TEXTS ON ART : Image number 1967-075.
From page 41 to page 80.


- Discovery of typography - mechanization of a manual trade
not the discovery of new knowledge
but application of knowledge available

- Importance of Gutenberg - The medium is the message
more than ''content''.
(mass production)

-''The Mechanical Bride'' McLuhan (recuperation of Women
by the system)

- Speaking of Innis - Gutenberg: ''a point of view can become
a dangerous luxury when it replaces insight and
understanding. ''P. 314
''His latest works are not products ready for consumption,
but objects to ''do are self,'' as in symbolic poetry
or abstract painting

- Note p. 329 ff. (Spain) Gutenberg


-''And like a colony busy with the trade of
furs was not able to develop an industry
able to compete with the manufactures of the mother
country, the colonial periphery developed
in relation to arts and literature an attitude of
strict consuming that has persisted until
this century.'' Gutenberg

p. 345 - notes.

-''The denuding of conscious life and its reduction to
a single level has created in the 17th century, the new universe
of unconsciousness. Stripped of archetypes
or attitudes of the individual mind, the stage is set
to receive the archetypes of the collective unconscious''
Gutenberg p. 354
(to reflected upon: second sentence)


to support the point of view: whatever you repatriate from
the unconscious towards the conscious mind increases your potential (power?)

-''... The extreme limitations imposed by printing technology
printed on the conscious life''(note: Antonio Jarry; stone worker
a cultured because not having received written culture, we will say
that his children received ‘’poster course’’ - Originally
these trades INCLUDED cultural initiation.)

''But for centuries, the West was going to let itself be motivated
by this mechanism alone and live in a sort of dream which
artists where trying to pull us out of'' Gutenberg


-''The lesson is that more light thrown on
two neighbouring areas is brighter, the more the shadows
surrounding their interactions is thick'' Whyte
Gutenberg p. 356

-''Unconscious intrudes increasingly on the mind,
on life and the interaction of our senses and our faculties
and anesthetises them gradually'' Gutenberg after --
‘’the new collective unconscious (after the advent of typography)
like a swelling fed by the
undertow of self-expression''

- Note on Rabelais p. 375? ? ? Gutenberg

- Notes on music (quality of) p. 380 Gutenberg

-''The Seven Nations fled before
him, they became what they saw.''
Blake (William) poem Jerusalem
Note: p. 381 Gutenberg

-''Imagination is the relationship between perceptions
and faculties when they are not coated and exteriorized


in material technology'' when they
become this: closed system. Normally: global interaction
of experiences. Notes p. 382 Gutenberg


- Simultaneous or mystical vision:
‘’myth is the mode of simultaneous consciousness
of a complex set of causes and effects'' Gutenberg
rather absent from the current fragmented vision but
electronic ... Batman ...

-''In describing quantitatively truth as
a container full of all opinions and
all possible viewpoints, J. S. Mill in Liberty
created intellectual anguish'' Gutenberg
(an aspect missing, the whole structure would collapse)
... Overrating of the visual: a comparison of objects...
''Mechanical comparison, rather than imaginative
creating, will dominate the arts and sciences,
politics and education, up to our time.''

-McLuhan said that Adam Smith (?) senses what
new role of the intellectual will consist in channelling
the collective consciousness of the ''vast multitude of
those who are struggling'', that is to say that the intellectual
will no longer govern perception and individual
judgement, but rather explore and transmit the
massive non-conscious mass of collective
man.'' Gutenberg



-''The matter of artistic vision, in fact, will be


collective and mystic (explore and transmit the collective non-conscious
(new role of the artist), while the
literary and communications forms of expressions will be individual,
segmental and mechanical. The vision will be tribal
and collective, private expression is saleable''
Gutenberg p. 387

- Ref. manuscript 1 pp. 3 to 4 individual cultural approaches

J. S. Mill, Matthew Arnold and many
others focused on the other side of the dilemma
(see above, the problem of creation-expression), the
problem of culture
and individual freedom in an age of
mass culture.'' Gutenberg p. 398

-''It is possible that it will be the new electric technology,
because of its deeply organic character, that will
frees us from the dilemma, as sensed by
Joyce'' McLuhan, Gutenberg p. 388
the impact of changes in non-art in kinetic,
environmental shows and films.

- This same principle that is familiar to us and is used by
Gutenberg action that ''the practical progress
and utility is based on the separation of forms and
functions'' (McLuhan), is found in the basic concepts
that enabled the birth of ‘’methods’’, psychological analysis.


- Note Gutenberg p. 391, ask Peter

- Notes, Johnson Gutenberg p. 394

what does this mean?
in the former novel we would have described by
detail the structure (rarely the effect) of feelings and


action without circumventing their motives, the new novel
(fiction) describes the environment (of causes among others)
in which arise these feelings and actions (each
recognize them and can identify with them)
now ...

-''The public became patron. Art was changing its
role, ceasing to be a guide of perception,
to become one of the charms of existence
a current merchandise'' Gut. 396
Do I agree entirely? or else the right to
consciousness is becoming ''one of the charms
of existence, a current merchandise?

- Note; establish the relationship between ''diffusion'' as used
by Peter to define the problem that concern
our techniques, and diffusion as used by me
in the statement at the beginning of the curriculum (diffusion
of consciousness'')

- The crucial role of forms and art as a means of
fulfillment and order for man.


- Note Gutenberg p. 398 of the method of a fixed viewpoint
and that of the open field.
Ref. : Prevention - alarm signal to the educator for the
benefit of the learner, perceptions
environmental influence
influence of thinking technique
based on
a ''point of view.''

