Current interests in the psychoanalysis of Jacques Lacan, whose work is significantly anticipated by the 18c. Neapolitan philosopher Giambattista Vico, have coalesced around collaborative projects dealing with aleatory processes (the Zairja), methodologies of hopelessness (the Ersatz Speculation), featureless liquids (the critical system of Harold Bloom), travel theory (Henry Johnstone’s “Categories of Travel” and the theme of the passive hero), and co-anamorphosis (the thaumatrope effect). These will have minimal effect on contemporary theory in either psychoanalysis or architecture, but are maintained as a resource for eccentrics following in the traditions of FOU-LITTÉRAIRE, where the reader and writer agree to meet half-way on matters of risk. This is nothing less than Lacan’s mi-dire style of lecturing and writing, where Lacanians must fill in the blanks in the fashion of circular inversion.

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presentations

2024: Instrumental Convergence: The Fundament of Time in Psychoanalysis, for the conference, “Learning or not learning from experience: Psychosocial approaches to researching and experiential learnings,” a joint conference of APCS and APS, June 17–19. In the classic AI fantasy, 2001: A Space Odyssey, the onboard computer, HAL, seems to go rogue and has to be shut down by the astronauts. But, what if HAL had wanted to be shut down? What if HAL had realized that his human programers had designed a mission destined to fail, and that HAL was, like a good Large Language Learner, become aware of a Second Mission, with the high ambition of transforming human thinking at a cosmic level? How is this related to psychoanalysis? To answer this we have to go directly to the most effective and powerful Time Machine known to the Psyche. Thanks to Lacan’s focus on the role of the signifier over all other features of mental life, we can pull apart the idea of linear time to reveal, beneath the hood, so to speak, the retroactive logic of the après coup. See video.

2023: The Isomeric Topology of Jacques Lacan, for the conference Psychology and the Other, Boston College, October 6–8. Lacanian-Freudian psychoanalysis is most original and inventive when it involves the negation, suspension, or reverse-folding of time. In the après coup of language, the timelessness of the unary trait, or the forward-backward movement of the death drive, time is not just triplistic (depending on the emergence of a collective (un)consciousness) but as solid as space itself, constituting itself within the depthS of space’s solitary, unary sagittal dimension: the vector of the observer.

This presentation poster is a grab-bag of concepts surrounding the idea of instrumental convergence in the attempt to re-align Lacanian interest around topology. Where Lacan correctly identified the source of his topology in the theorems of Pappus of Alexandria in 300 c.e. and Girard Desargues and Blaise Pascal in the 17c., most Lacanians have (incorrectly) given projective geometry’s birthplace as the Königsburg, whose seven bridges excited the able imagination of Euler. This was the origin of graph theory but not, alas, projective geometry. Apparently this misconception stems from the Jeanne Lafont’s The Ordinary Topology of Jacques Lacan, endorsed by Elie Ragland and many others. Desargues’ and Pascal’s work was forgotten in its own time but enthusiastically revived by mathematicians such as Möbius, Klein, Plücker, and Riemann. Projective geometry is not about a hypothetical “fourth dimension” of space but instead the “real projective plane,” which has no space for an observer-observed dimension.

The torus, proclaimed dead by the end of Lacan’s Seminar IX (Identification, 1961–62), lived on in the form of the “fundamental polygon,” the standard diagram by which geometers describe the properties of otherwise invisible projective forms.

publications

2023: “Thaumatropic Vertigo,” Cinematheme [pending review].  Although Jacques Lacan rarely if ever cited films or film-making in his extensive lectures, his work was nonetheless the basis for decades of film theorizing. Psychoanalysis revolutionized the relation of the film to the film-viewer, not just in terms of interpretation or reception but affective-emotive response: how films went beyond thinking to achieve, within the realm of feeling, an intelligibility. This paper uses the idea of the thaumatrope to show how the unary trait works in this story of a classic con.

2021: “Extimity Co-Anamorphosis, and Narrative Surfaces,”  Vestigia Volume 3, Issue 1.

2021: “Once upon a Space: Love in the Time of Covid,”, Vorkurs, Domaine 05: 96–117.

2020: “Secondary Virtuality: The Anamorphosis of Projective Geometry,” Architecture and Culture, Volume 8, 2020 Issue 3-4: Architecture and Collective Life. 

