The Building Site

Breaking News:

the Company has withdrawn investment in Zanzibar, due to fascist homophobic brutality and illegal laws by the government.

Shhh!

In the period before the German Disaster, nationally based cultures were mobilized in support of national interests. Cultures were defined as those things not being the cultures of others.

*Is that Really Germany’s Foreign Minister at Lunch?*

Nations were defined as peoples having a common geography, history, economics, language and culture (shared by all classes and genders) and a common psychology.

*Well, This is Certainly Germany’s Chancellor Gnawing Into the Obligatory Wurst.*

Treaty discussions catered to inherent and intrinsic commonalities.

Transcultural architecture, though, is a process rather than building to design. Every day you must show up with something you have carried with you a long way and fit it in, without nails.

*The Great Zimbabwe. This is my heart. Really.*

There is a fundamental, continuous rejection of any notion of inherent characteristics or intrinsic beliefs in an encounter between persons of different cultures. It is experimental.

Facts are confirmed by negations of experimental overtures.

Empathy is practiced beyond ritual and convention, by giving full time and space to hearing and understanding the associations and meanings of ‘the other.’

It turns out that our neo-colonial activity will be halted by Indigenous cultural affirmation. On a deeper level, isn’t it ironic that postmodernism is not as much fun as liberal academics said it would be.

Instead, identity politics based on the wrenching of dead corpses from our neural patterns is on.

A method for understanding the whole life of the other is built without finding evidence of inherent, absolute characteristics relating to mental health,

even though some modern diplomacy rejects an assumption of inherent national or group interests or a stable and inherent attitude and the transcultural approach rejects notions of the absolute origin of personality type or behaviour in gender, race, class or family history,

eschewing absolute mind and permanent readings.

Instead, it constructs.

Some practices of transcultural diplomacy extend beyond the promotion of national arts and academic institutions to the promotion of localized creation and the exchange of capacities,

an adhoc process that runs parallel to national level diplomacy,

establishing and influencing third party supra-national structures and collective interest groupings to mediate transcultural conflict emerging from interaction with the global system.

It has been largely successful.

National-level diplomacy has not, because that is not its goal. It is a comedy of cultural encounters and of manners, a coming-of-age memoir, moving from the old village to the modern world, post-colonial in politics and attitude, within an exotic setting.

**Marilyn Monroe Escapes from Buchenwald**

It is entertainment, like “traditional” dancing.

It is clear that some people get a real charge out of leaders who make politics and life comedic in deeply fascist theatre: democratic one moment, feudalist the next and ribald macho by dinner.

Those dispossessed and depersonalised by modernism love it. To have a violent character to look at and love. To be absorbed into.

The transcultural novel does not pay the ransom for an older point in the transculture.

It is other, not a delusion unfolded to a therapist, an account of a collaborative creation of a fantasy, a proposal of a discourse of imaginations, a comparison of framework and boundaries, or a comparison of psychologies and mythologies.

*A couple of billiards players back in the day.*

A transcultural novel is written for mainstream reading, often by a transcultural individual, usually about a journey, during which a relationship is built in a strange landscape with someone who is ‘other’. It makes the unfamiliar familiar to the reader. Every night now is wrested from peace.

The pedagogy of creative writing is complementary.

It reveals the effectiveness of individual narratives in encounters with social context. It constructs a culture, while disassociating from a dysfunctional one.

Opposing solitudes in world conflicts encounter each other as an amalgam of other and self.

The transcultural architect recognizes that narrative is not everything anymore. It is the obvious theatric pantomime that is, that where it was once the novelists, the Eng. Lit. graduates and pornographers who strategized the politics, it is now failed P.R. persons and anarchist lunatics.

When drawing up your building plans, check out their advisers. See what they have written. See their literature.

Is it like yours?
Do you feel you need a few theses against it?
Is it post-modern,
obviously undeniable,
narcissistic,
opiate virtuosity,
imperialistic nudity,
armed,
infinitely wired
and patrolled by drones?

Culture is forbidding and allowing.
The Barbarians at the gates

It shows language organizing experience. The novel is an exposition of identity in society and of the effectiveness of culture, although there is not yet a truly postcolonial narrator nor a decolonized reader. But you are still here.

There is hope.

Pop Culture

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

Academic culture is how duty to life is avoided.

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.

To art.

To entertainment.

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.

Can you really have your cake and eat it too?

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 though culture evolved as a substitution for instinct. Even though it rewires the processing of the sensations which prompt actions for securing survival and pursuit of desire, the associations that initiate emotions.

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.

To *project*, not to create a narrative arc, to react *against* acculturated memory and its social identity, not to complete a circle.

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.

Origin Stories

I did not create the transculture.

The upheaval of cultures under the stress of war did that.

The Cuban sociologist Fernando Ortiz (1889-1969) coined a term for it in 1940, when there was a lot of culture being wipe off the map and a lot of hybrid culture springing up, but Ortiz 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.

Liz Taylor Edged Audrey Hepburn out of the Part. Even the Scriptwriter got cut.

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

That bridge went down off the coast of Newfoundland in 1913.

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:

to fill out the cadence of a socially acceptable performance, a thing where now and here there is no relationship between words and language, but which can be stuffed with feta cheese and pimentos, preserved in oil, and carried across the mountains on the back of a donkey.

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.

**Even in the mind.**
Well, if you were a Russian sniper in Stalingrad today, what would *you* aim at?

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.

**Rommel Whets his Whistle With His Aide de Camp in Afrika**

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.

Only the masters of stereotype can save us.

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.

The trouble with passionate unreason and division from stereotype, especially if it is intellectual: once you get out you actually learn to not only approve of being other, but also like it.

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.

Apocalyze

The pandemic of culture

Putin

The Building Site

Pop Culture

Origin Stories