- Reflect on Gutenberg p. 399, 400
''public participation in creations?


approach to individual works? ?

''stream of consciousness'' versus ''method of invention''
(assembly lines)

- What many call ''irrational'', ''non-logic'', ''unconsciousness of
Art'' is only ''(McLuhan) the rediscovery of
regular exchanges between the self and the
world, or between subject and object.'' P. 401

- Gutenberg created a void between ‘’the appearance and
the stream of consciousness fills this void


- Joyce: ''Are not my consumers my
producer''-''I am the child of the century''
(my perceptions have evolved and were formed in the environmental
thereof; importance of the environment, importance of
perceptions if we say: con-science.)

Manuscript 1V

- Teach a technique WITHOUT SIGHT

- Controlling the use and influence of processes identified that
consciousness uses to express itself by NAMING these processes (give a

- Creation as a means of control and organization of the products of

- As if when Aniela Jaffé quotes Moore, etc. to illustrate his
discourse on symbolism, as if… the works of these
artists were in relation to ''the environment and man''
and that mine pertains to ‘’man and the
environment’’ (or in the environmental)


- doing painting: of describere

he made himself - ping is voluit

pictura, e : painting, picture, description

imago, inisif : 1 - image, representation, portrait (by painting or
sculpture) picture, description; form, appearance, likeness,
2 - Family Portraits
3 - Shadow (of a decease), ghost, apparition
4 - idea, thought, memory, Concipere animo imaginem
re, represent something, to have
an idea of it
5 - Sham, appearance, Sub imagine amicitiae,
under the guise of friendship
6 - echo

Note: ‘’didactic’’ psychoanalysis''? ? versus? ?

- The ‘’pre-revolutionary anarchy’’ up until the explosion of February 1969
From ...


***** (Bio., Page: 404)

***** (Text written June 1, 1974)

(reflections on the evolution of the being)

What complicates the game of evolution of the being,
is not to have realized - intellectually
of the co-science of the senses before starting the
research of the co-science - intellectual or
Does this mean that there is in a being two types of
Then since the first consciousness is the result
co-science known by the senses by there


would the second be the result of co-science of the
different attributes of the mind by their perceptions?

***** (Next page)

the evolution of my style
is consistent with a consciousness more and more
acute and total of the being and of his individual intrinsic life
of this energy? life? it radiates
projects, and moves within him and outside of him HIS
total because it (the consciousness) is becoming
more and more, not only, seen, collected and disclosed
or re-transmitted informatively but
sensed then felt and understood – projected.

In this application of intelligence of the languages
of what is felt, of the languages of the plexus,
intelligence differentiated from that of intellectualized
an extraordinary experience became possible for me
consequently to a concussion
which affected me as a result of a car
I was then struck with partial amnesia (?) During a
few weeks (?)
my reference model and my memory were
scrambled, to counter the disorientation I tried to
function as if the ''reference model'' was not a
evident normality of the expression of my consciousness
but rather as if it were normal for me
to be con-scious about events, feelings
and sensations that came to me by them alone.
The present, finally the present! ...

Wonderfully as my
memory gradually returned, I noticed that my psyche
kept the habit of feeling the present for what it


is in itself separately from what it is by comparison

***** (Next page)

to acquired knowledge
All this showed me how these are educable

I also noticed that without this curiosity that
pushed me to transform this into experience (observation)
this disease (concussion), my first psychic instinctive defence mechanism
would have been, at the time of ‘’disorientation’’,
to let myself sink into a depressive unconsciousness.
A series of exterior events happily
sufficiently distracted me of all other concerns and gave me
(1st a trip to Europe, installing ourselves in our new home,
2 exhibitions in Paris, proposition from Promo-Ceram, etc..)
the time it took for me to perceive the experimental aspect
of this event

I felt that I was removing bite by bite
the bread from the mouth of depression.

***** (Next page )

It is extraordinary to observe
that when I realize
the existence in my work
of a new form,
the day then when the impression
of creating for the first time,
it seems now
that this form
had already appeared
without having noticed it,
in an impromptu mystic assembly
that was then
apparently foreign
but that
I was carrying out in my private life
during (1) the events
((1) often unconsciously at the time for me)
that I dealt with later, i.e. at the time were
I believe consciously that I am executing these new forms
for the first time.

e.g. during the ‘’long pleas’’ that I carried out
with the ''little sparrow'' of consciousness (''Even though
I was a little sparrow ...'') around
''Papa, Papa, life, life
is the Phoenix of America'' ***** (series of paintings: No.: 1973-040 to 1973-077,
Album 1.)
I used several times an illustration that
I thought for me to be new; the fish, i.e. the fish
sectioned emerging or immerging from the water during the summer of 73
and now on this June 1st , 74, looking at the original lino plate dating
from October 72 dealing with a very different theme i.e.
the witnesses (at least in a different phase) I see the drawing, but not engraved,
on the left hand corner at the bottom there was those sectioned fish emerging-

***** (Next page)

(1) I am referring here to the use I make in
my whole life of experience gained gradually,
step by step, year after year through
my pictorial approach.
(1)... The main use that we can do by the
deepening of a technique or of a
specific knowledge is to extract from them observations
on the approaches taken and their results, on the
approaches, the process of knowledge,
of projection, development, etc.. their use,
their formation and their results (leaps and reno-jumps of techniques precede discoveries)
to, by comparisons, analogies,
the differences, get from our memories and our intellect in general
a co-birth comparable to co-science
that we get from the different perceptions of


our sense,
the only way for humans not be a stranger
in his ideological and technical environment,
because it is the only way for him to understand enough
(intellectually) to form a personal opinion
of the different ideologies and techniques
that he meets throughout his life (accepted that
it is obvious that he cannot always
learn them to evaluate them)
This amounts to the idea that I formulated 13 years ago in
my poetic writings: ''If a child learns to
love in his very young age and knows a flower
or a familiar dog, he will later be well equipped to
know and love as much work as an
other being; having already understood the process
of knowledge and love.


