[...]er ="trms">imaginative work that challenges typical critical forms.

not to overlook the working of ="trms">matters, and the exteriority of their ="trms">relations.

(in a ="trms">book, a ="trms">lecture, etc.) there are lines of ="trms">articulation or segmentarity, strata and territories; but also lines of flight, movements of deterritorialization and destratification.



="large lg2" stl="font-size:112%"> (what are ="ppl">Attar's Sheikh's actual ="trms">authority as a teacher='qstn'>?)
(George Makdisi='lgc'>: “Madrasa and University in the Middle Ages”)
='lgc'>[...='lgc'>] “Perhaps the most fundamental ="trms">difference between the two ="trms">systems is ="trms">embodied in their ="trms">systems of certification; namely, in medieval Europe, the licentia docendi, or license to teach; in medieval Islam, the ijazah, or ="trms">authorization. In Europe, the license to teach was a license to teach a certain field of knowl="trms"nttrm="knowledge,Knowledge">edge. It was conferred by the licensed masters acting as a corporation, with the consent of a Church ="trms">authority, in Paris, by the Chancellor of the Cathedral Chapter... Certification in the Muslim East remained a personal ="trms">matter between the master and the student. The master conferred it on an individual for a particular work, or works.” ='lgc'>[...='lgc'>]

feeling cool and correct
(in) a parasitical golden age

what is “education” in a mystical ="trms">world (or actually a mystical ="trms">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='qstn'>?! but went to Italy='qstn'>?)
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...



="trms">semiotic of learning and thinking


(Maulwurf,) shit on your head, shit is the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of all gifts, when a ="trms">child offers his first donation, “look what I have produced!” I honor you with this Kacke.
='lgc'>='lgc'>--> http://www.sinaseifee.com/VomkleinenMaulwurf.html
how can we bring the variety of ="trms">animals into the singular butterfly ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor='qstn'>? (="ppl">Attar's ="trms">bird's butterfly effect)

Schmetterling! (parvaneh - پروانه)
(‘schmettern’ in German='lgc'>: v. smash, shatter, slam; blare, fanfare, bellow, roar) ='lgc'>='lgc'>--- in schmettern you al="trms"nttrm="already,spread">ready have the ‘smashing,’ the butterfly smashing in the windshield, by that we are in the land of ="trms">technology.

Schmetterlinghaus='qstn'>? (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)



(="ppl">Jason Bahbak ="ppl">Mohaghegh)


time, space, being, death, subversion, pain, transcendence, victory, blood, ="ppl">Nietzsche, ="ppl">Heidegger, ="ppl">Adorno, ="ppl">Benjamin, ="ppl">Baudrillard,

="lsts lst1">•="trms">poetic violence, obscure elsewhere,
="lsts lst1">•="trms">imaginative reservoir.
="lsts lst1">•political, ="trms">poetic, spiritual, or ="trms">aesthetic sources of inspiration.
="lsts lst1">•the rebel factor

resistance-fight / ideological ="trms">dictator
artist-forerunner / experimental thinker
constellation of desire

ambush of destruction ='lgc'>=>
...="trms">internalization of toxicity
to assimilate the poisonous
mithridatic (“mehr-dad” معجون مهرداد)



what is the dominant information in San'an ="trms">world='qstn'>?
(ideological and) ="trms">literary ="trms">apparatus
issues of belonging and desertion

to endure the direct
="trms">epistemic fear

I sug="trms">gest we go through the ="trms">rhetorical treatises of Middle East political ="trms">past century


(mystic war='lgc'>:)
the decadent view of the ob="trms">literated


(swallowing partial glances of the)
“extinction of ="trms">society”
drinking it
these signals of vanishing are forms of training='qstn'>?
a ="trms">formula of continuation='qstn'>?

