[...]ecisely those images where our immediate reaction is to say “there's nothing to be deconstructed here” (“that's just the way it is”)
software design (website interfaces) --> images of technology
critical practice: producing a new knowledge of the text (==> explain the ideological necessity of its silence) =/= make a whisper audible, complete what the text leaves unsaid
other: other meanings of a text, other ways of seeing things
self/other --Derrida--> it only has meaning insofar as it differs from something else
•every concept has its opposite or its other (somehow marked within it)
•the good one can be designated only through the metaphor of the bad one #fable
deconstructing an image:
•looking at what the image includes and excludes
•detecting the social roles it creates
•examining the hierarchies that appear natural in the image
}<== **visual representation works as much through what is not shown as what is shown** (Hall), through feints and deceptions (Mitchel), through gaps and silences (Joy + Venkatesh), through stated and unstated (Stern), through the not seen or said (Rose)
reading: detailed and specific examination (of a piece of text) = لاروب dredging machine --> disturb the text (dissecting patiently and minutely the narrative, structure, syntax, figuration, images, metaphors, metonyms استعمال لفظ در معنای غیرحقیقی majaz) ==(draw out)==> complexities, ambiguities, aporias, ironies, taken-for-grantedness, just-is-ness
--imply--> a critique of objectivity
{revelation = disturbance}-->{alternative meaning = site of simultaneous deconstruction}
dynamics of reading (close reading)
1. working of a text hides itselg (images of soap powder, children's science homework, computer chips, etc.)
2. rigorous inspection of the text
3. text is not immune to interpretation (~ text reconfigures itself according to the touch of history, personality, method, intention, politics, culture of any given interpretation =/= closed space)
*reading = producing meaning* =/= reflecting
•Toyota's advertisement --> an image of gay family life --> the image converges on a notion of multicultural pansexual divergence --> market conditions under which homosexuality is accepted
•Joe Camel campaign --> Joe (from Joseph Old Testament) shortened in colloquial american usages to “Joe”, which by the 1930s began to designate anyone whose real name is unknown or connoted the “most typical” of any category of person [=/= dinosaurs] + camel: beast of burden and of humility (Aesop's fables) and as creatures of uncontrollable lust (from depiction by monks in medieval times to teach moral fables to the public)
performance of a textual sex change operation
(monotonality) monovisuality of the dominant visual message
logocentric: a transcendental signified to which the text refers
Plato's powerful attack on writing as “dead speech”: Socrates and Phaedrus walk in the countryside. Socrates recounts to him a myth about the origin of writing: the king Thamus is presented with a present from his son Theus; the gift of writing. Theus tells his father that the gift will make his people wise as it will improve their memory --✕--> Derrida shows that in the same argument Socrates goes on to describe speech as another sort of writing; he actually uses a writing metaphor to describe the “true nature” of speech “not merely as a knowing, living, animate discourse, but as an inscription of truth in the soul”
deconstruction =/= re-interpretation
| |
impossible + providing a
plausible story different story
deconstructive reading (idiosyncratic to the text) ==offer==> multiple & contradictory potential meanings to the text
Derridean approach to meaning making:
•cricular
•paradoxical
~= it requires us to *deconstruct the deconstruction* --> *work against meaning and interpretation*
name of man: (the name of that being who throughout the entire history has dreamed of full presence = the reassuring foundation, the origin =/= play)
[my fable workshop was about this -->] Derridean deconstruction of images -->
•drawing attention to the way image constructs itself in order to implicitly represent a single history (=/= seeking to tell the truth about what X means)
•keeping alive the contradictions within it (=/= solutionizing)
(?how to deconstruct [iamges of]) nanotechnology: practice of manipulating all types of living and non-living matter at its atomic level
•corporations portraying nanotechnology as a positive and legitimate force (+ visually close down the possible meanings of its products) = Iron Man
•nanospace: planetary bodies afloat in the darkenss of intergalactic space
•fantastical unserious endeavour
([what is?] my problem with) message شعاری
**advertisement ==> confuse agency & ownership**
the fantastic is rescued by the human (face)
(in advertisement -->) **the ways in which knowledge & reality are marshalled into collective visual consensus**
visual deconstruction --> rigor towards the idiosyncrasy and singularity of any text
restricted economy of the text ==> particular meaning =/= Derrida: moveing from a restricted --to--> general economy of the text
...................................