***** (Bio., Page: 417) (1974)

‘’… Definitely,
selling paintings
has no meaning for me
even less in my Work .
I’ll publish books which will contain them,
films that will lodge them,
and I will write and sing.
None of my paintings
can be situated alone,
because they are not
works of art, and because I do not do
Works of Art.
They are a story,
with an unfolding,
the unfolding of days, the time of our days


through the eyes of a human being
in the perception of
a human female
situated in the time of days.

***** (Next page )

If my works are so polished,
it’s that my relationships with people,
even those that produce the most awkward failures
are very, very polished.
Each movement,
each momentum,
commands my full attention.’’


***** (Bio., page: 29) (1974)

***** (Taken from a ''draft'' of the bio / CV that Monique wrote in 1974. The original
text is presented on page 28 of her biography: Presentation of her CV)

‘’... Express oneself first to yourself, then marvel and reflect, express to others,
communicate even if there is little or no feedback. Express to feel more explicitly
what we perceive, to become more CONSCIOUS . And expression thus privileged
and premeditated becomes ART. And Art becomes a tool of divination,
of apprehension and investigation of the universe.''


***** (Bio., page 429) (1974)

***** (Text written between 1974 and 77)




Culture, at least in civilized
civilizations, is a directivo-criticism within
which every gesture, impulse, etc. ... of the initiated
can be reduced to the action of ‘’punching’’ in the
control machine of a reality called historico-temporal.

The situation that consists of understanding what
is and what is coming that is real or unreal through each
wave and cell of a specific life envelope (in my
case commonly identified as: human mammal) appeared to me
within the cultural environment where I landed
at my birth, July 3, 1947, to be able to identify its self
with the fewest possible difficulties (1): artism or créatism
(1) given the inventory of directivo-critical definitions
of dictionaries of that cultural era.

If any ''act'' for example, appears immediately as a gesture and
directivo-critical factor in my cultural environment; the
least I can do for myself when I try
to understand ourselves, I and this environment in an objective way
and non-directive (2), is to get away from, to all possible extent,
the ''clichés'' homologued so far in this culture that surrounds me
completely, as directivo-critical data of this
historico-temporal reality that is, culturally speaking, common to
call Reality.
(2) this intention comes to me from the desire for security that I want
from knowing who I am, what I do and what happens ... since I am passing here!
Any other attitude would seem to me in essence a little bit masochistic.


Thus, at the time of my birth, it was fashionable since the last
sixty years to express one's soul in a continuum of
gesture, words, images, etc ... externally inconsistent; so
outwardly incongruous and surprising. Admitting that ‘’it speaks’’
inside of oneself without any need to have the conscious intention,
the technique consisted bit by bit of gradually silencing just enough of
the willingness to interfere on this internal language and just enough
attentive concentration of the historical directivo-critical ‘’I’’
regarding this inner language, that makes audible a sequence
of incomplete data able to replicate the internal language
in an externally incoherent way. The
new ''chess game'' of cultivated people consisted of putting in
evidence the mastery of the participants-analysts
to reconstruct the complete initial messages produced by the participants-
designers of riddles. In order to compensate for the shortcomings of the participants-
designers who would have, in the long run, experienced difficulty
in reproducing a behaviour of inattentive concentration
simultaneously to the slaking of their directivo-critical will,
new rules of the game appeared spontaneously: speed required
in the construction of riddles; systematization in the deformation
of the symbols used; obligation to express ones inner thoughts
within the directive-critique limits of certain ideologies,
hypotheses or methods, psychological, social, religious, political, economic, etc ...
allegiances to certain plastic schools, aesthetic, etc. ...:
... ;... ;... ;... inversions! interdiction!...! ! ! artificial, logical ... ...
communicability, homogeneity, etc. ... ;
provocation of the directivo-critical ‘’I’’ of the participant-analyst.


A decade before my birth, particularly in painting,
they ‘’Punched’’, more and more in a unified way by systematic
abstraction. Contrary to previously prevailing practices
where free individuals were pursuing their apprehensive research
that then would be imitated in plastic form by the participating-
designers players who undertook to establish into a system
the expressions
experienced by the latter in order to create a ''SCHOOL'' over school,
expelling one another for the littlest exceptions to the rules
and principles of directivo-critical systems as constituted,
it seems that peace gradually settled between
the different participants-designers who tended, through the
rules and principles of the system known as abstract art, to integrate
themselves without much resistance to the directivo-critical practices
of the culture of our civilization.
Of course at that time of my birth, some dissidents
protested against certain rules of this chess game. Dali one of the


most vivid and clear refused to alienate his expression to the
ideologies which brought together the majority of his contemporaries
painters, etc. ... however most of the representations he made
sought to oppose and impose himself in order to liberate himself. He seems to
me to be quite a clairvoyant historian of the principles governing the rules of
the game of his contemporaries, of their strengths and their weaknesses. Some
of his critics seem to escape the dirctivo-critical standards
then in force. These efforts took him so much energy that I much regretted
than not much remained to be
''for'' than to be ''against''. His approach appeared to me sometimes simple,
free and human in the cases for example of his creative attitude facing
the illustration of Don Quixote ... A few moments more of this simplicity
and I might have been able to observe his evolution, to learn
something useful and digestible concerning what
I am and what is coming...