ancient models of defense='strcls'>****

مکانیزم دفاعی
other mature forms of defenses='lgc'>:
="lsts lst1">•="trms">sublimation
="lsts lst1">•projection='lgc'>: a characteristic that one perceives in oneself but seems unacceptable is instead attributed to another person, denial in attribution ='lgc'>[still popular ="ppl">Feuerbach's idea of “="trms">religion='lgc'> = projection”, “God='lgc'> = outward projection of a human's inward ="trms">nature” informing secular ="trms">anthropological explanation='lgc'>] نسبت دادن احساس خود به دیگری
="lsts lst2">◦it changes the reality (for the person who projects)
="lsts lst2">◦it operates unconsciously (the person won't accept that they project)
="lsts lst1">•rationalization='lgc'>: irrationalities are explained in a seemingly rational or logical manner and are made consciously tolerable, ad hoc hypothesis='lgc'>: to save it from being falsified ='lgc'>[='lgc'><== introspection illusion='lgc'>: cognitive bias of the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigins of one's own state='lgc'>]
="lsts lst1">•fantasy
="lsts lst1">•denial
="lsts lst1">•reaction formation='lgc'>: ="trms">responses to ="trms">internal threats and ="trms">anxieties, ="trms">anxiety is mastered by exaggeration of the directly opposing tendency. phobia is always reaction formation='lgc'>: the person wants what he fears. ='lgc'>[solicitude (may be a reaction formation) against cruelty, pacifism against sadism, etc.='lgc'>] when ='strcls'>*instincts (and their derivatives) are arranged as pairs of op="trms">posites='strcls'>* (life/death, construction/destruction, action/passivity, dominance/sub="trms">mission); ="trms">techniques='lgc'>: exaggeration, compulsiveness, inflexibility='lgc'>: “reactive ="trms">love protests too much.” “the lady doth protest too much, methinks.” (it cannot adapt itself to changing circumstances as genuine emotions do)
="lsts lst2">◦intellectualization ='lgc'>{="trms">memory of event ='lgc'>='lgc'>--> intellectualization ='lgc'>=='lgc'>=> conscious analysis of non-="trms">anxiety provoking information about an event='lgc'>}
="lsts lst2">◦dis="trms">sociation
="lsts lst2">◦displacement='lgc'>: means of dream-distortion, ego relocates ="trms">anxiety somewhere else, ="trms">transference of emotions/wishes
="lsts lst3">◾="trms">sublimation والایش ='lgc'>[a form of displacement='lgc'>]='lgc'>: long-term conversion of the initial (negative) impulse, (alchymical in Jung) transformation of shit into gold. ='lgc'>[in ="ppl">Freud='lgc'>: ‘="trms">sublimation='lgc'> = plasticity of the sexual instincts’ ='lgc'>='lgc'>~/= in ="ppl">Lacan='lgc'>: ‘="trms">sublimation='lgc'> = (usually cosmic='qstn'>?) process of creation in ex nihilo style’ ='lgc'>: an object (manufactured or not) defined in ="trms">relation to the emptiness of Das Ding (empty canvas) ='lgc'>='lgc'>--> ="trms">sublimation ='lgc'>~ dismissal/Verwerfung='lgc'>: obsessional ="trms">relational behaviour attributed to the avoidance of the primordial emptiness (of Das Ding) ='lgc'>=='lgc'>=>='qstn'>? ="trms">religion/art...
='strcls'>**penis ="trms">sublimates into ="trms">seriousness='strcls'>**, adolescence into ="trms">poetry, emotions into mystical art into dominance,,,='lgc'>]
="lsts lst2">◦repression/suppression='lgc'>: subduing in the unconscious (under the influence of the superego='qstn'>?)
="lsts lst1">•withdrawal
="lsts lst1">•regression='lgc'>: a way of relating to the ="trms">world that was formerly effective (to recapture some ="trms">childhood satisfaction)
="lsts lst1">•

="lsts lst1">•pathological defense mechanism='lgc'>: delusional projection, denial, distortion, extreme projection, splitting
="lsts lst1">•immature defense mechanism='lgc'>: acting out, fantasy, idealization, passive-aggression, projection, projective identification, somatization
="lsts lst1">•="trms">neurotic defense mechanism='lgc'>: displacement, dis="trms">sociation, hypochondriasis, isolation, rationalization, reaction formation, regression, repression, undoing
="lsts lst1">•mature defense mechanism='lgc'>: altruism, anticipation, humour, identification, intellectualization, introjection, ="trms">sublimation, suppression
="lsts lst1">•other defensive mechanisms='lgc'>: compartmentalization, defensive pessimism, exaggeration, minimisation, postponement of ="trms">affect

='strcls'>*it is job of defense mechanism to distort, transform, or falsify the perceived reality='strcls'>* ='lgc'>='lgc'>--> to help deal with the id or superego, reducing ="trms">anxiety


ego='lgc'>: part of our psyche that is reality based



='lgc'>[title='lgc'>]
methinks

...the absence of mercy

="trms">complain ='lgc'>=='lgc'>~ elegy ='lgc'>=='lgc'>~ prayer (='lgc'>-='lgc'>='lgc'>--> desire to future)
(elegy assumes that there is something in the information that makes a ="trms">difference and not in the receiver of info.)

(="trms">question to an ="nms">Iranian friend='lgc'>:) “why must we fasten our gaze to the objects of damage and derangement='qstn'>?” “why light lanterns to behold the corpse='qstn'>?” “or extend our focus on them='qstn'>?” (I am using ="ppl">Mohaghegh's words,) the extremist (or other ="trms">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 ="trms">response to the storm


a charismatic ="trms">authority undertakes a ="trms">poetic ="trms">articulation
or a ="trms">poetic ="trms">articulation becomes committed to an ideological program
='lgc'>[="nms">Iran Iraq war='lgc'>]


mysticism, a protocol of extremity, geared towards the immensification of narrow vision
gigantic singularity
itself the house of many paradoxes='lgc'>: that of wisdom and rage, that of boundlessness and confinement, that of precision and enormity, ="trms">nature and ="trms">technology (apprentices to a lesser artisan-="trms"nttrm="metaph,metamorph,metabol,metal">metal="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurgist god ="trms">interested only in functional architecture and ="trms">instrumentalized objects), betrayal and devotion,
mysticism is one of post="trms">modern ‘mask,’ there are many others (the chaos-mask / face='qstn'>?, 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='qstn'>?

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 ="trms">onto a universal plane='qstn'>?
a single mood-shift='lgc'>: ="trms">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 (='lgc'>--post="trms">moderns='lgc'>--) have emphasized a (desperate) need to inject ambiguity and doubt into our collective ="trms">imagination



where is absolutism in San'an='qstn'>?

own descent (Abstieg) into ="trms">paranoia

when in master-disciple ="trms">relationship one is asked/taught not only ="trms"nttrm="already,spread">read the works of ="trms">past visionaries='lgc'>: rather to entertain the same mania, drunkenness, cruelty, or absorb temperament that engendered the very ="trms">materialization of that text.
='lgc'>[="ppl">Attar asking us to entertain the same mania when ="trms"nttrm="already,spread">reading Tazkirat al-Awliya='qstn'>?='lgc'>]

...lending cryptic terminologies and cosmic ideas

to become an echo of a profound legacy


we ask again='lgc'>: which phantom-sphere is more ="trms">interesting='qstn'>? more ="trms">aesthetically and philosophically attractive in its c="trms">ontours, appearances, and orchestrations='qstn'>?

which archive remains in fire throughout='qstn'>?