metaphysics: enterprise of returning (strategically, ideally) to an origin (a priority) thought to be simple, intact, normal, pure, standard, self-identical [=/= to think in terms of derivation, complication, deterioration, accident]
<--Derrida-- (the most constant profound potent metaphysical gesture in Western philosophy:) conceiving simple before the complex, essential before the accidental
}--> logocentric thought: thought which does not adequately attend to the contradictions inherent in its own medium ==> [logocentrism:] (fable) faith in the status of language as a lucid carrier of meaning (=/= attentiveness to the materiality of communication and the implications of such a project)
pecific languages make communication material, and exploring the interplay of terms within a linguistic system (-->? baroque) =/= Enlightenment = Age of Reason (logos)
...................................
Beauty and the Beast
or, blast of the clean slate
(goddamn it)
The picture of a relatively undifferentiated and continuous topological space undergoing discontinuous transitions and progressively acquiring detail until it condenses into the measurable and divisible metric space which we inhabit, is a powerful metaphor for the cosmic genesis of spatial structure. (Intensive Science & Virtual Philosophy)
baroque Trauerspiel, classical synthesis, ...
synthesis: synthetic thinking (the combination of ideas into a complex whole)
this is not a reasoning exercise (deducing particularity, etc.)
imagine you find a head. how do you search for the body? (research project)
graduating from ... and approaching ...
(from fairy tale ---> approach myth)
--> http://www.sinaseifee.com/DifficultForests.html
becoming Amazon as the fear of the male.
(Amazon as male hunter symbol)
(symbol for) masculine gender principle
(to disavow sexual difference)
I am not bringing the text to you, or you to the text.
as you have already guessed we have to destroy both the notion of text and you, to some extent, in order to permit a reading to constitutes itself.
is San'an a prince charming?
(let's examine)
the spiritually established death-birth (death of birth and birth of death) at the end of story
Miyazaki's faceless monster (in Spirited Away 千と千尋の神隠し), with his flexible plasticity, has an issue with appearance. he goes from loneliness, to love, to greed, and finally becomes a student body. he has great agency in the beginning and docile in the end, [اسیر صورت --?--> اسیر معنی]
San'an is determined to see it through, the whole process
the German super-ego
the German ego
to carefully inject some of German super-ego to the Iranian ego
(for Anastasia) what is the next war?
ترسا
(to the audience:) you should feel free to make notes, because I am making notes while you are talking, and these kind of lectures I am doing are the process of those note-makings.
I like to interrupt you. the performance is itself an interruption of you, like when we say in a conversation “may I interrupt you” your pace, your velocity, your speech-acts, etc.
what is being ‘interested’ in the history of illusion?
in your process in becoming woman, you might end up becoming a female robot.
(Tarsaa's part)
whose testicles are smashed here?
to the less molested .... (body of the pupil)
psycho-history
human preparedness for inter-relations with technology and technologization
***test some failures
a different brand of anxiety (?)
walking on groundlessness, literature, house of literature?
protest against “was”
give literature in its totality
initiate a program
we don't love our selves nor our neighbors
San'an, when he thinks he is getting close, he has abysses he has to clear
which language the house speaks? or which language German speaks?
house of literature, house is the site of kinship too.
if literature is like a house at all
unreadable algorithm of encounter
...................................
