Sunday, May 30, 2010

Clay III.136

Scriptive Abbey. The monks and nuns are of a stunning physical beauty. They live as a co-operative, each however with his or her own room. Their bodies are covered with texts from [. . .], tattooed upon them in cuneiform script. They are dedicated to amours, study and prayer.

There are three tattoo-scribes who work in the entrance hall--the Roman alphabetic transliteration fully legible on each of their six wrists. The various pictographs or ideographs that come to be used in the increasingly scriptive text will be translated over the rest of their bodies which over time will become reference works.

Those who come to read our text pay by the hour, and must decipher it as they will, the reference works being called up to the individual rooms by patrons for an added fee. The religious pay their way being read.

Of course there will be bodies of text preferred by each patron, either for the text itself or for the ensemble of the book as it gathers the text. Patrons will have to make appointments with each book to be read, and books cannot be taken out.

With each generation the task of this reading becomes more difficult, as the script becomes more scriptive. Patrons must then arrange to meet with an older book so as to corroborate their reading of the text under scrutiny. The text as a spoken word is held in the keeping of scribes and the religious, who may, it is true, eventually lose it themselves.

Such employment would hardly succeed in America at present, though the abbey or bibliothèque or brothel may work in Paris, Berlin, or Tokyo. The book needs relatively few hours of availability in order to pay its keep, and can spend the time thus gained in study, amours and prayer.

Many a book will not allow him- or herself to be handled before he or she has been well read.

NB: Prospective books have no choice of what text or texts they are made. The tattoo-scribe chooses to copy what and where he or she will. The full text of [. . .] must be preserved--i.e. legible--in the library at all times.

Je m'adresse à Béatrice André-Leickmann, à Jean-Louis de Cénival, à Jean Bottero, à Christine Ziegler, à Ake Sjoberg, à vos étudiants, aux parisiens choisis: j'ai besoin d'artistes de tatouage, de jeunes hommes et femmes dévots, d'une grande maison pas loin du centre-ville, d'un traducteur, et de votre collaboration dans la scriptivité continuelle et progressive du [. . .], i.e. je vous prie de m'emmener à Paris pour étudier là-bas. --Eric Mader-Lin

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