filling in gaps.
\nFinding ways to complete a text.<\/small><\/p>\n
\nAbout 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…].<\/small><\/p>\n