I hope we can get along famously
my work has been really about old forms in the city, how should we build,
tyranny,
packaging (packaging existing knowledge, the way for example the IT industry does it.)
am I against packaging?
rationalizing and separating functions in the city
place, space, face,
in the history, the leg-less-stone and the lying-visage have been together. a study of apparition must include the physical material as well, not as counterparts, rather as its play-mate.
...................................
the structure of space in San'an poetry
distinction between subject and object, between signifier and signified, encompassing the whole of dualistic logic through its branching patterns, through its definitions of set pathways between root and branch.
the Arborescent model of relationships in San'an story?
The rhizome likewise resists structures of domination, such as the notion of “the mother tongue” in linguistics, though it does admit to ongoing cycles of what Deleuze refers to as “deterritorializing” and “reterritorializing” moments.
...................................
about my performances:
“There is no longer a tripartite division between a field of reality (the world) and a field of representation (the book) and a field of subjectivity (the author). Rather, an assemblage establishes connections between certain multiplicities drawn from each of these orders, so that a book has no sequel nor the world as its object nor one or several authors as its subject.”
(Deleuze - Rhizome)
...consists not in an argument, but in the ecstatic elaboration of a metaphor, a web of interconnected concepts, the development of a new vocabulary without a pause for explanation or so much as a simple definition.
“...a mapping rather than a tracing”
“What distinguishes the map from the tracing is that it is entirely oriented toward an experimentation in contact with the real. The map does not reproduce an unconscious closed in upon itself; it constructs the unconscious”
“It fosters connections between fields, the removal of blockages... “
(removing some blockages of meaning-lock in San'an)
my lecture, emphasizes the rhizomatic to foster imaginative work that challenges typical critical forms.
not to overlook the working of matters, and the exteriority of their relations.
(in a book, a lecture, etc.) there are lines of articulation or segmentarity, strata and territories; but also lines of flight, movements of deterritorialization and destratification.
(what are Attar's Sheikh's actual authority as a teacher?)
(George Makdisi: “Madrasa and University in the Middle Ages”)
[...] “Perhaps the most fundamental difference between the two systems is embodied in their systems of certification; namely, in medieval Europe, the licentia docendi, or license to teach; in medieval Islam, the ijazah, or authorization. In Europe, the license to teach was a license to teach a certain field of knowledge. It was conferred by the licensed masters acting as a corporation, with the consent of a Church authority, in Paris, by the Chancellor of the Cathedral Chapter... Certification in the Muslim East remained a personal matter between the master and the student. The master conferred it on an individual for a particular work, or works.” [...]
feeling cool and correct
(in) a parasitical golden age
what is “education” in a mystical world (or actually a mystical world-view)
how can be undermined or rewired, (“teaching” without education)
magical idealism
from Delphi-magiscism to the San'an
(does San'an actually wants to go to Greece?! but went to Italy?)
اقصای روم
the space we are founding ourselves in is not neutral, not innocent, not un-signed
it is paid for, has a certain architecture, (phallic work)
the intellectual mask...
semiotic of learning and thinking
(Maulwurf,) shit on your head, shit is the origin of all gifts, when a child offers his first donation, “look what I have produced!” I honor you with this Kacke.
--> http://www.sinaseifee.com/VomkleinenMaulwurf.html
how can we bring the variety of animals into the singular butterfly metaphor? (Attar's bird's butterfly effect)
Schmetterling! (parvaneh - پروانه)
(‘schmettern’ in German: v. smash, shatter, slam; blare, fanfare, bellow, roar) --- in schmettern you already have the ‘smashing,’ the butterfly smashing in the windshield, by that we are in the land of technology.
Schmetterlinghaus? (The Imperial Butterfly House in Vienna)
خرمن پروانه
Schmetterling is also a German (Reich Air Ministry) air-to-air missile project developed during the WWII, which is detonated by acoustic and photoelectric proximity fuses (Abstandszünder)
(Jason Bahbak Mohaghegh)
time, space, being, death, subversion, pain, transcendence, victory, blood, Nietzsche, Heidegger, Adorno, Benjamin, Baudrillard,
•poetic violence, obscure elsewhere,
•imaginative reservoir.
