Adventures of Marie-Jeanne the Chatte

by Lily-the-Chatte

 

Texts in Italics translated from Virginie Poitrasson’s Positions

 

Seek to question the beginning of thought in the form of combinatory and open reflective sequences.

 

There is another world just to the side of the agreed-upon-one.

To find it, you must shake the world

Like a pan of gold to reveal it

Like the internet it is invisible but surrounds us

 

In this world, it is silly to continue to call thought thought

Although if you say that

Why not say that it is silly to call anything anything

 

So we’ll call thought thought, even though it’s not

 

Without resolving or simplifying but rather uttering concrete gestures, repeated, inscribed acts, in the moment, that are situated beyond the sphere of the media, in the intimacy of creation, going against the grain

 

            Signs are not the same

Neither in apprehension, nor in practice

Nor in the theory that attends to them

 

For example, the stop sign means not stop but wait

A “for sale” sign means “to share”, “to borrow” (it’s hard to translate)

The “man” and “woman” signs above the bathroom denote real, individual beings, each with their “own” noise (that’s what they call language), and each with their “own” body.

 

But of course bodies do not signify the way they do in the agreed-upon-one.
We’ll get to that later.

 

Objects signify like words, and words signify like objects

meaning

Objects shimmy casting not meaning but rather a shade of signification with no

point of shadow.

Where is the object? Can’t say really.

Words may be radically brutal and yet ferociously symbolic

like when you hold an object you don’t understand

or you hold an object no one else understands

 

In this world of roving alive signs, Marie-Jeanne-the-chatte goes out for a walk.

 

How is thought constructed? How to reconstruct its course? With a schema? A chart? A list? A drawing?

 

Marie-Jeanne-the-chatte can see both worlds clearly

And can step between one and the other as easy as a magic-eye picture

And so she travels the city, on paw, setting up portals

Breaking points that connect the two reals

the agreed-upon-one

and the other-one

 

In this world, maps are like bodies

Not like drawings, charts or diagrams of bodies

But like real bodies

And to travel them can be erotic or therapeutic, sometimes both, but this is a taboo (which makes bodies like it)

 

But do not be tempted to think bodies are maps, not everything is reversible

Unless by map you mean the feeling of the map

in your hands

Or the feeling of your finger

tracing a line

on the paper

 

She travels the city, in a movement synonymous with the feeling of her “own” body.

Reading.

 

She charts her DMS coordinates, so that she can never revisit the same place (time)

 

 

And how to make an image? What forms capture the back and forth of the eyes? Between artist and work, in the work itself. And how far away? From what perspectives?

 

Her reading is like a bomb, like a series of bombs.

Like a booby trapped gift that explodes with confetti

Great grandmotherly hands, taking hold of the seams, and pulling towards two poles.

This is only possible of course because of the fusion reaction created out of the particles of each real

For example,

in the two reals, the opposition between fiction and reality is inverted, also the opposition between theory and practice

 

(Actually if you want to get technical it’s more like a quadrilateral in this schema—in other schemas it can be hexagonal, sextagonal, etc. depending on the number of terms in your arrangement. Meaning fiction is reality which is theory which is practice. Or fiction is theory which is practice which is reality. Or reality is practice which is fiction which is theory, which is reality. Or theory is practice which is fiction which is theory. But I don’t want to confuse you.)

 

Assuming you know something about these oppositions in the agreed-upon-one,

in the other-one,

Fiction is what presses down on bodies, and collides with them, contradicts them

Fiction has authority over the real in an argument for example

Reality is merely an amusing diversion to pass the time when you are sad, or tired, or lonely or needing interpretation.

 

What is close seems close because it is far

What is far seems far because it is close

 

Only fiction is to be believed, and grounds most scientific treatises.

Although scientific treatise, you would probably call a dance party

 

The reconstitution of this imagined scene can be but partial, subjective

 

After the city went to sleep, she climbed to the top of a wall presiding over a garden

closed to the public at that time of night.

Another night, she climbed into a construction site.

One afternoon, she nestled into a couch for sale at IKEA

A dry docked boat

Backstairs service entry

Transport container

Driveway

She read Un Livre Blanc, by Phiippe Vasset,

Confessions, by Saint-Augustin

L’Empire des signes, by Roland Barthes

Empire of the Senseless, by Kathy Acker

Agrippa (a book of the dead), by William Gibson

Outside-in the Teaching Machine by Gayari Spivak

A la recherche du temps perdu, by Marcel Proust

Dictee, by Theresa Hak Kyung Cha.

King Kong Théorie, by Virginie Despentes

C’est le soleil qui m’a brulé by Calixthe Beyala

Un ABC de la barberie, by Jacques-Henri Michot

Lopo-la-Camelote by Minna Canth

La Disparition by Georges Perec

Justine ou les Malheurs de la vertu by the Marquis de Sade

Féerie générale by Emmanuelle Pireyre

and lots of other books.

 

She calls these forays “readings in a hostile environment”.

 

Because when you come down to it, all we do is respond to circumstances. “There only exists a response to a response, and none ever began.” Jean-Luc Nancy

 

Not everything is so different from the agreed-upon-one

For example, counting.

 

There is counting in both worlds, although in the agreed-upon-one it is taken quite seriously, and in the other-one it’s more like a game or a song.

(In both, counting is necessary to music)

 

Common currency is sounds, or letters.

People exchange sounds or letters instead of coins, bills or data. But they do not swap them in exchange for something else, they just swap them for the hell of it.

Common opinion holds that the exchange of sounds and letters say it can cure loneliness or depression.

Or cause it.

But this has not been proved.

Possibly because there is no criteria to validate proof in this world.

 

Another thing that is counted is subjectivities. Which are created each time a book is read, or a place occupied, a moment documented etc.

 

But then they disappear into thin air, many of these subjectivities.

So I don’t know if you would really call that counting.

 

Thought could begin like this: fork desire and bring forth language

 

Of course not everyone in the other-one agrees upon everything (this is why you cannot call it the agreed-upon-one—since it is not agreed upon).

Some say subjectivities are radically singular, exist in one moment and place only, and then evaporate into the ether like a word you cannot remember.

Others say these subjectivities return, and are self-same although slightly altered

with each passing moment.

 

It is this collection of subjectivities, which Marie-Jeanne-the-chatte says make up the Act of Reading Workshop

 

What position(s) to have to produce, write? How does creation start? What actives it, reactivates it? How does the context play into it? One suggestion among so many others: describing a position is a bit like finding it.

 

Do not be mistaken into thinking then that these subjectivities are not “real”

Whatever that means

 

If you don’t believe me, further information is available on the web at

litteraturepratique.net

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Further adventures