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Urban Arabesques 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 critique-in-motion of
creative figures and conceptual personae from (non) philosophy
illuminates the emergence of sense in the city, shows how
"transcendental empiricism" operates within it, and how the
everyday life of the streets-the ordinariness of experience as well
as the screen/projector of urban surfaces-uncovers new pathways for
politics, experience, and relationalities. Using Hong Kong as the
primary site of thinking yet recognizing that thinking incessantly
moves beyond any particular location, the book opens up cities
within the city. Traversing Hong Kong reveals how the corners, the
money, the trees and the water are involved in philosophy.
Combining the linguistic approach found in Heidegger and Derrida,
with the more materialist analysis of Serres and Deleuze, the
objective of this book is to retheorize the urban and its
imaginary-its virtuality, irreality, phantasmicity-with an emphasis
on signs, images and rhythms, resonating through philosophy, and
beyond.
In 'Kant in Hong Kong' travel, philosophy, and the city weave
through one another. The book brings Immanuel Kant-famous for the
regularity of his walks in his hometown of Konigsberg-into the
swarming streets of the hypermodern city and carries everyday urban
experience into the labyrinthine texts of Kant's critical idealism.
It lets the empirical and the transcendental play with one another
in Kowloon, Hung Hom, Sheung Wan, and Admiralty as we move up and
down the travelator between Queen's Road Central and the
Mid-Levels, or take the bus to the beach at Shek-O. Freedom and
knowledge swirl through the thick incense in the Temple of Tin Hau.
When Kant comes to visit, walking, thinking, and the city
illuminate one another more brightly than the colored lights of the
nightly laser shows illuminatethe harbor-front skyline of Hong
Kong.
Although there is a significant literature on the philosophy of
Jacques Derrida, there are few analyses that address the
deconstructive critique of phenomenology as it simultaneously plays
across range of cultural productions including literature,
painting, cinema, new media, and the structure of the university.
Using the critical figures of "ghost" and "shadow"-and initiating a
vocabulary of phantomenology-this book traces the implications of
Derridean "spectrality" on the understanding of contemporary
thought, culture, and experience.This study examines the
interconnections of philosophy, art in its many forms, and the
hauntology of Jacques Derrida. Exposure is explored primarily as
exposure to the elemental weather (with culture serving as a
lean-to); exposure in a photographic sense; being over-exposed to
light; exposure to the certitude of death; and being exposed to all
the possibilities of the world. Exposure, in sum, is a kind of
necessary, dangerous, and affirmative openness.The book weaves
together three threads in order to format an image of the
contemporary exposure: 1) a critique of the philosophy of
appearances, with phenomenology and its vexed relationship to
idealism as the primary representative of this enterprise; 2) an
analysis of cultural formations-literature, cinema, painting, the
university, new media-that highlights the enigmatic necessity for
learning to read a spectrality that, since the two cannot be
separated, is both hauntological and historical; and 3) a
questioning of the role of art-as semblance, reflection, and
remains-that occurs within and alongside the space of philosophy
and of the all the "posts-" in which people find themselves.Art is
understood fundamentally as a spectral aesthetics, as a site that
projects from an exposed place toward an exposed, and therefore
open, future, from a workplace that testifies to the blast wind of
obliteration, but also in that very testimony gives a place for
ghosts to gather, to speak with each other and with humankind. Art,
which installs itself in the very heart of the ancient dream of
philosophy as its necessary companion, ensures that each phenomenon
is always a phantasm and thus we can be assured that the
apparitions will continue to speak in what Michel Serres's has
called the "grotto of miracles." This book, then, enacts the
slowness of a reading of spectrality that unfolds in the
chiaroscuro of truth and illusion, philosophy and art, light and
darkness.Scholars, students, and professional associations in
philosophy (especially of the work of Derrida, Husserl, Heidegger,
and Kant), literature, painting, cinema, new media, psychoanalysis,
modernity, theories of the university, and interdisciplinary
studies.
Night Cafe is a book for the senses that think. Gray
Kochhar-Lindgren takes us through a history of coffee as recorded
for and by the thinkers of the 19th and 20th century. The Night
Cafe brings together prominent critics, artists, and intellectuals
in an encounter which the author describes as a meeting between
epistemo-lovers who are equally into rigorous mathematics and the
architecture of the tastes. Here's some coffee according to Walter
Benjamin, Vincent Van Gogh, Hemingway, Rilke, Ovid, and
others."These amorous notes show a deep, dark passion for
philosophy, literature and art-as well as an ardent love of the
dispeller of all worries, the drink whose ingestion-and the ensuing
thoughts-Gray convinces us amounts to a Hell of a lot more than a
mere hill of beans: coffee." (Bent Sorensen)"When one opens the
pages of Kochhar-Lindgren's Night Cafe, after inspectingthe menu,
one ultimately chooses to fill the optic cup to the brim, that
concavereceptacle, which synthesizes light from the pupil, iris,
& retina, beaming color & imagery into the optic nerve. A
pathway, past fact, into depths of imagination, reaching down to
the Shaman of Trois Freres, & seeing through the eyes in
Cafesof Vincent van Gogh, Walter Benjamin, Ernest Hemingway, &
others. Refills aredesirable & free " (Robert Gibbons)
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