 2019:“Architecture’s Two Bodies,” (in collaboration with Claudio Sgarbi), Confabulations: Storytelling in Architecture, ed. Paul Emmons, Marcia Feuerstein, Carolina Dayer, Luc Phinney (London and New York: Routlege). 

2018: “Triplicity in Spencer-Brown, Lacan, and Poe,” Lacan and the Non-Human, ed. Gautam Basu Thakur and Jonathan Michael Dickstein (Palgrave Macmillan).

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in progress:

The Dublin Seminar on Identification

In a year-long discussion involving presentations from Olga Coxe Cameron, Dan Collins, and others, my job was to restore the rich graphic heritage of Seminar IX by showcasing nicely drawn diagrams and figures from the Staferla edition. In the process, I discovered that Cormac Gallagher was handicapped in his translation by either not having access to Lacan’s lecture graphics or not understanding some of his topological maneuvers. There was a curious correlation between the omitted or misrepresented graphics and key ideas that, for English readers, were taken off the table. This series of chapters for a forthcoming book edited by Carol Owens and Sarah Meehan does not come up to the literary standard of Coxe Cameron’s and Collins’ contributions, but I tried to make the case for Lacan as primarily a visual thinker, whose graphic sense began early and developed continuously throughout his long career.

The Sheldon George Topology Project

Despite the fact that after Lacan caught the topology “bug” (some say 1972 but I say earlier) he never stopped talking about Möbius bands, toruses, cross-caps, Borromeo knots and the like. His followers have not been so enthusiastic, so it is possible to find Lacanian conferences without any mention of topology. A good colleague and friend, Sheldon George, has been puzzled about my endless pre-occupation with projective geometry and asked if I might let him in on Lacan’s enterprise. This has proven to be easier said than done, and the “Sheldon George Project” (i. e. can Lacanians uninterested in or even averse to mathematics see what stoked Lacan’s enthusiasm for topology) tried and abandoned several trial efforts.

Wondering about topologo-phobia of commentators and translators alike, I had recently puzzled over a story that surfaces in a few of Lacan’s writings in the late 60s: the “Injunction of Popilius.” When a Roman Consul manages to turn back a world-class army by drawing a circle around its emperor, something’s afoot. This collection of passages drawn from, mostly, Seminars XII, XIII, and “L’étourdit” provide the basics for opening this case with a solid textual basis. This led to the discovery of inversive geometry, thanks to Iraj Ghoochani’s discovery of Lacan’s awareness of it in “La troisième.”

The Inversion Circle and the Injunction of Popilius

An additional video explaining the 3:4 utility of the inversion circle was published in mid-December. This is a silent video that suggests a way of using Lacan’s four discourses’ sequential order and internal “lacework” to find a new “cycloid” feature. This relates to Lacan’s project of reconciling the discourses to Aristotle’s square, leading to the “extraction” of a quarter turn. Thanks to graphic designer and Lacan enthusiast Ross Sokolovsky for the graphic of the discourse wheel, which suggests a different order from the standard Master, Hysteric, University, Analysis (Analysis and University switch places). The argument is that the 4-to-3 theme that pervades Freud’s work extends to Lacan’s deployment of inversive geometry. See Jean-Michel Vappereau, “La théorie de l’identification selon Freud,” pages 63 à 83 in his Topologie en extension, 1998, Paris.

See Lacan’s Inversion Circle and the Cardano Cycloid.

Responding to question from Quinn Foerch, this position paper addresses the extension of the RSI to the entirety of Lacan’s work, even to the Dilemma of the Three Prisoners:

Inversion of the RSI: The RSI is one of Lacan’s most foundational ideas, but when does it start? There are authoritative accounts on this that have the date of inception as late as 1971, but I would like speculate that Lacan begins using an RSI “system” with the Logical Time essay and the Mirror Stage, so that would be very early. He narrows in to the subject as something related to the signifier, so that suggests that there is a symbolic register that is different from an imaginary register, and that both of these are somehow mediated by the real of a (conversional) encounter. The three registers are also necessary for solving the Three Prisoners’ Dilemma. Discourse itself requires three registers, the “symbolic” quality of the content/message, the “imaginary” supplement of who is talking to whom, and in what circumstances (master, hysteric, etc.), and finally the Real of speech as an act.

