This article proposes to analyze the functions and uses of cartography in Julien Blaine's and Bernard Heidsieck's poems entitled respectively astrologico-nomy (1968) and Vaduz (1974) in the light of the main characteristics of their scriptural making and their techniques of extraction of poetry that the two poets deploy simultaneously since the middle of the 1950s in order to take it out of the bookish medium and that they apply, here, to the representations of the Earth. More precisely, it is a question of studying the way in which they return to the alphabetical writing the shares of iconicity and orality which return to him, in particular by means of the "Reading/Performance" or of the "Reading/Action/Diffusion". Then, it is a question of understanding to what extent Blaine and Heidsieck enter in possession of these regimes of representations and these instruments of knowledge in a perspective of creation of a paradigm of plural approaches of the writing. It is also a question of seeing how the performative resumption of the inscriptions and the tracings of these printed representations, which are products of human industry, intends to act of memory of civilizations forsaken in a society which presents the proofs of an omitted scriptural making as well as to act of resurgences of a writing inhabited by the man, the astrology and the nature.