ArgumentThe famousCahiersof Paul Valéry (1871–1945) cannot be reduced to a single scientific discipline, a specific philosophical tradition, or a literary genre. For today's reader these notebooks constitute a formatsui generis, one very often characterized by an “observation of a second order”: in theCahiersValéry uses writing, drawing, and calculating not only for purposes of argumentation; he also pays attention to the significance of such writing, drawing, and calculating processes for the production of knowledge. It is particularly thepracticeof note-taking and sketching in Valéry's notebooks that documents, rehearses, or questions the medial and instrumental conditions of both scientific research and artistic production. This is especially true of the early stages of theCahiersin the years beginning around 1894 when Valéry was intensely searching for notation systems that would be conducive to his research interests. At the time the problem of how to write (as well as calculate and draw) was intrinsically bound up with the way he established his notebooks as a specific scene of writing. By closely examining a number of pages from the early notebooks I hope to show that the emerging regulation of Valéry's writing in theCahiersresults from simple operations that are noted and repeated by the writer until they gradually become procedures. What Valéry'sCahiersshow us, however, is that procedures do not always work in favor of a final synthesis, but may also give rise to a format of eternal beginning. In the following I will present some of the constitutive procedures found in Valéry's early notebooks, procedures that range from a tentative gathering together and simple forms of recursion and variation to the rehearsing or invention of symbolic or graphic forms of notation.
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