Such was the environment of the craft when I arrived. Some
agree that each has its place in the sun but bound by the
principles and rules of play, others may be able to objectify these links


but convinced that the sun belongs to someone or that they belong
to the sun; anyway, almost all convinced that there exist
a truth to which we must comply, some believers that they have
found it, others seeking it with all their might comply to it
as strongly as possible.

Obviously, since I'm here everyone asks me
to what truth I belong to! ...
It is obvious that in the directivo-critical model
of a reality based on the time and space that each
frantically dwells in the search for where he came from and where he is going!
It's very simple; here, all the delusions and all hypothesis on
the past and the future are everywhere and always within reach of
the amateur. In the current, we are alone ... almost.

Of course, the situation I am describing in relation to art
is that of the historical reality of the artists themselves. A slight shift


is needed if we should consider the cultivated amateurs of
art. For when I locate certain events, concerning abstract art
for example, as prior to my birth, I speak
for myself as a creator.

I pose as a ‘’fundamental requirement’’ in the ‘’human’’ destiny
not than the (1) ‘’need to know reality’’
(1) Structure of pictorial space, Fernande Saint-Marie (Essay editions HMH)
as perceived and described on page 12, but rather
the fundamental need to know the specific reality,
that is to say the one precisely for perception
the one for which we have the most means. If the rabbit
become conscious of this facet of reality that can apprehend through
the skin of a rabbit! Never could a naked ape
portray as accurately the ‘’rabbit’’ feelings
than a rabbit himself ...
the artist must understand reality through
the specific senses of his species. The other members
of my species after myself are the most stimulating and the most
powerful than my senses can perceive ...

Objective: to define myself towards the future to guide myself directly towards me.

I saw at that time ''the end of an era.''
What dose the end of an era mean?
What was this past era?

What did I live?
What does this experience give me?


***** (Bio., Page: 432) (1974)

***** (Text written between 1974 and 77)

Critic of plastic Art


The typical scenario of plastic art criticism in itself
usually takes place following two very limiting
models. Or they fall all over you with
minutely detailed physical descriptions of
the ‘’product and its making’’ to the point that we
comes to ask ourselves why these
''advertisements'' are not
FRAMED and presented as such to the
reader-consumer. Or a pseudo -
intellectualism coupled with a genuine
hermetism strongly keeps the
public at distance to the point that
the artist comes to realize that
elitism is not an honour but a

***** (Next page)

As an artist on what media should I count on to
have a contact between the public and me??

It is rare that a painter is part of a press conference
in which the journalists met are essentially
journalists in the vast field of arts and entertainment.
I am delighted with this contact because painting
may well be ''among others things'' what art critics say
it is but it is ‘’ALSO’’ a LIVING element of culture
and society. Nobody would for example think of confining politics
in the writings of political scientist by excluding
public information in general. It must be the
same for painting in respect of the vast world of
arts and entertainment.
that the mere recognition of a language
of a shape, a movement, of colour, etc. ...
just like song for example, it is not
only rhythm, instrumentation, costumes,
etc.. who have made of a Charlebois, a Pauline


or a Raoul appreciated representatives and loved by
their public ...
just as a prestigious distribution
of great means, etc.. has never been enough
make out of a play or a movie,
an assured success ...

***** (Next page)

Do we know for example that our Quebec singing
is one of the most dynamic singing of
this era, it reflects our every day evolution,
in YOUR articles and interviews, you talk about
these singers, writers and composers, but ...
who testifies about the songs
themselves? And who will remain to testify
in fifty years when fashion will have
consumed and buried them? Painting REMAINS and its power
as a witness increases with time.

Do we realize that when someone cries out ''I
had a terrible FLASH last night while
dreaming'', it is rarely a paragraph of words
written in the space of sleep but a
FLASH IMAGE that at dawn we recount with
words, lack of anything better. ... The painter can transmit his
Flashes and dreams without intermediaries or translation.

Can we always describe in words
what one feels in reading the works of
courageous patriot, feminist, at the birth of
our child, at the one hundred eighty-third day of a
strike, at the advent of a new government
at the moment of an orgasm particularly enjoyed,
... Painting can sometimes EXPRESS
the inexplicable substance
a feeling or CAPT the fugitive MOMENT
of an intangible reality.


Do we see that painting may be the ready-to-wear

***** (Next page )

of expression for everyone? Go therefore and express yourself
by composing with a piano if you haven’t any
pre-requisite technique! ... or if you do not have a
piano ... The tip of a toe in the
smooth and moist sand of a beach, a tree branch
in a blanket of dead leaves in autumn,
a pencil on the wall opposite the telephone,
and mater captures and accept your message.
Painters are specialised transmitters of
messages: they even offer the SHOW to
the public. And this field is our
business, yours and mine.

Monique Jarry
‘’Free’’ Free Thinker


***** (Bio., Page: 435) (1974)

***** (Text written between 1974 and 77)

(Role of the painter)

1)''It's hard to be a little crazy
in twelve foot verses

and I love the cultures of the South
and Louise Forestier and her little ‘’negro’’
(especially when one imagines her at the Olympia
with her ‘’tzagadou’’- what is that?)

11) situate well my father in my work and the relationship that I make and


feel between my suffering and that of the
country under the auspices of the schizophrenic
that were these liberals that ask
again ‘’a war to the finish’’,
These Nitons who translate into ''war''
there conflicts with all dissidents and this mentality
who can not conceive of evolution and
progress except in paranoia (e.g. Research budgets
of the army to study para-psychological phenomena
''in an effort they say to try
to counter the advance in this area of the U. S. S. R. ....
if it's not too late!'' ha, ha, ha, and the witch hunt
is on again! But of course that the Rosenberg’s died
for nothing! What did you think? ? ?)

