D Madan Copal Singh implicated history of the paradox in which it figures, at the other end of the horizontal appropriation. As a memory. It thinks itself as an articulation, in which it would not just be the other of an other, as a possibility. I wonder if the other line can be conceived of as a split? No matter how insignificant. For in this dream before the Dream, the dream before the Waking, does it not constitute a space for the missed encounter with the Real? A space where the gaze of the western realist conscience may finally alight, a space where the ability to see and the ability to apprehend oneself, as thought, may 87 not correspond with the absence of the horizon and the enclosure. This then is the space of the other line, a space which came into being within a set that no longer included it. Unfortunately, its essence is beginning to appear only now, when the problematic of classicity has nearly disintegrated. To articulate the self, the other line must deconstruct the implicated history of the paradox in which the western realist conscience articulates itself. The crisis of the realist conscience is literally and figuratively reflected in the fullest stretching of the horizontal axis. With the emergence of the cinema the realist conscience entered a new field of representation. To articulate the self in terms of an ever- evolving horizontal axis. With the collapse of the pre-Renaissance vertical order, the horizontal enterprise aspired towards a humanizing realism. But this material opening up also exposed the neo-realist subjectivity to the dimensions of extension and expansion. Thus one decisively moved away from the non-geographic iconicity of a new concept of deep-focus enterprise. This is basically the beginning. Now I come to a certain terminology. For instance, the imaginary, the symbolic, the enterprise of displacement, the territorial enterprise, again imaginary, enonce'enunciation — again imaginary, lure of the ego, desire, lack, the other, lure. In the psychoanalytic reflections on the cinema, Christian Metz proclaims his work as an attempt to disengage the cinema object from the imaginary, and to win it for the symbolic. He intends it to be an enterprise of displacement, a territorial enterprise, and therefore symbolizing advance upon the imaginary, which in turn is viewed as a necessary intervention to end the reign of the imaginary in so far as it brings about a semiological shift from the enonce to the enunciation, but the cinema still remains for him a technique of the imaginary, designating the basic lure of the ego, or the terrible mark of the mirror which alienates man in his own reflection and makes him the double of his double. Projecting desire as a pure effect of Lack, the cinema screen is thus proclaimed as the other mirror, a veritable psychical substitute or a prosthesis of a primary dislocated limb. Let us now see to what kind of symbolizing function this kind of psychoanalytic discourse lends itself, symptomatically, that is, in order that we may arrive at an understanding of the desire of the analyst. Here then is an entire gamut of terms — enterprise, displacement, territorial advance, reign, disengaging, shift, lure; and concepts — imaginary, symbolic, enonce, enunciation — through which these terms or words are controlled. The problematic history of the western realist conscience is Numbers 20 - 21