The Site of Cultural Destruction



“...52 Iranian sites (representing the 52 American hostages taken by Iran many years ago), some... important to Iran & the Iranian culture... WILL BE HIT VERY FAST AND VERY HARD...”
– Donald J. Trump on January 4, 2020 (2:52 PM) via Twitter

Clearly, these words show a moral baseness, political stupidity, and symbolic cheapness that only President Trump can concoct in such an appalling combination. The fact that it is objectionable is obvious. The fact that it combines current politics and architecture led many architects to rightly see it as their responsibility to decry this publicly announced intention to commit a war crime. This was best represented in the statement disseminated by the Society of Architectural Historians that warned against the targeting of “cultural sites”.[1]  Without taking away from the centrality of both President Trump’s repulsive threat and its outright rejection, I want to offer an alternative reading of the tweet.

It is significant that the 1954 Hague Convention for the Protection of Cultural Property in the Event of Armed Conflict used the term “cultural property” and not “cultural site”.[2]  Indeed, a ‘site’ usually refers to a place where artifacts, architecture, or events of cultural significance occur. In itself, a site is not ‘cultural’, but can host things of cultural significance.

President Trump was threatening the destruction of property with cultural value, such as historical mosques and tombs. That’s what the “beautiful”[3]  American weapons are built to destroy: property. They can neither destroy the placeness of a ‘site’ nor the immateriality that defines ‘culture’.[4]

Having said this, there is a site of cultural destruction in this story. That site is the white rectangle with rounded corners that hosts the reprehensible words of President Trump. The culture being destroyed is not Iranian, but American. President Trump’s Twitter platform acts as a site from which repeated attacks on American decency are launched. The aftermath, which can be seen in the peripheral site of the comments section, often shows the success of those attacks. Notions of civility, honor, and kinship are blown to pieces right off the face of American culture. They are replaced with vulgarity, pettiness, and narcissism.

Notes

[1] “Targeting Cultural Sites Is a War Crime.” AmericanAnthro.org, January 6, 2020. https://www.americananthro.org/ParticipateAndAdvocate/AdvocacyDetail.aspx?ItemNumber=25357#/8/.

[2] “1954 Hague Convention for the Protection of Cultural Property in the Event of Armed Conflict.” Unesco.org. Accessed January 8, 2020. http://www.unesco.org/new/en/culture/themes/armed-conflict-and-heritage/convention-and-protocols/1954-hague-convention/.

[3] Brian Williams, on MSNBC, infamously described images showing the launching of American missiles towards Syria as “beautiful”, triggering an immediate backlash.

[4] This is not to deny the existence of ‘material culture’ or that cultural heritage can be lost as a consequence of physical destruction, but rather to say that although a people’s culture can be reflected in their physical artifacts, it is not fundamentally physical.

Which Way the Seesaw Swings

Imagine a seesaw, its fulcrum where I stand,
School on one end, the city on the other,
Every day, gravity pulls me,
Westwards or eastwards, which way the seesaw swings.

Though try the city may, the seesaw favors school,
It swings towards it often, and often I am there,
An insider, with official ID and building access,
I mold into a conforming citizen,
My scales scraped clean, my skin sanded smooth,
I wear a straightjacket for good posture,
And after a messy process of acculturation,
I find myself, body and mind, gilded: a fine specimen indeed,
But the seesaw swings the other way too,
On those days, I walk east, towards the city,
And though ten minutes cannot shed my other self completely,
Ten minutes can still do a pretty fine job,
I reach the city not its resident,
I am a tourist, strangely lost in streets as straight as any,
I am a tourist, and I do not speak their language,
But still, through the chaos, I cut my path to nowhere,
I walk and walk and walk, asking no directions,
The building faces, like Rorschach blots, tell me all I need,
Glass and brick and corrugated steel, I do what the signs demand,
I only look the homeless in the eye, I only smile at peeing dogs,
I melt in the heat, and sway with the stink,
Letting the city noise wash me through and through,
Reborn, I the tourist, walk the city with crazed determination,
I must keep my empty shell empty,
I know eventually, I will be pulled west,
But for now, I walk deeper into the city, holding my compass.