•political, poetic, spiritual, or aesthetic sources of inspiration.
•the rebel factor
resistance-fight / ideological dictator
artist-forerunner / experimental thinker
constellation of desire
ambush of destruction =>
...internalization of toxicity
to assimilate the poisonous
mithridatic (“mehr-dad” معجون مهرداد)
what is the dominant information in San'an world?
(ideological and) literary apparatus
issues of belonging and desertion
to endure the direct
epistemic fear
I suggest we go through the rhetorical treatises of Middle East political past century
(mystic war:)
the decadent view of the obliterated
(swallowing partial glances of the)
“extinction of society”
drinking it
these signals of vanishing are forms of training?
a formula of continuation?
ancient models of defense****
مکانیزم دفاعی
other mature forms of defenses:
•sublimation
•projection: a characteristic that one perceives in oneself but seems unacceptable is instead attributed to another person, denial in attribution [still popular Feuerbach's idea of “religion = projection”, “God = outward projection of a human's inward nature” informing secular anthropological explanation] نسبت دادن احساس خود به دیگری
◦it changes the reality (for the person who projects)
◦it operates unconsciously (the person won't accept that they project)
•rationalization: irrationalities are explained in a seemingly rational or logical manner and are made consciously tolerable, ad hoc hypothesis: to save it from being falsified [<== introspection illusion: cognitive bias of the origins of one's own state]
•fantasy
•denial
•reaction formation: responses to internal threats and anxieties, anxiety is mastered by exaggeration of the directly opposing tendency. phobia is always reaction formation: the person wants what he fears. [solicitude (may be a reaction formation) against cruelty, pacifism against sadism, etc.] when *instincts (and their derivatives) are arranged as pairs of opposites* (life/death, construction/destruction, action/passivity, dominance/submission); techniques: exaggeration, compulsiveness, inflexibility: “reactive love protests too much.” “the lady doth protest too much, methinks.” (it cannot adapt itself to changing circumstances as genuine emotions do)
◦intellectualization {memory of event --> intellectualization ==> conscious analysis of non-anxiety provoking information about an event}
◦dissociation
◦displacement: means of dream-distortion, ego relocates anxiety somewhere else, transference of emotions/wishes
◾sublimation والایش [a form of displacement]: long-term conversion of the initial (negative) impulse, (alchymical in Jung) transformation of shit into gold. [in Freud: ‘sublimation = plasticity of the sexual instincts’ ~/= in Lacan: ‘sublimation = (usually cosmic?) process of creation in ex nihilo style’ : an object (manufactured or not) defined in relation to the emptiness of Das Ding (empty canvas) --> sublimation ~ dismissal/Verwerfung: obsessional relational behaviour attributed to the avoidance of the primordial emptiness (of Das Ding) ==>? religion/art...
**penis sublimates into seriousness**, adolescence into poetry, emotions into mystical art into dominance,,,]
◦repression/suppression: subduing in the unconscious (under the influence of the superego?)
•withdrawal
•regression: a way of relating to the world that was formerly effective (to recapture some childhood satisfaction)
•
•pathological defense mechanism: delusional projection, denial, distortion, extreme projection, splitting
•immature defense mechanism: acting out, fantasy, idealization, passive-aggression, projection, projective identification, somatization
•neurotic defense mechanism: displacement, dissociation, hypochondriasis, isolation, rationalization, reaction formation, regression, repression, undoing
•mature defense mechanism: altruism, anticipation, humour, identification, intellectualization, introjection, sublimation, suppression
•other defensive mechanisms: compartmentalization, defensive pessimism, exaggeration, minimisation, postponement of affect
*it is job of defense mechanism to distort, transform, or falsify the perceived reality* --> to help deal with the id or superego, reducing anxiety
ego: part of our psyche that is reality based
[title]
methinks
...the absence of mercy
complain =~ elegy =~ prayer (---> desire to future)
(elegy assumes that there is something in the information that makes a difference and not in the receiver of info.)