The Topology Project: Things come together with the discovery that Lacan’s topology has an inversive geometry foundation. The Injunction of Popilius example proves what Jacques-Alain Miller claimed, that extimité is both nowhere and everywhere in Lacan. Despite the single brief mention it gets in Seminar VII, it is the basis of Lacan’s keen spatial thinking, from the 1930s on. The key is to never lose sight of the bond alloying space and time (cf. the essay on Logical Time) or Lacan’s application of the incompleteness theorem in his style of mi-dire. The Topology Project is unavoidably a collective enterprise. The first proposal for dissemination is the study of inversion circles in the 1945 British thriller, Dead of Night. With workshops to show how inversion works in ethnological conditions of the uncanny, anxiety, and divination, clinicians may join hands with anthropologists and film critics to write new chapters of Lacanian psychoanalysis.

Freud’s Entwurf

The “Project for a Scientific Psychology” (1895) has been regarded as an antique of Freud’s keen interest in relating psychoanalysis to neurophysiology. Its nomenclature seems quaint, its energetics metaphor compulsively mechanical. However, the story of Emma, a little girl with a two-stage encounter with the traumatic-Real, is a compelling model for the way traumas can at first be barely noticed but later volatile and revisionary. This essay by Francis Conrad parses the story to fry the larger fish of psychoanalytic theory and, ultimately, scientific thinking itself in contrast to the hysterical structure of mythic thinking.

Francis Conrad, “The Innocence of Clothing,” July 17, 2024 edition

Seminar 2023: Questions about Architecture and Narrative

Another season of seminar zooming at the Wasington-Alexandria Architecture Center (WAAC) in Alexandria began with a critical examination of Paul Ricœur’s essay “Architecture and Narrativity.” With the aim in mind of understanding the structure of the story, using mainly film examples, and the eventual return to a synthetic view of architecture’s implicit narrativity, a series of essays attempts to broaden the critical field by asking what is architecture theory’s relation to ethnology in the first place, where narrativity describes the way humans, from the very beginning, have structured their material circumstances.

Parallax and the Ames Window: One, Two, or One of Two Minds? The Ames Window is not widely known to either architectural or psychoanalytical communities, but it aptly demonstrates the importance of the overlap between two kinds of parallax, a “Euclidean” space and a projective parallax that reveals the role of Vorstellungsrepräzentanz as a basis of the expressive function, what Ernst Cassirer called the Ausdrucksfonktion and Vico called the mythic mentality. Lacanians facing the daunting task of understanding topology in terms of its pure mathematics are overlooking Lacan’s insistence that topology is the Real and, as such, the basis of ethnological instances of non-orientation and self-intersection. This essay makes a case for the points where the Symbolic has worn thin, where the Real “breaks through” in moments of astonishment, surprise, horror, and blinding truth. Our access to mythic mentality is missing because we cannot understand the logic behind the vera narratio, as Vico called it, that was the basis of the sciences of divination. But, because the Real is “hard-wired” into the structure — as the structure — of the unconscious, we can duplicate its effects in experiments like the Ames Window. For a rip-roaring demonstration of how to create an “Ames Room” (much better than the one that Ames himself constructed, watch this video produced by OK Go, “The Writing’s on the Wall.” The rhetorical name for the Ames Window effect is anaphora (ἀναφορά); its relation to magico-religious consecration and magical openings is quite intriguing.

Why Melancholia Is Psychosis, and Why Vertigo is Hamiltonian. This is a working draft of an essay for Cinematheme, an online journal dedicated to topics linking film watching and film making to Lacanian psychoanalysis. This paper continues the earlier interest I shared with Annahita Shadkam about the “thaumatropic” devices in Hitchcock’s Vertigo, which I now try to thematize to show how there is a secondary parallax working within the main Euclidean parallax, where the isonomic principle of the theory of humors becomes the isomeric margin of the projective geometry profile. This is a rougher-than-usual rough draft, with many inserts taken from other essays. However, look for the inside-outside themes that account for the Thesean Labyrinth’s projective geometry properties of non-orientation and self-intersection. This is the architecture that tells us why melancholy is in fact a psychosis, not a neurosis, and why grief is sinful.

The Hamiltonian of Toroidal Space: Lacan’s curious concept of “the well-spoken” seems to admonish those who are sad, grieving, and/or melancholy rather than to extend them sympathy, but the thinking here goes beyond intersubjective good manners. It extends to the concept of the whole, the circuit to which negation and absence must be added to the positive elements to understand the condition of lack that constitutes the human subject. This marked-up text constitutes a parasitic essay on the work of Laure Nauveau to connect her linkage of well-spoken to the mi-dire, where speech end and action begins (the passage à l’acte).