="prgrph">-which (archival='qstn'>?) constructs promise to survive us='qstn'>?
="prgrph">-things that run on hollow ="trms">spectacles of meanings and simulations of depth
="prgrph">-adapting old tales to new territories of experience


an apocalyptic significance in the master-disciple ="trms">relationship
(topology of ="trms">communication/education)


(mysticism) an excursion into the other="trms">worldly (or the eternal)
lending cryptic terminologies and cosmic ideas a palpable and resurgent quality.



THE pursuit='lgc'>: to become the echo of a profound legacy

the ="trms">question is not the legitimate/authentic knowl="trms"nttrm="knowledge,Knowledge">edges versus superstitious/mythic doctrines, rather='lgc'>: which phantom-sphere is more arresting='qstn'>? which archive remains in fire throughout='qstn'>?

="trms">modern-individuality versus the magnetic power of the sectarian voice..

counter-="trms">veiling de="trms">finitions of freedom='lgc'>: the freedom of in="trms">finite mediocritized choices versus the freedom to choose the all-engulfing one thing.

these preferences='lgc'>: on some remote place of calculation or in terms of immediate force='qstn'>?


(this talk might be) a critical rant

(eastern thirds='lgc'>:)
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 ='lgc'>=> ="trms">translation of a familiar topology into an ="trms">ontological modality='qstn'>?

the extravagant paradox of proximity and distance
(="trms">interiority and exteriority, ="trms">presence and absence)

civilizational taxonomies (='lgc'>='lgc'>--> versus animist taxonomies, in ="ppl">Attar's ="trms">animal-="trms">birds)


="large lg22" stl="font-size:115%">
the (sacred boundaries of mysticism) and mystic boundaries of the civilized city
the peripheries of the city became mystic/sacred


mystical channels='strcls'>*


they ="trms">present ="trms">worlds immersed in a kind of constructed a ="trms">priori

two irrational analytical strands='lgc'>:
(1) to isolate the rare ="trms">technical and conceptual arsenal behind an ethnographically ="trms">imagined space (San'an's biography missing in ="ppl">Attar's Tazkirat al-Awliya='lgc'>--="ppl">Attar's obsession with biographies, he is ="trms">drugged by bios, totally high='lgc'>='lgc'>---he can't let go of them, he cannot detach from the absents, the paternals='qstn'>? his master-complex='qstn'>? has he forgotten to mention his teacher, San'an, in Tazkirat al-Awliya='qstn'>? ='lgc'>--="ppl">Attar is himself San'an='qstn'>? ="trms">drugged and doped by tastes and spices of his shop, his establishment. OR San'an is Ibn-Sagha (ابن ساقا)='qstn'>? (Ibn-Sagha was a Islamist jurist who lived in Baghdad 11th century, lived Muslim and died christian.) ="ppl">Attar's engagement with re="trms">membrance and bios ='lgc'>='lgc'>--> is the San'an's ="trms">narrative also about forgetting='qstn'>? Tazkirat (تذکره) ='lgc'>='lgc'>--> Tazakor (تذکر) ='lgc'>='lgc'>--> re="trms">member! ='lgc'>--we are now on how ="ppl">Attar's San'an influences ="ppl">Hafez='lgc'>--(حافظ) The ="trms">Memorizer. ="ppl">Hafez ="trms">loves the ="trms">story of San'an the non-="trms">memorizer, San'an loses his ‘hafeze’ (حافظه). (="trms">according to ="ppl">Hafez and San'an, the best student is the one who doesn't re="trms">member. precisely because they are trying so hard to remind San'an of what they thing ‘he’ is) ='lgc'>='lgc'>--> ='lgc'>[Indian MATSYENDRANATH amnesia tale, tells the ="trms">story of a yogi who falls in ="trms">love with the woman kind='lgc'>--one of his students puts makeup and dances his ="trms">memory back to him. he must become the woman. there is a queer moment in the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin ="trms">story of the San'an, which ="ppl">Attar censures(='qstn'>?). he erased his name from the black-="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list of death-‘the forgottens’, then danced for him as a woman-="trms">story-teller. (muse is the mother of ="trms">memory.) the class struggle has obviously a Bollywood touch to it='lgc'>]='lgc'>='lgc'>-->="ppl">Attar's source and storage='qstn'>?)
regarding ="ppl">Hafez and San'an, the ="trms">poet must leave the home, the ="trms">poet must ="trms">travel foreign zones, and stay in the foreign. (this is, by the way, ="ppl">Heidegger's ="trms"nttrm="already,spread">reading of the ="trms">poet.) and that is also one ="ppl">Heideggerian ="trms">poetic ="trms">demand that ="ppl">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 ="trms">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 ="trms">story='qstn'>?)


="large lg1" stl="font-size:114%"> the dominion of the partially unseen


guarding its inner workings and ="trms">trajectories
(the cinematic openness also is) guarantor of its constant mutability(='qstn'>?)



the exoteric logic of ="trms">interiority (reigning since centuries in ="nms">Iran)


for only the buried dimension is sovereign

secrecy ='lgc'>=/= lie
(I am a fan of lie and against secrecy)
talk about a theory of lie
(a talk about a theory of violence)



='lgc'>[the issue of='lgc'>: op="trms">posite, omen, and alarm (in art)='lgc'>]
omen ='lgc'>=/=='qstn'>? artwork
(omen is a ="trms">phenomenon that is buried to foretell the future, isn't that an attractive ="trms">trap for artist's self grandiosity='qstn'>?!)
omen has a binary answer
omen ='lgc'>=='lgc'>~ ‘audire’ (Latin root, to ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listen)
omens come in the artistic and ="trms">poetic production='lgc'>--in the ="trms">poiesis='lgc'>--when the artist is young='lgc'>: the ="trms">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='lgc'>='lgc'>='lgc'>----the artworks become closer to omens


at once episodic and ="trms">veiled, protecting their ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right to invisibility above all else