Isolation is not permitted in school,
There are people everywhere,
We glance at each other and nod,
We are smart, we are special, our nods say,
And if an outsider dares enter our space,
We spot them easily, and escort them with our stares,
Only in the city am I truly alone,
Packed in that crowd of strangers, I am most solitary,
I rest my eyes on their empty faces, we have nothing in common,
Except that sometimes we walk in the same direction,
Stopped by the same red lights, startled by the same loud noises,
Often, we eat similar food on tables closely huddled,
We even share a table while drinking coffee,
Though each of us looking at a different screen,
At sights, like the LOVE sculpture, we stand in loose lines,
Waiting our turn to take the same spot, to take the same picture,
I do not mind being alone in the city,
It relaxes me, numbs my nerves,
I long for it after periods of intense collegial togetherness,
There is comfort in being lonely with others,
At the same time, I am part of a collective,
Yet somehow, I keep my singularity intact.

School is a machine for learning,
It is ok to leave school appreciating the world’s mysteries,
But not to leave knowing less and more confused,
Something went wrong in there, the system failed,
That is not the case in the city,
I go to the city seeking refuge from the need to know,
A place I can befriend my ignorance,
Embrace it, fuse with it, dissolve in it, be it,
To hold my breath, think of nothing, and become emptiness,
Of course, this does not mean the city cannot teach,
With every walk, I see new things, and learn of their existence,
New buildings, streets, potholes, parks, trees, faces, fashions...
But what new things I learn is not the point,
It is the immensity of the city, its endlessness,
Its countless layers and gradients and motions and patterns,
Its infinite stories, told in infinite voices, and infinite more untold,
To let go, and finally accept the impossibility of knowing,
To unravel and fall, like a liberated knot on a bed of feathers,
To sleep and sink, firmly swaddled in the hug of a pool of quicksand,
Ending a city stroll confounded or disoriented is not a failure,
Feeling small and insignificant is expected,
To be close to nothing,
How different is that from school,
And the burdensome sense of empowerment it bestows?
No, I prefer being a drop than an ocean,
A neuron than a brain, a star than a galaxy,
Let gods be gods, let them have their omniscience,
And for me, I keep my peripherality.

The student is a time traveler,
Going backwards or forwards,
Rarely is the present, that evasive mirage, of interest,
What is the present if not that which cannot be studied?
And besides treading time, the student also partitions it,
My day today, hour by hour, was predetermined yesterday,
And yesterday, hour by hour, is today scrutinized,
Only the present, that foolish child, is unaccounted for,
The city is timeless,
I never plan my walks, I never remember them,
They are a thick haze of presentness,
It is not that I walk the city blindfolded,
Actually, I become most observant, seeing everything,
I hear the racket, I sniff the smoke,
I am intensely alive, my brain sensation-bursting,
But every moment is a world, born dying and dead, instantly,
Then another moment, another world, fully alive, then gone,
I do what each second requires,
Then wait an eternity, for the next second to arrive,
I follow intuition, yet remain vigilant,
Left idle, sensations deteriorate into thoughts,
With thoughts, moments linger past their due,
The present vanishes and time is born,
My hardest work is keeping my presentness,
How delicate do I have to be with me,
How softly do I wash away my thoughts,
How gently do I push the time away,
I keep myself purely present, pure and present, pure.

Before one end of the seesaw falls,
Like fate slamming his gavel, and my route is set,
Before my feet are pulled, east or west,
Before I become student or tourist,
I wonder which way, if asked, I would choose,
I wonder why school and city are spelled the same,
I wonder why utopia looks like everything else,
And then I feel the tremor, and then I hear the strike.

صِعِوِدِ فِيِ صِعِوِدِ

صِعِوِدِ فِيِ صِعِوِدِ فِيِ صِعِوِدِ
هَبَوَطَ فَيَ هَبَوَطَ فَيَ هَبَوَطَ
شْدْاْدْ فْيْ شْدْاْدْ فْيْ شْدْاْدْ
سّكّوّنّ فّيّ سّكّوّنّ فّيّ سّكّوّنّ

نِزالٌ في نزولٌ في زوالْ
مِداد باد بالتمديد بُداً
ويقطعهُ القطيعُ قِطاً
ويفنيه الفناء فنّاً

حروب بالسيوف وبالرصاص
حروب بالحروف وبالرصاص
حروب مات ميّتها وحيْها
حروب أحيت الدنيا قَصاص