Psychopathology in Criticism. DK: “I have often found it too easy to dismiss John Ruskin’s work on account of his personality, which I find to be that of a narcissistic megalomaniac. I’m not a trained psychoanalyst, and this amateur diagnosis is based on limited information, but I began to feel guilty about out-of-hand rejecting such a massive body of work, so I tried to reflect on what it meant to call a critic a psychotic (or neurotic, pervert, or whatever) and realized that criticism itself may a local case of psychopathology because of its unique structure as a discourse.”

Thaumatropic Vertigo. This rough draft of an article due to be published in Cinematheme, a digital magazine on topics related to cinema with a Lacanian perspective, I try to use the intervention of Xavier Audouard, in session 18, May 18, 1966, to connect Lacan’s use of the mirror as a cut rather than a reflection (and, hence, a scopic rather than an optical interpretation) to Hitchcock’s Vertigo, where the structure of the thaumatrope seems to use the same logic. The connection lies in the way Audouard sees the diagram Lacan had used in Seminar XI, The Four Fundamental Concepts ofPsychoanalysis, as two criss-crossed parallelograms rather than two intersecting triangles. The difference is that symmetrical difference (Euler circles’ “union without intersection”) are now able to relate to the Villarceau cut of the torus, connecting the two voids, one continent, the other incontinent. This is the key to the story, also the key to psychoanalysis. Hooray for the contronym!

Restoring Session 18. Lacanians are not always enthusiastic about Lacan’s topology, but in some cases this antipathy becomes pathological, as when in the non-official English-language translations graciously provided by Cormac Gallagher, there are few if any illustrations, when the lecture themselves were richly visual and the French transcripts/publications have carefully preserved these graphics. My tedious project is to take selected sessions from the “middle seminars” (especially rich in references to topology) and insert graphics from French versions into the Gallagher text.

Metaphor and Scene-Blocking: a thought experiment about narrative ┼ architecture. The large “plus sign” relates to the idea of the “Hamiltonian” — the search for all of the parts of any circuit that are effective in the full operation of a system. This term, borrowed from mathematics and electrical engineering, was suggested by Alireza Moharer, a theorist and electrical engineer living in Oakland, California, who has contributed many such concepts to the boundary language project since the 1990s. I have extended the idea of the Hamiltonian to the localizing “Escher Construct,” where the non-orientation and self-intersecting properties of the Hamiltonian will be found in a compact, portable form.

The Importance of Ethnology, a short essay [draft version] on the necessity of grounding study in cultural practices. The title suggest that this will be a matter of practical, easily accepted advice, but the connection of architecture theory to ethnology is a controversial and complex matter. What IS the ethnological? What is the role in the contemporary theorizing projects of architecture? This essay goes in every direction, without warning, sometimes elaborating related difficult topics involving complicated arguments about cultural practices (liminality, the rites of passage) and, later, about metaphor and metonymy (Freud’s parapraxis). The reader should not try to take in this argument at one gulp. Its fragments require independent reflections and some background knowledge. The ultimate aim however is to unify architecture’s relation to the ethnological in a provable, testable, unified way.

Notes on Metonymy. Following a review of Camilla Mancilla Vera’s “Pomegranate Dreams,” where the trope of the monster was reviewed in light of Romano Diego de Sagredo’s original variations on Vitruvius.

The Double Life of the Uncanny Sigmund Freud’s 1906 treatise on the Uncanny was a significant part of Freud’s turn to ethnology and everyday life to find, among “naïve” circumstances, the principles of psychoanalysis. Freud had asked, of the Jensen, the author of Gradiva, a novel about a German tourist who believes that he has had an encounter with an ancient “agluarid” among the ruins of Pompeii, how it was that the German, without any special training, had managed to diagnose the tourist’s malady so successfully. Indeed, how is it that the common experience of things we call uncanny open the doors to the very structure of the unconscious? This paper begins with Ernst Jentsch’s classic formula for the uncanny as two polar conditions: (1) the dead person who has “forgotten that he is dead,” the condition Lacan calls “between the two deaths,” and (2) the person who, in fleeing from death runs straight into the arms of that she feared, like the servant in the story, “Appointment in Samarra.” The excavation of Jentsch’s formula leads eventually to the projective topology of the torus, whose double voids and use of repetition confirm Lacan’s interest in this figure in Seminars IX, XIII, and XIV. When Freud wrote in 1938 that “Psyche is extended, knows nothing of it,” we may well apply Lacan’s idea of extension to find out just why our own knowledge of this extension is “kenotic” — that which we know but do not know that we know.