How they hurt me! ! ! How there
voice offence and hurt my soul ... to a point
good god, to a point! ! ! Like Prevert would say ''it's crazy,
it's crazy ...''
Jacques Prevert continued his narrative
‘’and I took the belt of my
and I tied it firmly
around my neck
to warm me''

***** (Next page)

3) I was waiting for his return,
I had more accumulated bitterness and
despair that
hope and joy

thus as he wanted to be able to
return and resume his place with
joy as if nothing was

4) based on the only guarantee that


had been thinking ...

then, suddenly and faster than
the time it takes to
realize it
I exploded in his face
like a grenade
as if it was not him
returning but the ghost of
my despair
as if I could not recognize
in him the one that I expected
so much
then he got scared
and left ...

***** (Next page)

5) – In front of the celebration of the songs from Quebec and Acadia
for the 25th anniversary of Radio-Canada --

I think all the foresight and strength
it took to create all these wonders
of beauty and truth ...
and I looked behind to see if the past could not
help me see the future ...
and I see that the songs grow out of style...
that other course will follow, as usual
and yet, yet! ! !
I see that I love these of course because
that they are those of my time?

6) I see more
They are a result, more than the mark of a
time, they are for our culture, our philosophy
and our morality, the mark ‘’of’’ times.
These singers, taken all together into one another
are the expression of the genesis and essential steps
of our mutation ...


And mutations do not mark only one
generation. These songs are those that WE MUST
say after tomorrow that they are ‘’the words that these people
pronounced at that time’’, at the time
when was born the thought following the 20th century among
the French of America''
When we put the voices of each of these artists
in its place WITH the others in the mural of
our life in this end of the 2nd millennium AD
we recognize our soul, our experience and
our prospective point to
the horizon (no matter in this,
what the political form will take in our immediate
near future)

And I feel I understand better and better
these artists, their precious burden, their role and
their destiny.

***** (Next page)

By seeing and understanding them, I feel and
see myself better.
And I believe that I understand the role of the painter in the history
of this breed of human mammals.

The painter paints his time by testifying
of himself
He paints on going all that his peers are and their
not like a photographer or a
historian would do (1)
(1) writers are also the singers;
sometimes, just sometimes, some poet
are painters, as sometimes
some philosophers and some esoteric’s.

but as everyone would paint himself
because the painter must ''BE'' what he paints


for I am what I understand
for I am what apprehend’s me
and the painter only exists if he sees,
if he grasps.

And I am what I painted

How, how to say in words in this language
where almost every word means everything and
almost anything? ? ?

How can one say in only one spurt a whole concept-idea
in this language where we must say again and again, screaming and
singing a thousand times the same impulses so that finally
has come the time when the listener vibrates
in harmony with the speaker? ? ?

''... Finally a painter’s thing is to paint
and not be surprised at not being heard
today as his message is expressed
through a long term vehicle.

And tonight, I say to those I love I will do my job
and they can continue to live and have children because, yes,
I will paint them.''

Monique Jarry


***** (Bio., Page: 439) (1974)

***** (Text written between 1974 and 77)



Conditioning of the artist relative to his work, his art, the environment:
perception of the environment

The world of men:

- The night of poetry in 1970, for the observer, was
much a ‘’confession of helplessness’’, but as
said the young Quebecois poet M .... (one
of the few in which they felt the ability to take the
situation in hand),'' when will I have fingers
at the end of my fingertips, hands at the end of my hands
... '' or something similar!

Well, that's the world of man, that is it:
nature. It is agreed to admit that flowers
are part of nature; it is agreed to admit
that man is a mammal and that he thinks
and that his thought is also part of
What is born from the hormonal body of man is
part of nature, what is born from
the spirit of man is also part of
nature, of this nature that is the universe of man,
of the known universe. Man decides more or less
consciously (the unconscious is also in nature)


to manufacture an automobile as a ramification that is
a part of himself and now an auto-mobile
is part of man, part of nature, a
part of the universe. Could we think
that the automobile is less close to nature than
wheat? Originally, wheat as such, cereal as
such did not exist: it is man who ''thought'' (again,
probably more or less consciously) that such and
such and such crossings would render good service to his stomach.


Poets have sung so many times wheat: all the art in
the world was in the wheat. We sang so many times
the auto-mobile: all the art in the world would be in
the auto-mobile and his heart also and everything you want!

The world of man is everything that is.

IS: everything he sees,
everything that is
everything he designs,
everything he apprehends


IS: everything he knows and sees or does not see
and understands or does not understand,
accepts and regrets

man owns everything in his universe; even
what is agreed upon as not existing,
he takes it anyway because he thinks of it.

If Descartes said that he who thinks,
proves that he exists; we now have to
admit: that all that exists is
part of the universe. AND that: Lift up your hearts, all
poets!, nature is the universe ...

But true! Everything breaks, poets can not
sing the auto-mobile, even if logically nothing
seems to oppose it. Red light, there is a
disorder in the circuit. Might we not say, that it is
easier to say than to feel that the auto-mobile
is a legitimate child of man, of nature, of the universe?
Could we not say that we made the auto-mobile


before thinking about it (stay calm, thought might not be
as aware that well educated thinking should be
held in a proper room, however, (at least!)
action is addicted to thought, and thought
whether it likes it or not, conscious or not, always ''works''
at least simultaneously with the action if it
allows itself - hum! hum! It is this to say - not always
preceding it)

(Note: what is for certain is that man did not feel the car,
at the same time he thought of it, and v'lan, a tripping
to art and poets.