(perceive themselves as) the merchants of the unreasoned experience.
(as opposed to the mechanisms of ="trms">instrumental reason) ='lgc'>='lgc'>='lgc'>---- omens


="trms">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 ="trms">language='lgc'>--I am not in the house of ="trms">language, but ="ppl">Attar is

transmutative
depthforming


="large lg26" stl="font-size:104%"> sudden exposure to exile space

a postcultural ="trms">interaction (='qstn'>?) ='lgc'>--with no proximity to the ="trms">past or known ="trms">present
(am I trying to create proximity to ="trms">history in my ="trms">lectures versus my non-proximity in earlier visual works such as “vagabond” 2011 ="nms">Tehran)
is that to adopt an ='strcls'>******existence without context='strcls'>******='qstn'>?
(in ="trms">lectures, am I un-separating myself from my own ="trms">history='qstn'>?)


='strcls'>*reverie (=the mind flees across se="trms"nttrm="cluster,club">cluded planes)

exile space ='lgc'>=='lgc'>~ refuge, solitude, immobility ='lgc'>=='qstn'>? nondialectics


='lgc'>[on Vagabond='lgc'>] ='lgc'>='lgc'>--> http://www.sinaseifee.com/Vagabond.html
="prgrph">-domination of the partially unseen in my own film, ‘vagabond’
="prgrph">-did I believe that only the buried dimension is sovereign='qstn'>?
="prgrph">-continuously ="trms">interlacing experiences of solitude and immobility
="prgrph">-minima="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list side of mysticism ='lgc'>='lgc'>--> stillness is a catalyst for acceleration='qstn'>?
="prgrph">-nomadic dis="trms">positions
="prgrph">-suspended (=the chasm of self-consciousness)
="prgrph">-

="large lg22" stl="font-size:103%">
="trms">aesthetic tactility over ="trms">aesthetic fantasy
where is the cinematic-mystical ritual happening='qstn'>?

profound separation from the ="trms">networks of ="trms">social reality
the subjects betrays its own ="trms">history

="trms">interrupting the trans="trms">mission of the ="trms">episteme


the result of mystic disjointment ='lgc'>=> a renovated perception of all activity as self-forsaking (Tark-e Nafs='qstn'>? 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 ="trms">book out of a place in order to ="trms">write text, or to ="trms">book himself in again
the San'an's ="trms">poem's ‘Will'='lgc'> = instinct for abandonment and anonymity
is this instinct pre="trms">dicting what ="ppl">Attar will ="trms">write='qstn'>? or explains ='strcls'>*why he ="trms">writes='qstn'>?
='lgc'>[="trms">writing as an act of ="trms">memory and perform='qstn'>?='lgc'>]

the mystic event is predicted by an instinct for abandonment and anonymity,
at the same time it mutates the ="trms"nttrm="disturban">urban environment in which it ="trms">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='qstn'>?

to be honest, ="ppl">Attar's San'an's ="trms">poetry, is living by a roaming assemblage of assertions. ='lgc'>[he wrote his ="trms">poem in a time when the highly ="trms">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 ="trms">language for ="trms">historical recording. ="ppl">Attar (عطار) means herba="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list, ="trms">druggist, perfumist or alchemist, and during his lifetime in Persia, much of medicine and ="trms">drugs were based on herbs. Therefore, by profession he was similar to a ="trms">modern-day town doctor and pharmacist. ="ppl">Rose oil means ‘attar’. ="ppl">Attar died a violent death in the massacre which the Mongols inflicted on Nishapur in April 1221.='lgc'>]
="prgrph">-in his ="trms">Birds epic, he is bringing an instinct coalition that ="trms">translates all movement into a devouring collectivity ='lgc'>='lgc'>--> the logic of their fading (='lgc'>--of the ="trms">birds) is the same explosively that that fuels their inception, (why the ="trms">birds must gather in the first place='qstn'>?!)

once-mystical and now-post="trms">modern tribalism (='qstn'>?)

(“I” threatens the nomadic workings of the pack event)
='lgc'>[there is a pack-event in the San'an's students='lgc'>]
self='lgc'> = migratory sensibility of a subjectivity adrift

="large lg22" stl="font-size:135%"> the exile does not need to exist / the ="trms">community is desperate to exist (which is why it degenerates into totalitarian declarations='lgc'>--do the San'an's students have that='qstn'>?)
is ="ppl">Attar, in his ="trms">poetry, obsessed with constructing mythologies of ="trms">presence (and being re="trms">presented)='qstn'>? (when he repeatedly tries to synthesize an “authentic” discipleship, ﻣﺮﯾﺪى, Anhängerschaft='qstn'>?, for the San'an's “teachings”) ='lgc'>--whereas the exile, the ="trms">animal, the shadow, the ="trms">monster, the machine, the thing, the contagion ='lgc'>='lgc'>--> carries none of the ="trms">anxiety of ="trms">ontological authenticity



رسوایی - using treachery for the sake of vitality
(‘Verrat'='lgc'>--betraying the student, in order to produce truth-event)

going into vicious levels of self-consciousness

between all the lines of statement that ="ppl">Attar constructs, what is being sug="trms">gested in his music or words='qstn'>?