(question to an Iranian friend:) “why must we fasten our gaze to the objects of damage and derangement?” “why light lanterns to behold the corpse?” “or extend our focus on them?” (I am using Mohaghegh's words,) the extremist (or other aesthetic-philosophical strands of extremisms) would tell us not to look away, for the thought and expression have taken the shape of a ‘meteorological device,’ forecasting seasons (of storm)...
(you take the mithridatic venom to) cross into the next level of temporal experience
he makes “engravings of the atrocity”
(حکاکی از) سبعیت
a fanatical response to the storm
a charismatic authority undertakes a poetic articulation
or a poetic articulation becomes committed to an ideological program
[Iran Iraq war]
mysticism, a protocol of extremity, geared towards the immensification of narrow vision
gigantic singularity
itself the house of many paradoxes: that of wisdom and rage, that of boundlessness and confinement, that of precision and enormity, nature and technology (apprentices to a lesser artisan-metallurgist god interested only in functional architecture and instrumentalized objects), betrayal and devotion,
mysticism is one of postmodern ‘mask,’ there are many others (the chaos-mask / face?, etc.)
one of many existential prototypes, subjectivity constellations, etc.
sliding between hostile and relaxed patterns of ...
with a sixth sense for disappearance
gained attunement to nothing
what are the athleticism of this stillness?
the turn in the thought of the mystic to externalize that same meditative daze!
what if an enthusiasm took hold to transfer this personal, self-contained oblivion onto a universal plane?
a single mood-shift: interiority feels the need to stretch out into exteriority.
without the logic of judgment
(in the aftermath of the 2th century) many visionaries of western thought (--postmoderns--) have emphasized a (desperate) need to inject ambiguity and doubt into our collective imagination
where is absolutism in San'an?
own descent (Abstieg) into paranoia
when in master-disciple relationship one is asked/taught not only read the works of past visionaries: rather to entertain the same mania, drunkenness, cruelty, or absorb temperament that engendered the very materialization of that text.
[Attar asking us to entertain the same mania when reading Tazkirat al-Awliya?]
...lending cryptic terminologies and cosmic ideas
to become an echo of a profound legacy
we ask again: which phantom-sphere is more interesting? more aesthetically and philosophically attractive in its contours, appearances, and orchestrations?
which archive remains in fire throughout?
-which (archival?) constructs promise to survive us?
-things that run on hollow spectacles of meanings and simulations of depth
-adapting old tales to new territories of experience
an apocalyptic significance in the master-disciple relationship
(topology of communication/education)
(mysticism) an excursion into the otherworldly (or the eternal)
lending cryptic terminologies and cosmic ideas a palpable and resurgent quality.
THE pursuit: to become the echo of a profound legacy
the question is not the legitimate/authentic knowledges versus superstitious/mythic doctrines, rather: which phantom-sphere is more arresting? which archive remains in fire throughout?
modern-individuality versus the magnetic power of the sectarian voice..
counter-veiling definitions of freedom: the freedom of infinite mediocritized choices versus the freedom to choose the all-engulfing one thing.
these preferences: on some remote place of calculation or in terms of immediate force?