... McLuhan is so to the right
that all his definitions of technological phenomena in this
century seem written in function of a
total justification of the submersion of the world
by American imperialism - as if
they had nothing to do with the fact that
hearing their transistor radios natives
are inundated with ‘’concepts that nothing
prepares them for’’, but to the contrary all the fault
is to put on the back of the transistor-radio
itself ...

not to confuse the effects of media
and the effects of a conditioning campaign
using the medias

Western society recognized as a materialistic society

but an eastern society like the Tibetans?
What is there to say differently about the APPLIED outcome
of these sciences compared to the American conditioning
for example if both
results functioned and were projected to
infinity: overall control of the universe
in its aspect of matter-energy (is this
not materialistic anyway?)



***** (Bio., Page: 442) (1974)

***** (Text written between 1974 and 77)


is walking on a beach
and engrave with a branch
signs in the wet sand
to tell the sky
that sometimes here we are homesick
because meditating
does not require the expression
and the physical movement
of the common, of the similar, of the
other body of the race
and the other body of matter
and the other bodies of the mind
and I believe to be first of the painters
and then, and then only of the cerebrals
for I am of the living and
only after of the meditating.

being a woman and off timing
it is to miss one and miss the another
make love and mend
or produce and then be bored.


painting in this century
is to live an afternoon
is to suffer and then die
and love and strangle oneself
to be born in this century


it's like singing without a guitar
it is to speak and shout
without resonance and without consequence

I do not have an electrical hart
to amplify my feelings
no spiritual mike
to project my will

painting in this century
is like following an adventure
biting ones nails and sweating
to get excited and run out of breath
to live in this century
it's like walking on one leg
trotting and dancing
in front of a film on TV

I do not have hope on shortwave
to erase the daily
no sentimental money
to calm my fears

painting in this century
it's like going out well-dressed
to exhaust one's self in the middle of a party
to feel and then trip
living in this century
is like painting without protection
opening up and giving everything
without ‘’even’’ giving everything,
meeting are public.

I have no spare sex
to cajole and cook
AND thinking and speaking
I do not have the gift of ubiquity

painting in this century


it's being able to feel life
conscious, outstretched and sensitive
without showing that we are moved
living in this century
is to be able to be discreet
neither cold nor exception
neither common or different


but living
is to feel and appreciate
and live happily
is to communicate
and receive
and hear
it's to feel and
and painting is not only to see
painting by sight
while advancing
is for guiding oneself.


living is perceived and is expressed
by several senses


and sometimes
it happens that to paint
we just have to speak
for among the creatures of my reign
living is perceived and is expressed
by several senses



as it sometimes happens to us
to be aware by proceeding
with metal and concrete
of the crowd and society
or of the sky and the trees
of solitude and space
depending on whether one has
stood in the city or the countryside to live
two black spots on a


white background will be satisfactory
or two brown spots on a
rust background.

Games of free people:
talking to hear
listen to experience
experience to understand.


***** (Bio., Page: 489) (1975)

...''- And so if I do not think how could I produce?
This confusion full of anxiety that seizes me, when it comes
time to create, would not be due to the fact that I do not know any more
where to retrace all my ideas. I never know ‘’by what
end to start’’

- On the other hand, what does this mean if every time a clear idea
starts to rise to the surface of my conscience, I precipitate myself
on someone and talk, talk, talk to him about it ...

- One thing is certain: using one's mind to create, demand
a very different approach than to use one's mind to achieve


any work or transaction whatsoever.
In my work also, there is the part of the work and of transaction,
but it is not at this stage that I am blocked. Concerning that,
all is well, I'm smart and I have talent. Once
creation is out of the magma in its broad outlines,
its realization for me is a very interesting game of
patience and skill. At this level, no insecurity,
one has confidence in one's self, they do not know any other person
smarter, or more agile, they even have to call themselves back
to order not to abuse this ability ... And concerning
patience, I know how to wait, I really know how to wait.

- The subject is really one of creation as a process,
this difference which I spoke of earlier between creating and
realizing something, can surely be demonstrated in several ways.
There is one that strikes me in particular at this moment, following
my experience of this week.
I cannot proceed otherwise than by example at
this time, so here: a person is experiencing a conflict with her neighbour
on an x Monday. If in the days after she met her
best friend, she may be tempted (and the necessary impulse
to do so) to describe the conflict to her and seek
her views or approval, or ... if that person
does not meet anyone during the week and seeing her neighbour
the following Monday, both find a way to explain and
realize that this conflict had no basis, in fact it was
based on a misunderstanding, and leave each other happy
and on good terms: our charming person meats her best friend
the next day, and will talk to her anyway about the conflict that she had,
but it will be no more than an incident, a memory.
She will not be able to recount the incident with the impulse of
all the awakened instincts that could have given a ''punch'' to her
narrative, which could have made it something ''live'', lived
for the listener - a work of art


- The creator, to produce, needs this state of awareness, of simultaneity
in his work, in his thoughts and impulses. This becoming


of impulsions. This ''LIVE'' of situations to exploit.
An idea stripped of its roar, of its questions, of the impulses
it may trigger, of the reactions to it, etc. ... is also a
idea emptied of its juice.