="large lg10" stl="font-size:101%">
San'an, taken by other="trms">worldly ="trms">crafts that signal him to become (gracefully) transfixed

‘naaareh’ - نعره
far cry from the mystic's encounter with divinity

disavowal of (an explicit) ="trms">narrative (="trms">trajectory)


='lgc'>[sunken tranquility, relaxed self-annihilation, ascetic r="trms">enunciation of ="trms">material='lgc'>] ='strcls'>*mystic='strcls'>* ='lgc'>=/= or='qstn'>? ='lgc'>=='lgc'>~ ='strcls'>*post="trms">modern='strcls'>* ='lgc'>[obsession with speed, with ="trms">narcissistic ="trms">technologies, hyper-="trms">materia="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic='lgc'>]
is there in post="trms">modernism then an alternative version of mystical experience='qstn'>?
...


feeling like a foreign body, until you find a job='qstn'>?! (="ppl">Attari as a job)

="large lg10" stl="font-size:135%">
let's jam on this


this ="trms">story is ="trms">prior to psychoanalysis (='qstn'>?)
="trms">positionality, placements, displacements

a ="trms">system that doesn't have access to its own knowl="trms"nttrm="knowledge,Knowledge">edge



="trms">historical struggle for the de="trms">finition of the real


I can't keep clean boundaries


rituals (of promise and contract), (things that) must address ="trms">anxiety ='lgc'>--='qstn'>?='lgc'>='lgc'>--> a ="trms">religious stamp


what is the San'an text promising the Other='qstn'>? (like every text does, every utterance)
what it cannot ='strcls'>*not do='qstn'>?


my ="trms">childish playful inventiveness and its ="trms">relationship to weakness.
so I come up week, saying ‘let us do this or that,’ but that is a will to power (='qstn'>?)


we are here to understand the appropriation of meaning.
what does or does not belong to the protocols of ="trms"nttrm="already,spread">reading, etc.

(think in terms of de-appropriation, which entails a form of ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigorous hesitation when assuming ="trms">responsibility for the work or thought of another) is that what I am practicing encountering the work of ="ppl">Attar='qstn'>? as an ally or ="trms">ancestor or an unknown sidetrack of ="trms">writing


="trms">different modalities of ="trms">love and ="trms">loving

I guess what I wanted to ask you is your ="trms">love

I have been teaching Islam to you='qstn'>?! in a shattered and transgressive way
of course this not teach-="trms">according-to-de="trms">finition

of course every ="trms">demand is the ="trms">demand for ="trms">love


the SM-inserts in San'an ="trms">story
he is asked to perform some ="trms">serious Sado-Masochist ="trms">interactions with nonhuman ="trms">animals, his favorite ="trms">book, and Tarsaa as ="trms">stage-manager
we are left with the task of ="trms"nttrm="already,spread">reading the enigma of something that no longer is. if things ‘were’ we wouldn't need to be thinking, ="trms"nttrm="already,spread">reading, running after them.
(I am ="trms"nttrm="already,spread">reading the enigma of something that no longer is)
precisely Bayazid defines Tasawwuf/Tasavof as something that ‘was’ and had no name and today ‘is not’ and has name.


I am taking in terms of constructions and phantasms

everything that comes at you, which is persecutory, is absorbed. that being able to crucified by the other.
doesn't have an experience to fire aggression

is it possible to be kind in a non-manipulative non-cognitive or non-calculative way='qstn'>?

San'an was ="trms">booked “elsewhere,” he had a transcendental hearing, he had to take a call
='lgc'>[we should here study a ‘hauntology'='lgc'>='lgc'>---the ="trms">science of morning-disorder. all prophets have it also='lgc'>]. haunt='lgc'>='lgc'>---the figure is neither ="trms">present nor absent ='lgc'>='lgc'>--> (and “real” ="trms">presence has always been the ="trms">religion's obsession)


از شبح به شیخ

از صنع به صنعان


صنع='lgc'> = fake, صانع fabricated, made-up, ="trms">technological, dead, etc.
صنم='lgc'> = idol
صنع='lgc'> = eidolon
="prgrph">-(eídōlon, “figure, re="trms">presentation”), from εἶδος='qstn'>? (eîdos, “sight”), from εἴδω='qstn'>? (eídō, “I see”)
="prgrph">-a phantom, a ghost or elusive entity (='lgc'>=/=='qstn'>? haecceity)
="prgrph">-‘you still see them'='lgc'>='lgc'>---is this an o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysic='qstn'>?
="prgrph">-eidolon is the image in water, apparition, ‘surat,’ a double / ="trms">technical. idea comes from the word “to see” in ="trms">Greek ="trms">verbs, linked to ='thdf'>the notion of ‘eidolon’ is the ‘visible image’ (in ancient optics and theories of perception) ='lgc'>[the visible image is what appears to operate San'an's dream='lgc'>]
="prgrph">-why eidolon has the tendency to become an idol that talks back='qstn'>? (San'an practically encounters an eidolon and converts it to an idol. what Tarsaa asks San'an to worship is the confirmation of what sheikh has al="trms"nttrm="already,spread">ready done.)
="prgrph">-what is the secret of the vitality of the image that bewitches San'an='qstn'>? why dream/images, works of ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphors have lives of their own and cannot be explained as ="trms">epistemological windows ="trms">onto reality='qstn'>?
="prgrph">-San'an is first captive of apparition (صورت), then captive of meaning (معنی‌)
="prgrph">-o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginality of the site is abolished by ="trms">technological register of the ‘sent,’ (the telephonic cyber-space) of the eidolon ='lgc'>=='qstn'>?='lgc'>=> displacement (-how San'an loses a sense of place first in order to move)