(this talk might be) a critical rant
(eastern thirds:)
the voice of a strange immunity
sacred crimes
one is hard pressed to find a truth that does not have a dead body
never-ending allegory of loss and primal innocence
irrational desire of a no-man's land of an eternal immaturity
(an existential evacuation)
committing oneself to erratic wanderings in the desert => translation of a familiar topology into an ontological modality?
the extravagant paradox of proximity and distance
(interiority and exteriority, presence and absence)
civilizational taxonomies (--> versus animist taxonomies, in Attar's animal-birds)
the (sacred boundaries of mysticism) and mystic boundaries of the civilized city
the peripheries of the city became mystic/sacred
mystical channels*
they present worlds immersed in a kind of constructed a priori
two irrational analytical strands:
(1) to isolate the rare technical and conceptual arsenal behind an ethnographically imagined space (San'an's biography missing in Attar's Tazkirat al-Awliya--Attar's obsession with biographies, he is drugged by bios, totally high---he can't let go of them, he cannot detach from the absents, the paternals? his master-complex? has he forgotten to mention his teacher, San'an, in Tazkirat al-Awliya? --Attar is himself San'an? drugged and doped by tastes and spices of his shop, his establishment. OR San'an is Ibn-Sagha (ابن ساقا)? (Ibn-Sagha was a Islamist jurist who lived in Baghdad 11th century, lived Muslim and died christian.) Attar's engagement with remembrance and bios --> is the San'an's narrative also about forgetting? Tazkirat (تذکره) --> Tazakor (تذکر) --> remember! --we are now on how Attar's San'an influences Hafez--(حافظ) The Memorizer. Hafez loves the story of San'an the non-memorizer, San'an loses his ‘hafeze’ (حافظه). (according to Hafez and San'an, the best student is the one who doesn't remember. precisely because they are trying so hard to remind San'an of what they thing ‘he’ is) --> [Indian MATSYENDRANATH amnesia tale, tells the story of a yogi who falls in love with the woman kind--one of his students puts makeup and dances his memory back to him. he must become the woman. there is a queer moment in the origin story of the San'an, which Attar censures(?). he erased his name from the black-list of death-‘the forgottens’, then danced for him as a woman-story-teller. (muse is the mother of memory.) the class struggle has obviously a Bollywood touch to it]-->Attar's source and storage?)
regarding Hafez and San'an, the poet must leave the home, the poet must travel foreign zones, and stay in the foreign. (this is, by the way, Heidegger's reading of the poet.) and that is also one Heideggerian poetic demand that Hafez is failing to reconcile with, when he is turned back, not having the balls to cross the Indian ocean.
(2) importance of an elite rhetorical plane
initiatives towards the horizons of a mystical inquest
(cinematic) mystical landscapes
(what kind of mystical landscapes I am exploring in San'an's story?)
the dominion of the partially unseen
guarding its inner workings and trajectories
(the cinematic openness also is) guarantor of its constant mutability(?)
the exoteric logic of interiority (reigning since centuries in Iran)
for only the buried dimension is sovereign
secrecy =/= lie
(I am a fan of lie and against secrecy)
talk about a theory of lie
(a talk about a theory of violence)
[the issue of: opposite, omen, and alarm (in art)]
omen =/=? artwork
(omen is a phenomenon that is buried to foretell the future, isn't that an attractive trap for artist's self grandiosity?!)
omen has a binary answer
omen =~ ‘audire’ (Latin root, to listen)
omens come in the artistic and poetic production--in the poiesis--when the artist is young: the fabulous age of self-assertion, and he or she starts way to big and later is abandoned or abused by it.
(enforcement of an elusive stance from within) the self-enveloped site of the event----the artworks become closer to omens
at once episodic and veiled, protecting their right to invisibility above all else
(perceive themselves as) the merchants of the unreasoned experience.
(as opposed to the mechanisms of instrumental reason) ---- omens
Literatur(ware)haus
warehouse vs. Haus
(at the house of being)
warehouse of the irrational, a cellar-arena of provocation and unrest
I don't have an eloquent language--I am not in the house of language, but Attar is
transmutative
depthforming
sudden exposure to exile space
a postcultural interaction (?) --with no proximity to the past or known present
(am I trying to create proximity to history in my lectures versus my non-proximity in earlier visual works such as “vagabond” 2011 Tehran)
is that to adopt an ******existence without context******?
(in lectures, am I un-separating myself from my own history?)