- I always have this wonderful talent to capture in passing, a
word, an incident, a gesture and extract from it an extraordinary marrow,
interesting, lively, to play with it, to manipulate it,
to make of it an interior description (analysis) and the outside (my
transcendent humour), to see it in analogy, in contrast, in opposition
in harmonic, etc. ...
but by what aberration, rather than extract from it
a tangible product ( on which, I would be able
to discourse on afterwards - because I love it), I burn
my ''stock'' with the first come in a single show
without possible repetition. Experience after which
I find myself immediately calmed down (1)
(1) Yes the impulsion of creation is one that as well as
any other seeks to be calmed in its satisfaction.
It is said somewhere that war and the ceiling of the
Sistine Chapel had been conceived under the impact of similar
impulsion’s... or something like that ...

of the impulse of
creation, but also calmed as such of creation itself.
And it is not in this calm that we can produce.

Ideas come and go, yet they are billions in the minds of all
people, only those that are inserted into objects,
(Why this desire for an artist to conserve them in this way?
thus: in the form of objects (drawing, text, music); because as an artist
conserving: All men of all ages and from all minds
have had and have this desire that is shared with me ... and I
understand them well.)''



***** (Bio., Page: 506) (1976)

‘’...artists no longer accept being limited in their means
but they are bored because they remain even then
outside of life – of the mainstream of life - because the
he mainstream of life is no longer where it was - where is it?''


***** (Bio., Page: 507) (1976)

''... more recognized as professionals etc ... etc ... the status of profes -
sionals is also called into question as well as their role (state health insurance,
auto insurance, etc ... clinical care associated with
social animation movements in neighbourhoods ...)

Industry-based products so far identified
as ''art creation'' are born (music)
these industries are in majority supported by
the general public - the elite in proportion plays an increasingly
smaller role - what is art - what is the purpose of
the artist - what is the role of the artist - what are the public's needs
for Art - what are the rights to art of the
general public - what are the social rights of the artist --
what are the needs of the artist, this vision-machine--
what is the value of these ''visions'' of art for
the artist himself and for society as a whole.''


***** (Bio., Page: 513) (1976)

Activity on drawing as a language for children

- Present some children cases as follows:

. drawing (s) of the Child

. everything that the child has answered


to various questions which
were raised from the drawing

. psychological analysis of the various
psychological contents apprehended
by the child in his expression
through drawing and through the explanation
of the drawing

. statement by the educator of the utilisation
that the child can make of
this means of expression as for its
own development process
and the uses that can be drawn
from such an expression by the public.
To whom is destined the drawing
and the explanation of the child, to the parent or
any other person desiring to
establish a communication relationship
with the child.

- Conclusion on the possibilities

***** (Next page)

available to the individual who blossoms
up to the maturity of adulthood while
preserving and developing the use and
knowledge of language of pictures and
forms. (Note: there is no magic for us today
to conceive that when we are unilingual that other
human (or other animals) can succeed in expressing themselves
and communicate using a language other than ours, even though we do
not understand that other language and even if we do not know of it -
- at least we conceive the possibility of its existence. What
would it be facing the existence and use by one or many
human of a visual language whose rules
would be absolutely foreign to us or again whose rules
and form of structure are unknown to us? Does


there exist different verbal sound realities? Yes. Does there
exist different visible visual realities? If yes, are
we ready to conceive of their existence?)

In regard to the task of
understanding oneself and the universe about us
at a level that words too often,
are difficult to identify, to express,
to render, to even understand - at the level of
abstract concepts - state of mind, of consciousness,
feelings, intuition: the influences of these
perceptions on our choices, relationships, etc ...
Role of language in the quality and formation
of consciousness and perhaps even in
the nature of consciousness.

- Epilogue on the value and level of intervention
of the works of art presented here.


***** (Bio., Page: 515) (1976)

Witnesses ***** (numbered canvasses: 1973-020-21-22-23-30-31-32-33-34,
Ref. to Album 1)

- Painting, pictures as witnesses
of ourselves through time
during time and outside of time

- 1. feedback and reverse action that are
permitted through the analysis of these
witnesses-pictures that are paintings
2. in relation . all paintings
. paintings by Monique Jarry

3. the quality of the samples of a picture-language
that is used in analysis
in light of data that we can


extract e.g.
made by a painter who
conforms himself to a pictorial expression
of an X painting school,
influenced before having been
able to define himself by
ideological and aesthetic choices
that do not necessarily correspond to the part
of himself that is unique
and original, but perhaps

***** (Next page)

of sorts, only to the part
of himself that, knowing that each one
seeks to integrate himself into his environment
as a whole the more congruently as
possible, chose to level himself,
a bit like one chooses to
follow fashion, i.e. expressing
externally little outside of
a strong need to integrate.


paintings made by Jarry
a view of seeking expression
in the most instantaneous way, the less censored
by the spirit within to the picture concept
that will produce the gesture of the
hand on the picture. No moral
or ideological censorship and no gesture
censorship is encouraged as to the objectual
production of the picture corresponding
as close as possible to the
concept that is to be expressed.


- The level of quality demanded from pictures
produced for obtaining a testimony by
pictures of sufficient quality to permit
the development of a real communication language
by pictures, we can go on to