='lgc'>[in the beginning of ="ppl">Miyazaki's 2013 The Wind Rises 風立ちぬ, a boy, vivid dreaming, meets an Italian aerospace engineer, who is shocked when he hears that the boy thinks he is dreaming. then he deceivingly says to the boy='lgc'>: “yesssss yes you are in a dream, boy” and saying to himself “how naive the boy is."='lgc'>]
="prgrph">-how is it naive to think that you are dreaming='qstn'>? that what you are seeing and hearing is not ‘real’='qstn'>? ='lgc'>='lgc'>='lgc'>----San'an is not naive in that sense. he knows that the dream is not just a projection of his subjectivity. he is not ="ppl">Freudian, or he knows his own subconscious too well.
San'an going to Italy (Vatican='qstn'>?)

a mapping is going on

his cognitive defend ="trms">system is down (='lgc'>=/= ‘rend’ رند)
رند ='lgc'>=='qstn'>? idiot ='lgc'>[='lgc'>='lgc'>~=='qstn'>? the one who cannot be tricked='lgc'>]
='lgc'>[rend='lgc'>: the paragon of in="trms">difference; an iconoclast; an informal trickster; prone to drunkenness, sin, and heresy; he is forever scorned but ='strcls'>*shows no sign of injury='strcls'>*(='qstn'>?!); he is without shame or conformism; he is vivid, energetic, guiltless='lgc'>]

and the ="trms">question of ="trms">technology='qstn'>?
how ="trms">technology breaks up and breaks into all ="trms">sorts of ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical premises

San'an is at a primal s="trms">cene of aggression='qstn'>?
provoking hostility
there is no sweet device that should ="trms">supposed to suspend hostility, there is no magic flute in San'an ="trms">story
why am I taking so many detours='qstn'>? whether this is describable at all

discursive formations

the teacher vs. trainer
the teacher that asks for your ="trms">interiority='strcls'>**** (="trms">love='qstn'>?) any kind of transfers of emotional funds. or other economies of approval

="ppl">Attar, the great and complicated ="trms">poet

also my own attachments to certain formations


what kinds of ="trms">poetic bodies ="ppl">Attar sacrifices='qstn'>?
what cognitive back-up ="trms">system he uses='qstn'>?
and so on
(the students) cannot cognize (San'an's program)

forecloser, foreclosing you
توقيف

="large lg26" stl="font-size:118%"> distribution of value, action, and non-action in San'an


to discover San'an where it dwells, what kinds of figures and dis="trms">figurations it is ="trms">responsible for, and what else does it mask culturally='qstn'>?

we also add on cultural ="trms">anthropological tracks to see which cultures or groups-psychologies practice San'an's teachings and in the service of what='lgc'>--what kind of will to power. because rarely something is practiced and it is not in service of some ="trms">sort of buffing off a self or something.

(does San'an practice the will to obedience and to ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listening='qstn'>?)
what (the hell) does he want (from Tarsaa, from her Being)='qstn'>?!!!

to let the other go

I am talking about ="ppl">Attar so we can properly lose him (this is not about finding)
I have to exhaust, frustrate, and abuse my own mystic or non-mystic tendencies and preferences in this
this is kind of a ='strcls'>*synonym-finder='strcls'>* machine

="large lg26" stl="font-size:132%"> we are looking for mutations of San'an's work

after he dreams...
the event (‘vaghee’ واقعه) has (al="trms"nttrm="already,spread">ready) happened, he ="trms">travels to ‘understand’ the “event” and not to ‘find out’ ='lgc'>='lgc'>--- (we can also critique ‘event’ or ‘vaghee’ as a violent and omnipotent ="trms">sublime or a happening-art, versus the fragmented ="trms">phenomena='lgc'>='lgc'>---as="trms">sociated with femininity)
“tafaroj” (تفرّج) or ="trms">wondering around in Rome, very ="trms">different than ="ppl">Sohrevardi's order ='lgc'>='lgc'>--> http://sinaseifee.com/sorkh.html
='lgc'>[San'an with a damaged GPS ="trms">system='lgc'>--why he goes to Italy='qstn'>?='lgc'>]
he is walking the walk,
how does he get through the borders!='qstn'>?
was it a ‘Road to Canossa’='qstn'>?
(Humiliation of Canossa, refers to the trek by Emperor Henry IV from Speyer to Canossa Castle in Emilia-Romagna to obtain the revocation of the ex="trms">communication imposed on him by the Pope Gregory VII. He was forced to humiliate himself on his knees waiting for three days and three nights before the entrance gate of the castle, while a blizzard raged in January 1077.)

San'an's event could be that he must encounter the alterity (='lgc'>='lgc'>~= absence of the same) ='lgc'>='lgc'>--> he needs the absence of his students and the absence of himself and the absence of his God.

='strcls'>*****Tarsaa takes away San'an's human ID, his masterhood, his ="trms">members ='lgc'>[his parts='lgc'>: his pupils, pencils, penises='lgc'>], (that's why he must re="trms">member='qstn'>? his ‘="trms">members’ returning to him='qstn'>? what is he ="trms">composed of anyways='qstn'>?!) ='lgc'>[="trms">memory is a way consistency maintain itself='lgc'>='lgc'>---are we having a disjunction='qstn'>?='lgc'>] ='lgc'>[he makes contact, and contact is the medium of ="trms">language ='lgc'>='lgc'>--> and this is his performance='lgc'>]
in this ="trms">story ='strcls'>*the human ID='lgc'> = master='strcls'>*
(self-possession is ="trms">supposed a primordial property)
="prgrph">-the ="trms">question is how let yourself be invested with alterity, without becoming a seed of transcendence='qstn'>? (San'an let himself but then fails in the second part) by ‘seed of transcendence’ I mean making a ="trms">symbol that is of a ="trms">symbol (the basis of power='lgc'>='lgc'>---state='qstn'>?) ='lgc'>-='lgc'>='lgc'>--> is this how San'an's ="trms">symbolism can be ="trms">recruited by ="nms">Iranian war lords='qstn'>?
San'an in the ="trms">story is shamanistically de-subjectified (by becoming the pig, etc.) instead of becoming hyper-subjectified (game-="trms">animal) ='lgc'>[something that Abu-="frds scrmbld">Saeed Abu-Al-Kheir almost achieve it='qstn'>?='lgc'>] ='strcls'>**a game-="trms">animal is for example when dogs go after a dear in the forest, the dear is in this case a game-="trms">animal. the San'an's pigsty is not that, he doesn't become wolf or dear or Jinn for that ="trms">matter!