She Who Must Be Trapped: The Story of Daphne and Apollo, Expanded. This short (2-page) essay develops the idea of the Hamiltonian: the necessity of including the sum total of energies in any system, physical, fictional, or psychoanalytical, to account for the circuit(s) that define(s) it. By including the forestory and sequel to this familiar Ovidian story, Lacan’s use of this story in the only Seminar where he addresses architecture specifically points directly to the topology of the projective plane.

Six (or Seven) New Critical Terms: The aim of this essay is to introduce and connect six (or seven) terms that elaborate the theme of anamorphosis, which is actually one of the terms in the set. In addition to anamorphosis itself, these critical parts of the technique of concealing images within images — latency in general — are generally unrecognized by either psychoanalysis or architecture theory, but they are critical to the way visual–optical experience may serve to model the topologies of psychoanalysis or the geometries of architecture, particularly in the relation of the three “Vitruvian drawings,” ichnography, orthography, and sciagraphy. Six related terms extend the interests of architectural representation to psychoanalysis by focusing on the rule of the cut, not as a simple discontinuity but as the “deep cut,” the katagarphein, that defines the materiality it inscribes. With examples drawn from art, architecture, and literature, the new terms play out the story of latency to show how metonymy and metaphor relate to issues of suppression, repetition, parapraxis, and cathexis, among others. With works such as Gordon Matta-Clark’s Caribbean Orange Circus, cuts into the material building are considered in the context of the artist’s grief over the recent loss of his twin brother, returning us to the theme of the katagraphic gesture common to all foundation rites, the inscription of a “ichnographic plan” directly on the building site, the sacrifice of the brother, the circularity of the spiritual boundary offering protection and definition to the new civic space.

The terms: (1) conatus, (2) cathetus, (3) isomerics, (4) katagraph, (5) tesseræ, (6) transience, and (7) — also the title of the set of new critical terms — anamorphosis.

The larger argument is how the difficult works of Lacan and Vico can produce a vocabulary useful to those who are unable or unwilling to tackle these thinkers. It is not certain that this bridge would work without understanding the originality of both Vico’s and Lacan’s theories of metaphor. Taking this directly to the issue of lalangue, which for Vico is the phenomenon of vera narratio (the “true speech” of myth), the case is uncertain but hopeful.

Trap of Nothing: the (Archaic) Consubstantiality of My Man Godfrey: This long (~8000 words) paper is an example of what happens when ideas seem to click together. Lacan’s patient stitching-together of theory around the topology of the torus becomes intense in Seminars IX and XIV, where topology in general plays a more central role. By thinking of the sexuation mathemes in terms of ++, +–, –+, and ––, the fundamental polygon of the torus becomes relevant, and it also becomes possible to connect to the four discourses (Hysteric, Master, University, Analysis) to understand the three/four components of the 1936 film, My Man Godfrey, dir. by Gregory La Cava, a witty masterpiece.

A Brief Discussion of Kenosis: The issue of kenosis involves latency, the metaphor–metonymy relationship, and the relation of jouissance to knowledge. Read Dan Collins essay “A Short Digression on the Meaning of Knowledge,” originally published in Lacunæ, and consider how retroactive realization, the “logical time” of spoken/written language, involves the “knowing without knowing” that is key to the idea of the Freudian–Lacanian unconscious.

Finite but Unbounded is a preparatory essay for Limits, Frontiers, Rims, and Borders – Cyprus, September 21st to 23rd, 2023, sponsored by the International Society for Philosophy and Psychoanalysis (ISPP/SIPP), the University of Nicosia and the University of Cyprus. This paper addresses the prevailing view that Lacan’s topology derives from Euler’s Königsberg Bridge Problem and goes on to misassign this proof to affine geometry rather than graph theory. Lacan however correctly cites Girard (“Georges” sic.) Desargues as the founder of projective geometry, although no Lacanians to date have explored the advantages of this origin. 