*reverie (=the mind flees across secluded planes)
exile space =~ refuge, solitude, immobility =? nondialectics
[on Vagabond] --> http://www.sinaseifee.com/Vagabond.html
-domination of the partially unseen in my own film, ‘vagabond’
-did I believe that only the buried dimension is sovereign?
-continuously interlacing experiences of solitude and immobility
-minimalist side of mysticism --> stillness is a catalyst for acceleration?
-nomadic dispositions
-suspended (=the chasm of self-consciousness)
-
aesthetic tactility over aesthetic fantasy
where is the cinematic-mystical ritual happening?
profound separation from the networks of social reality
the subjects betrays its own history
interrupting the transmission of the episteme
the result of mystic disjointment => a renovated perception of all activity as self-forsaking (Tark-e Nafs? ترک نفس), (such that all locations appear scorched in turn)
stab-through and un-brace one once was
San'an's mechanistic commitments, he need to first book out of a place in order to write text, or to book himself in again
the San'an's poem's ‘Will' = instinct for abandonment and anonymity
is this instinct predicting what Attar will write? or explains *why he writes?
[writing as an act of memory and perform?]
the mystic event is predicted by an instinct for abandonment and anonymity,
at the same time it mutates the urban environment in which it stage its runaways line.
the cityscape is cast into the frenetic rush of this disavowal, to the extent that it becomes the equivalent of the desert
what are the indentitarian qualifiers that San'an wants or needs to chain-break?
to be honest, Attar's San'an's poetry, is living by a roaming assemblage of assertions. [he wrote his poem in a time when the highly religious Sheikhs would go to monasteries and get drunk with the non-Muslims, getting high with the nonhuman. it is Seljuq (سلجوق) time, medieval Turko-Persian. The Seljuqs were educated in the service of Muslim courts as slaves or mercenaries. The dynasty brought with itself a sense of revival. Under the Seljuqs, New-Persian became the language for historical recording. Attar (عطار) means herbalist, druggist, perfumist or alchemist, and during his lifetime in Persia, much of medicine and drugs were based on herbs. Therefore, by profession he was similar to a modern-day town doctor and pharmacist. Rose oil means ‘attar’. Attar died a violent death in the massacre which the Mongols inflicted on Nishapur in April 1221.]
-in his Birds epic, he is bringing an instinct coalition that translates all movement into a devouring collectivity --> the logic of their fading (--of the birds) is the same explosively that that fuels their inception, (why the birds must gather in the first place?!)
once-mystical and now-postmodern tribalism (?)
(“I” threatens the nomadic workings of the pack event)
[there is a pack-event in the San'an's students]
self = migratory sensibility of a subjectivity adrift
the exile does not need to exist / the community is desperate to exist (which is why it degenerates into totalitarian declarations--do the San'an's students have that?)
is Attar, in his poetry, obsessed with constructing mythologies of presence (and being represented)? (when he repeatedly tries to synthesize an “authentic” discipleship, ﻣﺮﯾﺪى, Anhängerschaft?, for the San'an's “teachings”) --whereas the exile, the animal, the shadow, the monster, the machine, the thing, the contagion --> carries none of the anxiety of ontological authenticity
رسوایی - using treachery for the sake of vitality
(‘Verrat'--betraying the student, in order to produce truth-event)
going into vicious levels of self-consciousness
between all the lines of statement that Attar constructs, what is being suggested in his music or words?
San'an, taken by otherworldly crafts that signal him to become (gracefully) transfixed
‘naaareh’ - نعره
far cry from the mystic's encounter with divinity
disavowal of (an explicit) narrative (trajectory)
[sunken tranquility, relaxed self-annihilation, ascetic renunciation of material] *mystic* =/= or? =~ *postmodern* [obsession with speed, with narcissistic technologies, hyper-materialistic]
is there in postmodernism then an alternative version of mystical experience?
...
feeling like a foreign body, unt[...]