Conflation merges disparate experiences into a singular whole. As such, conflation crafts a pastiche of functions, referents, settings, and environments, evoking multiple place-narratives in a single location. This practice is best illustrated by the pastiche experience of many contemporary environments that evoke multiple place-narratives in a single location. Thus, a shopping mall food court presents a panoply of cultural references, the sense that one enters a smaller version of the entire culinary world when visiting this place. Similarly, Disney’s EPCOT Center in Florida features a World Showcase where visitors encounter an Italian piazza, a Japanese pagoda, a German village, and a Mexican Aztec pyramid, and other similarly distinct sites, all within walking distance of one another. George Miller’s 1998 Babe: Pig in the City provides a cinematic example of conflation with its convergence of architectural icons such as the Empire State Building, the Sydney Opera House, and the Golden Gate Bridge, creating a charmingly paradoxical metropolis. More recently, Chinese director Jia Zhangke’s 2004 Shijie (The World) further illustrates conflation with its depiction of a shabby Beijing amusement park whose apparent convergence of overlapping icons such as the Twin Towers and the Egyptian pyramids, all in miniature, fail to elide the banality of backstage life experienced by park workers. In all examples of conflation, one experiences a necessary extension of dislocation. Being removed from a particular locale with its particularities, its limitations, one enters a perceptual synecdoche of the world. Within omnitopia, conflation reflects the experience of passing through multiple environments that seem indistinct: each flows into the other to form a singular experience. Thus, an airport converges with a shopping mall, which flows into a corporate environment that includes a range of quasi-domestic spaces. Within this enclave, one struggles to imagine a world “outside.”