What appears as the most urgent task at the present stage is the elaboration of a coherent theoretical idiom suiting the emergent condition of man that constitutes the main scope of my investigation. The term "transcultural" has recently become quite popular. My understanding of it is nonetheless radical: I think not only about a human transgressing the cultural boundaries in order to circulate freely between diverse cultural orders, but first of all about a human that aspires to break through the limitations of the cultured condition as such. The utmost stake of this endeavor is not only the formulation of a new criticism, but also the fostering of a new practice of communication, developing into a new dimension of human experience and community, which I often describe by reinvented Saidian concept of worldliness.
In order to build a theoretical idiom describing this radically new condition of humanity, I've initiated several threads of reflection, dealing with mathematical inspirations (topology), transcultural speech (a specific form of literary communication in which diverse languages coexist, just as one may observe in Joyce's Finnegans Wake, as well as in many examples of post-colonial literature, introducing subaltern voices) and poetics of the void (dealing, among other aspects, with negative, apophatic ways of communication in transcultural condition). In the latter domain, I use an idiomatic concept of Desert, referring in a metaphorical way to the unstructured, primary field of creative potentiality.
In my search for transdiscursive ways of communication, visual tools of reflection, such as sketches, graphs and pictograms acquire a great importance. This is why my vision of emergent humanities implies not only the usual modality of writing new texts, but also an important field of visual experimentation.

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