Cultural proximity is outlined as a constructive dissent of artistic and intellectual articulations transverse to national and cultural categorizations.

HyperCulturality as a family resemblance (Wittgenstein) offers seemingly foreign art and cultural practices an unconstrained exchange of artistic action and theoretical reflection. The volume Hyper Cultural Passengers asks how art and philosophy can contribute to generating spaces of dialogue that are not territorial and borne of national self-assertion.

The volume documents the project started in Hamburg in 2016 that outlines a broad spectrum of positions in hyper cultural art and cultural practices. The myth of the autonomous subject is problematized with different formats such as artist-in-residences, conferences, lecture series, workshops, or co-cookings. The figure of the hyper cultural passenger is proposed instead: these come from Japan, China, South Korea, India, Jordan, Finland, the Netherlands, France, Iceland, and the USA, among others.

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This publication clears up misunderstandings and explains why social housing of the sort built in the German Federal Republic and West Berlin is a myth. Instead of meeting the long-term needs of low-income households it has so far primarily been about promoting economic development and private property ownership, instead of meeting the long-term needs of low-income households. This is reason enough to examine the principle of social housing and ask why it is so difficult to reform.

The third, revised edition of The Myth of Social Housing provides updated figures and content in Andrej Holm’s text, as well as a new introduction by the editors, Ulrike Hamann and Sandy Kaltenborn, which reflects on Berlin’s housing policy changes of the last ten years.

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