When I discovered Georges Perec's book "Thinking/Classifying," I understood that classifying the world's data was also a sensitive response to anxiety. Georges Perec, suffering from hyperthymesia, constantly tried to classify words into things and things into words. For him, classifying things is tantamount to knowing how to think, and I largely agree with him, because the articulation of a thought is intrinsically linked to its components. We are capable of thought only if we have the means to construct or cobble together a thought from things we know or recognize; these are stored somewhere in one of the drawers of our memory...

In the book "Katalog," imagined by the artist Barbara Iweins, we find all the objects that make up her immediate environment: those of her apartment. After several moves, the artist found herself adrift, and the way she found to stabilize her life and create points of reference within it was to focus on the objects around her. In an eccentric process, she spent months photographing each and every object in her apartment. This method of archiving permits her to record and write, through images, the entire memory of her intimate environment. The artist attempts to contain, retain, memorize, anchor, and inscribe in order to rediscover meaning of her life, and she finds this meaning in the objects.

I discovered George Didi-Huberman's work through his "Editing Table" exhibition, in which he displays over 148,000 index cards containing quotations and excerpts from texts he wishes to retain.

This Art theorist writes as one might sew; his desk is, in fact, a sewing table, and he arranges these excerpts to articulate his thoughts. I love the idea that writings could be craft as a chair or as a shirt.