****** (Next page)

reflections concerning the nature, the role and
the value of a testimony.
the foundation here defined for developing a language of picture-
painting, of its value in use, of its social role and of it’s
transmission and its possible universality are developed
in full awareness that the language painting of Monique Jarry
is not the only possible language-painting, far from it. Like for
spoken sound language, it is clear that even if were putt end-to-end
all the aspects expressed by Monique Jarry and all other analytic
painters, we would not obtain an exhaustive and final list
(whatever the combinations used and whatever the number of painting -
testimonies executed) of all concepts that humans can
sense and wish to express. The same goes for
spoken sound language; and that since its formation and even today.
When we gradually began to emphasize certain sounds
to the exclusion of other sounds to give them
organizational arrangement with a defined and common sense
for the whole community using the same convention of
sounds, we had to limit the use and the validity of
the vocal sound in its whole to arrive at a series of
clearly distinct AND transmissible through education to and for
all members of the community. This selectivity in vocal sounds
impoverished certain aspects of expression and sound communication
in the community. All vocal sounds express a
feeling or need of some kind between two
lovers for example; the sound in question could well leave
the interlocutor unaware of the PRECISE need formulated
by his partner, but the ‘’urgency’’ or importance, or the intensity was
perhaps clearer, or more immediately obvious
on the other hand. It is certain that the advent of organized spoken language


corresponded to the occurrence of a selective choice
that was then performed by humans at
the level of priorities of communication. Let us consider
to try to reconstruct the various elements
that would have been considered where the choices
that we know and still endorse the consequences --
since we talk even more than we sing, than
we grumble, than we dance,

***** (Next page)

than we also write, more than we paint, than
we carve, than we do block of sand;
we speak and write even more than
we touch those we love, etc. ...
Certain reflections of Desmond Morris related to this subject can
inspire us.

Any attempt to establish a clear and common term to
communicate surrounded itself therefore of a process of
specialization in this method of communication. All

Note to Claude Bertrand
I want to use the authors I read to start from where they stopped
clearing the road on which I am travelling.
I have no use for refuting them. They were what they wanted and
I'm here now, what I want.
The elements of their work in which I cannot find what I need to
feed me, I leave beside my plate, the others, I use them
because it is certainly to feed someone like me that they were written.
I fill my belly: I gain strength and I continue to clear my
own way. I am delighted that Freud discovered the unconscious before
me, it gives me less to do. What can I do before the fact that he failed
to see the definition of man or woman that I have discovered?
Refute him, poor him? To prove that he made a mistake in a language and ethics
that he would have understood himself? This is not what will resurrect him to
permit him to better enjoy it. As for me, my altruism does not go that far. I have
many things to do, I have all a life to live! Obviously I can not
encourage you to do what you are doing with yours. Not even to say to you: Hi my


***** (Next page)

friend, while you live, desire and transpose yourself on paper, I'm going to live and
discover and enjoy. I will drink a shot of life to your health! It is not done
old friend: life only lets itself be drunk by those who live. No possible proxy;
all the transfer of the world will only bring you a theoretical vision of what is
living, desire and enjoyment may be but living, the only way of living
is by living yourself. All that I can wish you still is to
not die within ten years before Tel Quel take you to theoretic extol,
since that this is your current wish, conditional that you should live
fifteen or twenty years more, as you say. Take care to adhere as much as possible
to your theories and develop some for all the circumstances of life including death,
because anyway even if you refuse temporality, sooner or later it will happen
and that at least you'll have to live ... I imagine ... I have seen many kinds of
humands including the magnifying-glass-man of Deleuse-Freud. I've seen, yes, effectively
those who refused to live their lives, some who destroyed it as it happened
using all kinds of liquors and drugs: some who gave
themselves all sorts of disease solely by the power of their will by relentlessly
focusing visions of life that hurt them; very intelligent people in fact,
... anyway psychosomatic-diseases require a certain percentage of consciousness
of self to intervene; I have seen others who refused to live other than to use
their power to destroy those around them who love living; and I have even seen some
that amputate themselves of their limbs, of their sense, of their soul, of their vision or
their offspring. Yes, I have seen people who did not like to live. There
were some of course for which it did not go so far, they were content to barricade
themselves in themselves or in their neighbourhood ... some even buried
themselves in monasteries of all sorts ... but that, we can not really evolve
from outside as there are some who manage to imprison themselves to death
in careers as a public man! Yes, I have already seen that ... I've also often seen
human that on top of not loving life in general, also did
not like very much to die. But I have rarely seen or even heard
of human which have managed not to notice life up to the point of
succeeding to die without really living their own death not even
for a single moment. Finally ... it is always possible: everything is
possible. I really would not like to be the flower that must feed on
such a body, it seems to me that it lacks consistency, a bit like a winter


In fact you said you wondered why I wanted to see you again.
Well I will answer you today what I told Ronald Philion and
Pierre Desruissaux when they could not understand how
a girl as busy and productive as I and that has little taste, and in a very affirmed way,
for futility of action and insipidness, might want to
devote time and energies to meet you
given that I knew well enough to what roughly I could and could
not expect you. Life has taken along the years, since my birth,
more and more colour, flavour, meaning and interest for me and this mainly
because of the penetration of deeper minds, to consciousness constantly increased,
to the refinement of the means of perceptions constantly pushed beyond their limitations
that I can I acquire throughout my own experience.

***** (Next page)

My potential and my own will of course underpin
this evolution, but if I can say that I always
took advantage ‘’of making fire out of all wood’’, it remains
true that some people, because they have at one time
given for reasons that belong to them, have kindly
lent themselves more than others to fill the furnace of
my mind and my heart. At one point in my adolescents
when my heart as my mind required the most
to develop an ongoing communication with
others at that time you gave of yourself in
our games of apprentice-sorcerer, without calculation and generously.
Today now that the apprenticeship, if I may express myself in this way
is finished for me, that a well established companionship established
on a solid base is taking place in full momentum and before
mastership brings me too far away from memories, I
believed natural to offer you for a time this face to face contact
with what I will permit myself to call between us:
testimony. You could use it to question me or to
show yourself to me. You have chosen to show yourself to me.
That was your choice; it engaged only your will. You can always remember
the small objects-of-power that I began to develop in the past
stammering with the data’s on power. You never knew what
I was going to become. You would not even have known at this time who I am

***** Next : Image number img132