In reflecting on why I’m so hostile to hermeneutics, the architect Karl Chu came to mind.  It’s not that I haven’t learned from this tradition.  I was trained in this tradition.  My work is replete with references to the tradition.  For a number of years now I’ve followed him on Facebook and there are always pictures of outer space, astronauts, pilots in fighter planes going beyond the speed of sound, and so on.  From afar, my impression of Karl is that we should strive to be this:


Rather than endlessly measuring ourselves by this:


Or this:

CARAVAGGIO (b. 1571, Caravaggio, d. 1610, Porto Ercole) The Sacrifice of Isaac 1601-02 Oil on canvas, 104 x 135 cm Galleria degli Uffizi, Florence Caravaggio painted a version of this subject for Cardinal Maffeo Barberini, the future Pope Urban VIII and this could be the picture. The artist thrusts the action to the front of the picture frame like a sculpted frieze. Old Abraham, with features reminiscent of the second St Matthew, is intercepted in the act of slitting his son's throat by an admonishing angel who with his right hand prevents the murder and with his left points to the substitute victim. Light directs the viewer to scan the scene from left to right as it picks out the angel's shoulder and left hand, the quizzical face of Abraham, the right shoulder and terrified face of Isaac and finally the docile ram. A continuous movement links the back of the angel's neck to Isaac's profile; and angel and boy have a family likeness. Caravaggio combines a hint of horror with pastoral beauty. In the foreground the sharp knife is silhouetted against the light on Isaac's arm. In the distance is one of Caravaggio's rare landscapes, a glimpse perhaps of the Alban hills round Rome and an acknowledgement of the skill of his one serious rival, Annibale Carracci, whose landscapes were particularly admired. --- Keywords: -------------- Author: CARAVAGGIO Title: The Sacrifice of Isaac Time-line: 1551-1600 School: Italian Form: painting Type: religious

We should place ourselves in completely unfamiliar contexts, striving to see what we become beyond our history and the past, becoming something other than the human.  Rather than seeing the past as already containing all the answers after the fashion of Ecclesiastes where there is nothing new under the sun, but only an endless repetition of the same, we should instead occupy ourselves with creating an unheard of and unimagined future.  Our age is not the age of the endless meditation on the past– though indeed we should preserve the past and not destroy monuments –but an age where we should find it in ourselves to give birth to the future by becoming-other…  A complete disorientation of where we have been, our history, and what we might have evolved from through the creation of speculative environments that make us otherwise.