="large lg26" stl="font-size:134%"> if I where Tarsaa I would ask San'an to become the Jinn instead of pig.

(Tarsaa is sighted by him initially on her balcony)
balcony's architectural register
San'an might have been fallen in ="trms">love with the balcony, not the girl!
(we see proof of this later when he goes “down” on her)
“hu hu I found a torture device” says San'an when he sees the girl-balcony assemblage

Tarsaa's ="trms">morphology='lgc'>--="trms">different in every ="trms">aesthetic moment, a dynamic entity
='lgc'>[person of flesh, thing of illusio, ="trms">category of mechanism,
ترسا or ترسنده ='lgc'>=='lgc'>~ ="trms">child-being, نصرانی ='lgc'>=='lgc'>~ the-other='lgc'>]

Tarsaa is a defferent kind of mediatized body, not that of woman on the television, which produces a wasted body in front of the TV

what kind of hostility is she performing -or making available='qstn'>?

="large lg6" stl="font-size:133%"> she doesn't accept his marriage proposal

is there a woman hidden under the concept of Tarsaa='qstn'>?
which toxicities or ="trms">horrors the-woman-of-the-house in the ="trms">story of San'an conceals precisely with the figure of Tarsaa='qstn'>?

='strcls'>*****Tarsaa doesn't have a father.
="prgrph">-she is autonomous and emancipated
="prgrph">-San'an is of course another legendary non-feminist ="trms">position
="prgrph">-it's a masculinist ="trms">story after all, in its plot

medieval ="trms">narratives of woman's image relating to the so-called sexual self-respect='lgc'>='lgc'>---woman always re="trms">presenting the ="trms">matter and the ="trms">material
a comparative ="trms">literary note on Tarsaa's framework and other female protagonist/antagonists ='lgc'>='lgc'>-->
in='lgc'>: ="ppl">Nezami='lgc'>: Khosro-o-Shirin and Leili-o-Majnun (woman is there for the man, to elevate him); ="ppl">Jami='lgc'>: Salaman-o-Absal and Yusof-o-Zoleikha (woman is body and to be avoided); ="ppl">Gorgani='lgc'>: Vis-o-Ramin (woman is autonomous and for herself in the plot of the ="trms">story)

='strcls'>*this time, he stammers in a ="trms">situation ="trms">articulated by her

preserving the ‘good object’
who is doing it and what is the good object for='qstn'>?
(the missing good object, forever)

Tarsaa ="trms">demands him to drink and not to get drunk

سوی خوکان شتافت
San'an's pig-phobia
introducing the pig in a ="trms">bird's ="trms">story
(Hoo="trms">poe convincing the Nightingale, Nightingale convincing the ...)
the way of the pig

how earthly we are, we, creatures of earth, how ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics forecloses us
="ppl">Attar keep throwing similies of horizontal and vertical
(simile صنعت تشبيه, شبيه صنع)


scanning through the scandalous moments in San'an...


I want to be German everyday



de-="trms">system or to desist, nondialectical negativity


="large lg6" stl="font-size:127%"> ‘="trms">Integrieren’ is ="trms">transitive ="trms">verb, has a virtual object or project


I am in Ausländerbehörde, the op="trms">posite of hospitality='qstn'>?
I have to stop talking op="trms">posite ="trms">rhetoric. but this was not an antithesist op="trms">posite, it was a logical op="trms">posite


violences of the encounter


San'an's ="trms">love-="trms">story, ist nicht das Tristan und Isolde


‘watch your back’ is the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of sur="trms">veillance ='lgc'>{='qstn'>?='lgc'>}


I hope I am not ="trms">interrupting here!


="large lg18" stl="font-size:115%"> killing it and ="trms">loving it completely
so we are working (fine-tuning) on phantom noises, parasite e="trms">missions, we have a sound-track here
we want to be aware of where we speak from, what kind of other sonic layers are somehow offering themselves, or coughing in (‘sorfe’ سرفه)
to point out the static, dormant, inert, ambient

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

and I like to hand myself over




how flowers make sense
(in ="nms">Iranian ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics)


(='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="ppl">Baudelaire's Fleurs du mal)



the ="trms">rhetoric of desire in San'an, how is it (="trms">technologically='lgc'>{='qstn'>?='lgc'>}) determined='qstn'>?

how are things turned on or turned off in San'an='qstn'>? etc.
="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right at the moment that he is allegedly at an e="trms">mission of a dream/call, we are dealing (or working) with (the essence of) ="trms">technology, there is a mitten, trans-mitten, transmitting, e="trms">mission, etc.
='lgc'>[he is welcoming a call='lgc'>='lgc'>---it was ="ppl">Heidegger who linked thinking with welcoming='lgc'>='lgc'>---to arrive='lgc'>] ='lgc'>='lgc'>--- ='lgc'>[to San'an, ‘what (the hell) was he thinking!!!='qstn'>?’ both in the sense of the ‘blame’ and the ="trms">ontology -and ="trms">epistemology of it='lgc'>]
(how is he revealed to experience the call of a more primal truth='qstn'>? the girl)
='lgc'>[if San'an was medium-reflective he would pose himself with the call/dream and never set foot out or act or take an ego-suicidal ="trms">mission='lgc'>='lgc'>---but that is also a problem;

