I did not create the transculture.

It is a natural outgrowth of humans.

Soon, it was applied to the post-World War world, although that was no longer a world.

The new cultures of this non-world displayed fundamental differences in language, class structure and material culture from pre-war cultures. The new culture was now dominant over them.

No longer love but vengeance: a proof one must never say ‘doubt God but do not doubt my love.’ It may be futile to wish every sojourner a safe journey and every dream of love immunity from illusion, but there is justice and the angry spirit will come and you will be hers.

The culture Ortiz observed was popular and spontaneous, a product of the life of a new sort of people.

It was not the product of official politics, national institutions or any other parts of the superstructure.

Now it is nursing and psychology, as only the women and children were saved.

It describes practices that join cultures by constructing new bridges of understanding.

All improvised.

Він описує практики, які об’єднують культури, будуючи нові мости розуміння.

Your Bots at Google

The culture itself is a way of critiquing and explicating literature an the visual and performing arts during the global diaspora. It reads language as a function of myths, metaphors, preconceptions, moral imperatives and stereotypes…

…leading towards and empathic and utilitarian encounter. A transcultural architect, on the other hand, recognizes stereotypes and formulaic language as living fossils of situations, past and frozen, by which the status quo arrived. Grass is always green.

These stereotypes are used, in phrase and structure, as they were in ancient chants:

That lack-of-relationship (that is still a relationship) and the frustrated search for its authenticity has existed since written language replace oral tradition. It is why the first texts were illuminated as a chimera cinema.

Because in the new stereotype (now the old), image became abstracted to thought, separated, just as image an sound were, from the senses, all progressive culture requires visual exegesis.

Consequently, the authentic self contains shades of the self seen through glass that we did not think we knew.

Even if that self has a soul, it can still belong to a fetishism of the present detail of existence.

That fetishism which is the basis for popular culture and popular repression should not be made golden.

The false complete identity they assume for participation in society is bad enough, but worse is the range of prescribe and pre-scripted cartoons they speak through. All those dizzyingly thin attributes.

All that oozing irony which is literally true.

As with the lurid covers, the purpose of stereotype is to create fear, to find and then organize the death of real opposition to systems…

…to freeze the cultural mirror from any window by consolidating the confusion of scenes and mind that reality engenders as it contradicts the social narrative and the official history.

I demonstrate how one can get lost.

Once this process has created great men from nothing, these creations write their memoirs as a search for the originating stereotype. They become memorials to their ephemeral life, declaring life itself ephemeral. In the transcultural action novel, the purpose of such stock phrases is to create a sense of an apocalypse, that everything familliar is being overthrown.

By their climaxes, the prevailing Law, belief and hierarchy become the meta text for a person’s life, although the origins of law were to relate stereotype to position in society. A falling action, a sudden escape to the Maldives, is not enough to transmit the original intent of the law, that morality is a social construct, not an absolute.

I advocate such immunity. I advocate that one does a rigorous translation of the different styles in which the same life is expressed.

There is no divine hierarchy,. There is no natural talent. There is no skill built with experience.

The reverse is true.

That’s the Law, Folks.

In transculture, understanding embraces a contradiction between the knowable and the true, the accessible and the necessary. No good art goes without its erasure. No good thought without its burning.

Most middle-of-the-road cultural oppressions and deceptions create situations meant to prompt interrogations of their own banality in order to arrange destruction of potentialities.

Onward.