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Thanks to some conversations with Claudio Sgarbi in preparation for the Frascari II Symposium at Alexandria Graduate Center, this essay attempts to pull together themes relating to sexuation and space, chirality, foundation rituals, and the myth of the two Dianas. Relations to the controversy about the "impresa," the image on the title page of Giambattista Vico's The New Science, are significant and will be posted in the near future. Several short position papers have developed around the increasingly prominent role played by the Diana-Actæon myth, chirality, and melancholia.

cathexis, chirality, stereognosis: a short consideration of the "break" between fetish/field cathexis and sinthomatic modalities.
cathexis, fetish, sinthome: an earlier compendium of the physics of this break.
the Actæon inventory: a set of "theorems" based on a new reading of the old myth.
• Vico's possible employment of the myth of the two Dianas, as encrypted within the images that introduce The New Science.
the short "discourse cheat-sheet," using Alan Pero's take on the four Lacanian discourses to highlight relationships based on privation and prohibition.


This is an in-process writing experiment to see how much confusion can be generated by looking at the Shannon-Weaver communications model with an eye to the concept of information as quantity. A "stereognostic" procedure is introduced, source unknown, to relate the idea of location to the series of scaled exchanges that is terminated, metaleptically, by an "idiotic symmetry." Make sense? Of course not. That's why you need to read and help out. There's something for everyone — or nothing for anybody — in this potpourri or, rather, hodge-podge that calls into question, among other things, Piero's carnation/rose and Giorgione's flash of lightning. Yet to come: Roussel's procédé. This essay led to a follow-up, in process, aiming at the explication of chirality. As with all projects in progress, check the date listed in the footer to make sure you have the latest edition.

The secret axiom is actually number seven, following the six main axioms of the calculus of predication (metalepsis). This is a connective bridge to a number of issues: polyphony, Menippean satire, sexuation and Eros, the real dirt on Hegel's parable of lordship and bondage … The first page is done but there will be several followup pages to make the arguments for extending this (rather simple) procedure of employing the negative of any polar pair to "retroactively" show the function of the forced choice.


Short essays and exploratory arguments are written up in 1-2 page PDFs to serve as the starters for discussions, projects, and brouhahas. Latest and/or most relevent items are indicated in bold face type.

calculus of the four discourses
newslitter index
hitchcock's notorious as zairja
to: from; re:
Hermes: the polythetical thief
uncanny predication
legacy of the oral/anal/phallic stages: the <…< of the death dream
unlimited semiosis
everything and nothing
the case for speculation (Bloom's revisionary ratios)
krazy kat 1 / krazy kat 2
dead of night (film review)
intimate of the world
landscape architecture note
death drive
the calculus
emergence/y manifesto
the calculus: six axioms of metalepsis
anarchic thinking
cosmos with five quarters
interrogating the gap
buried alive (short essay from London Review of Books)
causal chain
the exception table idea
the exception table
enoncé: "the queer feet"
the double frame: "the queer feet"
piero: nostalghia (Tarkovsky)

reversed predication
repredicating the monster
metalepsis master guide
vitruvius: source of metalepsis?
chain of fools: fractals and the folly of reversed predication
sliding signifiers
sorites: lewis carroll
pirates of penzance: strategic movement
the blue cross (g. k. chesterton)

what we talk about when we talk about shit
studio themes
idiotic pedagogy: the role of the death drive in the calculus
seminar aims and expectations
session topics
travel categories (Johnstone)
hieroglyphic travel


The figure of metalepsis brings a fresh perspective to the operation of dissensus within physical settings, where the architecture of sites of exception at the same time establishes retroactively what about architecture is architecture — i.e. its root relationship to venustas. Metalepsis deploys a logic by which diegetic framing elements are materialized as (phallic/phenomenal/material) elements whose anamorphic qualities create an uncanny disturbance within the mimesis of framed representation. The framing elements themselves constitute a case of reversed predication, a container-contained or hierarchical relationship that has  flipped. This primary instability at the phenomenal level is nonetheless a stable topology within subjectivity as a whole; and the process of obversion is, as Lacan's idea of extimacy demonstrates, fundamental to the subject's realization of subjectivity as fundamentally negative. Despite the complexity of conditions and perplexities that result from translating topological conditions into projective experience, a calculus that represents & metalepsis shows how historically well established cultural practices (the uncanny, detached virtuality, storytelling strategies, ideological formations, etc.) already-always involve metalepsis as an operational logic. Architecture and landscape theory, in moving from interpretive to active modes, may use such a calculus to recast theory as primarily experimental, pro-active, and provocative. Critical questions are those that must be re-cast continually within new epistemologies and new vocabularies. What remains the same is the gap, by which the subject learns how to tarry with the negative that is subjectivity's essential nature. [To be published in N. Lahiji and E. Haddad, eds., Against the Post-Political: Reclaiming the Critical Project in Architecture.