No need to explain how ghallinqas ghamilt xi haga becomes ara x’ghamilt int.

It’s in the natural, in this case, chronological order of things.

Labour; aesthetics and its dardir, the ongoing, core case study.

Mhux sewwa simply scratches the surface, that it not offend deeply, when it serves nothing other than legitimising barbarism as included in a democracy.

And that is unforgiveable: It is perfectly respectable, indeed essential and generous that this ‘miseria’ be called exactly that.

Someone has to do it, otherwise Sliema, our own Cadbury, becomes a baroque labyrinth. A mental one ie.

Is-sinjur tal-fqar.

Call it the ‘ghallinqas ghamilt xi haga’ syndrome. Mintoff’s alibi all his life.

There was this documentary on the Suq tal-belt yesterday, everyone wondering why it looks so sad, I suppose the great perit’s rape of a Victorain open trellis building with stumpy ‘Maltese’ typeforms, (iz-z…. ta’ gebla ta’ Malta), killing all the space, doesn’t count.

One of the fundamental reasons why the Maltese can’t consider the beautiful is because it hurts. The collective ‘stil Malti’ has been a snide attempt to make do without any universal language, that it doesn’t interfere.

Just look at the ridiculous fortified boundary walls limiting ODZ and the latest extension, why? Then I see how foremen and architects just have to grapple at each other’s throats to interface tarmac, the first course and the obvious absence of any water run-off.

Call it a dependence, addiction to tad-disgha modulism, Parnis couldn’t even get himself to extend by the proper course the staircase, even because the builder minn dak kellu.

Guess who regulated beyond any sense how a building block should be.

Yes, I blame the most pathetic, untalented architect of them all, Dom Mintoff. What you see in Parnis’ surroundings is that philosophy, an obsession with materia as strictly objective, physical, and no interaction to create artifice, considered fake.

Even plants become practical experiments in maintenance free living.

And isn’t that what they are in the first place? These are the people who couldn’t be fagged into maintaining, indeed giving function to Australia Hall, or any other prime cinema and public place in their grubby hands.

Now that they’re in love with a people who weren’t capable of perspective, whose only attempt at architecture remained a bleak attempt at ceiling over another ceiling, and whose music twangs one out of their wits, the fatalism crystallises.

This is a cultural war; flair, style, artifice, true false and an obsession with the relation between form and function versus Labour’s primitive absence of philo-logic.

But that means having a people who can think, who can challenge and who’ll refuse to take in collective rubbish for collective’s sake.

Burke rocks, Jones describes and Ruskin argues; Xarabank must be stopped.

https://www.facebook.com/pages/Rita-Spiteri-Desert-Princess/282041121948366?sk=photos_stream