Examines philosophy as an event of the city and the city as an event of philosophy and how the intertwining of the two generates an urban imaginary.

This essay examines the scratch as it relates to garbage, scores, and the event. Garbage is that which is cast aside as social systems form themselves, and, as such, is always destined to return. Scores are both methodological maps and experimental artistic methods. And the event, in this context, is the opening that enables both the determination of form and the emergence of the unexpected.

In _Narcissus Transformed_, Gray Kochhar-Lindgren interprets Narcissus as thematizing the tragic situation of the postmodern subject. After showing the connections between Cartesian philosophy and narcissism, he proceeds to lay out the function of Narcissus as a poetic figure of discourse in the fields of psychoanalysis and modern fiction. He moves beyond the description of narcissism to an interpretation of the conditions necessary for Narcissus, the beautiful boy captivated by his own image, to become a different kind of subject. The topos (...) of narcissism, which is first articulated by Ovid, always includes within itself a mirror, a gap, self-referential desire, and death—all of which culminate in Narcissus's inability to make space for an Other. Kochhar-Lindgren contends that this is the founding topos of modern philosophy, which is then incorporated into and transmuted by the disciplines of psychoanalysis and fiction. With the extensive work of Freud on narcissism, it becomes a central concept for psychoanalysis; and with Lacan's interpretation of the narcissist as phantom, statue, and automaton, narcissism moves into a specifically textual interpretation of subjectivity. Kochhar-Lindgren then provides close readings of fictional texts-—_The Waves_ by Virginia Woolf, _The Ogre _by Michel Tournier, and _Daniel Martin_ by John Fowles—to show more explicitly the textual construction of the narcissistic subject and to suggest ways that Narcissus might be transformed into a subject not held in thrall to the "glassy-eyed stare of Thanatos." He concludes with an enactment, from a Lacanian and fictional perspective, of the beginnings of the undoing of the narcissistic topos of contemporary culture. Narcissus steps from the self-reflective mirror into a theater; he stops longing to be a purely self-reflexive work in order to become part of the play of a text. (shrink)

The train arriving at La Ciotat -- Perception, philosophy, art -- The haunting of the house of reason -- Reading clues -- Lighting the ground -- Chiaroscuro -- The night of the living dead -- The apparition of history -- The telephonics of the text -- Dissolving shots -- Biomorph -- Nocturnal hallucinations -- Flat surfaces -- Shadow writing -- Exposure toward futurity.