A straight jacket. A drugged cosh. A warehouse super ego.

As an architect I am making an intervention in this developing rave. I am constructing a thesis that Canada has no ethnicity. It is a hole into which the suggestion of the possibility of being Canadian is thrown…

…along with genocidally-altered original nations.

Because ethnicity is no longer possible culturally, linguistically or as a life, it is re-membered by grant-aided, socially-parasitic arts, a loyal opposition trained not to depict anything beyond the fictionally parochial and the victim memorial, and other 3-D printed versions of Frankenstein’s monster.

Without the stitching.

Canada is permanently a colonial culture, colonized not by European fur traders but by transculture itself, a culture of low sentiment.

It largely ignores the room and offers small complaint and smaller soul.

Its artists ignore one or more of three duties.

3

To art.

2

To entertainment.

1

To truth and beauty.

It is the fault of the artists that there is a fucking popular culture.

More calmly, conflict often is a re-occurrence of previous contradictions expressed in new forms. It often occurs where culture, especially identity, is rendered political towards the creation or preservation of hierarchies, expressed by identity, cultural diversions, distortions and cover-up narratives — like a religion or ideology.

On the other hand, when systems decline, incoherence arises, needs are not met, connections cannot be made, coping mechanisms fail and storming the chamber of the people is considered the highest form of liberty of and for the people.

Even still.

The transcultural electrician is challenged to rewire that initiation, to create images that will shatter the dangerous and restrictive politics of stereotypes that block it. An electrician like that gets into the mind, to project in order to get a response, which then enters the transcultural field, confronting the dissonances that culture creates in gender, race and other continuous spectra.

Transcultural politics is not a politics such as

‘multi-culturalism,’

which proposes rules of interrelationship and reconciliation between people grouped culturally and is based on adapting cultures to a common law, nor is it the politics of ‘interculturalism’ which proposes exchanges of cultural enterprises towards a common market, characterised by the critical filtering of culturally acceptable objects and activities to a mainstream and dominant culture.

In the ongoing collapse of globalism there is no dominant culture.

Says Global Culture

We all suffer from interpretive violence. No one helps construct anyone else from what could be plausible beyond that which is accepted. One person to any other is no more than a wind to a stone.

When people actually see themselves in books and poems, see themselves unfamiliar, in new planes, when they are no longer encouraged to see themselves in widely circulating stereotypes, they will prefer chaos, as I do, cured of vanity that supports the lack of conviction with quotations from the dead who cannot correct them.

Let us look at grace, or freedom, or redemption, or

revolution.

None of them happen, especially not grace, in some God awful mild and present harmony. They come together in otherness.

As the early transcultural writer Ernest Hemingway said,

“the sun also rises.”

Then the fool went on safari.