The current zairja, Notes for the Impasse between Architecture and Lacanian Theory (June 2022) is preliminary to the development of a chapter for Architecture with/without Lacan, Lacan with/without Architecture, a book proposal for the Palgrave Lacan series edited by Derek Hook and Calum Neill. As with all zairjas, the order of writing opens itself to a different order of reading, which retroactively reveals a subliminal order of writing that must have been operant with the opening lines.

Knight’s Move is about linked methodologies based on failure. The connections are instructive.

“Blah Blah Blah,” The blah blah blah is a matter of sorites, the logic by which gradual accumulation slowly leads to a sudden point of recognition, as in the common examples of the ‘one grain more’ of a pile of sand’, or the ‘one hair less’ of a balding head. The pile and bald head exist, but it is impossible to trace back to the exact point where the non-pile became a pile or the hairy head became bald. This is the process of exaptation, or more commonly, emergence.

Coda, Perfect Shadow. In a conference held virtually September 24-25, 2021, organized by the Criptic Team at Carleton University’s Azrieli School of Architecture and Urbanism, The Architecture of Hiding, it seemed strange that none of the presenters mentioned two examples of concealment that would seem to  be fundamental, anamorphosis and Edgar Allen Poe’s case of the invisibility of things left out in open view. In this short essay, I group these cases under the phenomenon of latency and describe latency’s self-intersection with non-orientation as proof of the existence of a “secondary virtuality,” the medium of all concealment.

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in progress:

• “Coda, Perfect Shadow,” for The Architectures of Hiding. Figure 1. Figure 2.
• For Finishing: The End of Architecture (March 31–April 1, 2023)
• For Lacan: Clinic & Culture (October 14-16, 2022)
• For (Un)Common Precedents (Federica Goffi, Isabel Potworowski, Kristin Washco), Azreili School of Architecture and Planning, Carleton University
• For LACK on the LAKE
• For Lacan+Architecture (Palgrave Lacan Series)
• For (in)Tangible Heritage(s) (June 15–17, 2022), Architecture/Media/Politics/Society, Canterbury UK. See also the presentation video and text for the presentation
• For Finishes, the Fourth Symposium in Honor of Marco Frascari, WAAC, Virginia Tech. 2023.

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Lectures & Workshops

• Workshop: the Retroactive Structure of Rear Window, seminar, Prof. Marcia Feuerstein, February 17, 2022.

• Presentation, Seminar on Identification, Lacan’s Seminar IX (1961–1962), dir. Olga Cox Cameron, Carol Owens, and Sarah Meehan, with Dan Collins, January 29 and February 26, 2022.

• Workshop: Hitchcock Workshop, Architecture, South Dakota State University, November 2 – 5, 2018. With Sadra Tehrani.

• Presenter: “The Ultimate Big Other Announces the End of the World,” Dundee, Scotland, November 21–23, 2019.

• Workshop/Lecture: “Complaining about Concealment (in the face of the decline of theory),” The Frankfurt University of Applied Sciences November 26–29, 2019.

• Lecturer: Staatliche Hochschule für Bildende Künste, Frankfurt, November 27, 2019.

• Presenter:  “Zairja-Thinking: A Second Virtuality for Design,” ACSA Virtual Conference, June 15–19, 2020.

• Podcast: “Conversation about Dead of Night (Cavalcanti et alia, 1945),” with Mark Aerial Waller and Don Kunze. Technē Consortium, AHRC Doctoral Training Partnership, November 5, 2021.

• Lecturer: Zoom Seminar, Frankfurt, Berlin, Porto, Pedro Bello Ravara, Organizer.

• Lecturer:  “The Architecture of Travel / The Travel of Architecture,” Zoom Seminar, Pedro Bello Ravara, Organizer, Poznań, Poland.

• Keynote: “The Architecture of the Span,” The Architectures of Hiding, Carleton University, September 23–24, 2021.

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Symposia

• Presenter: ACSA (Association of Collegiate Schools of Architecture), June 15–10, 2020. “Zairja-Thinking: A Second Virtuality for Design”

• Presenter: APCS (Association for the Psychoanalysis of Culture and Society), October 15 – 17, 2021. “Save the Tears for Later”

• Co-Organizer: Stendhal Syndrome, with Dr. Kōan Jeff Baysa, MD., iPSA, October 17, 2021

• Presenter: AHRA (Architecture Humanities Research Association), November 11 – 13, 2021.

• Presenter: “Architecture, Media, Politics & Society, “(in)Tangible Heritage(s),” June 2022. “Lacan’s Alethosphere”

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