='strcls'>*footnote='lgc'>: ="ppl">Hafez trying to ="trms">travel (to India, invited kindly with Reisef='qstn'>?rderung (="trms">travel grants) from Sultan Ghias al-din himself, singing شکرشکن شوند همه طوطیان هند زین قند پارسی که به بنگاله می‌رود, he is going to shake India and so on.) but returning by -and because of a ="trms">language-turn, when he is standing in front of the stormed sea, he turns back to Shiraz via a ="trms">trope='lgc'>: چه آسان می‌نمود اول غم دریا به بوی سود غلط کردم که این طوفان به صد گوهر نمی‌ارزد it is so ="trms">interesting how scholars and other ="trms">poets are trying to map out his itineraries and ="trms">travel-logs from his ="trms">poesies/="trms">poiesis. the nagging and ="trms">complaining ="ppl">Hafez, always annoyed by weather or something, and can't stop saying how much he misses his friends in Shiraz and so on='lgc'>]

(="ppl">Hafez takes on San'an because he also fucks up the ="trms">travel, he falls with face down in the mud. for him also ="trms">travel is traumatic, disruptive, and unpleasant; so they both ="trms">demand another kind of trans-portation ="trms">system)

This essence of ="trms">technology, however, has nothing to do with ="trms">technology. ='lgc'>[this is ="ppl">Heideggerian='lgc'>] ='lgc'>='lgc'>--> ="trms">technology is a means of revealing the truth

='lgc'>[it is not the machines that we are at the age of ="trms">technology='lgc'>]

="trms">technology is always sent to us
in the ="trms">story we are shifting to ‘send’, this doesn't mean that there is a sovereign subject or some ="trms">sort of powerful ‘self’ ="trms">responsible or at the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of the productive behavior (or accomplishment) of San'an.

(="ppl">Heidegger collects='lgc'>:)
destiny, destination, schicken, Schicksal, etc.
='lgc'>[ungeschickt ='lgc'>=='qstn'>? destinal fai="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure, existential ="trms"nttrm="cluster,club">clumsiness='lgc'>]
='lgc'>[='lgc'>='lgc'>~= ="trms">technical error in destiny. what is the future of error='qstn'>?='lgc'>]
="lsts lst1">•="trms">according to ="ppl">Heidegger, nobody (that also means everybody) can take at the wheel and make certain determinations and destinations
='lgc'>[this is his notion of ‘="trms">techne'='lgc'>]
="lsts lst1">•Tarsaa's ="trms">technical ="trms">intervention in San'an's destiny

that is another kind of relatedness
you can no longer talk about the subject or object
is one in full possession of oneself='qstn'>? one doesn't belong to oneself or anybody else='lgc'>='lgc'>---that would be a post-="ppl">Lacanian critique, which is the self-sabotage of the mystic is not necessarily attached to a inevitable devouring ="trms">authority, “I don't belong to myself or anybody else.” nor God, nor teacher, etc. ='lgc'>=='lgc'>=> the self is not necessarily devourable. ='lgc'>[what are the certain components of the self of San'an that will remain unavailable, those that underlay a ="trms">pervasive sense of not-belonging='qstn'>?='lgc'>-='lgc'>='lgc'>--> longing (‘vermissen’) the girl/Tarsaa, ‘to-be-longing'='lgc'>]
(why) am I in="trms"nttrm="cluster,club">cluding in my speech a ="trms">rhetoric of faltering, self-sabotage, and hesitation='qstn'>?
should I edit it out='qstn'>? edit out the “I am not sure,” those self-canceling moments from my expression='qstn'>?
(my) thoughts deserve elegant expressions='strcls'>***


="trms">translation of this is very unstable


(="trms">according to Hölderlin)
we arrive at the truth / the moment that the truth or Das Wahre emerges / the moment it closing in on us, is when we have to say goodbye



(these are rather ‘stances,’ than ‘="trms">questions’)
how the ="trms">poet-="ppl">Attar serves or is served-up and devastated by ="trms">language='qstn'>?



blast has a sense of destruction to it, and destruction is good and necessary, it clears away what is al="trms"nttrm="already,spread">ready dead and hanging around burdening your being. blast is not a devastation, devastation promises no futurity

="prgrph">-who are you destroyed by='qstn'>?

whom am I addressing here='qstn'>? but more importantly, who or what is addressing me here (in a non-="trms">present way)='qstn'>?

San'an/girl/pig assemblage
(what is girl in San'an ="trms">story='qstn'>? what is ="trms">animal in San'an ="trms">story='qstn'>?)

San'an ="trms">story, as a scenography of sexual ="trms">difference, and ironization (to make ironic in appearance or effect) of ="trms">question and answer, Q&As in ="ppl">Attar

there is a dramaturgy of repudiation (when the students ask and blame='lgc'>='lgc'>---everyone is insulted) ='lgc'>='lgc'>--> Student is whom that which defines what is ='strcls'>*fai="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure='strcls'>* (='lgc'>--'to be fixed’ ='lgc'>=='qstn'>? o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of teaching)
='lgc'>{pupil is that which ‘summons’ the master - استاد احضار='lgc'>}

ملامت

...and an idealization of the self, and not the object
='lgc'>[where is the object in San'an ="trms">poem='qstn'>? where is the shadow, the dead='qstn'>?='lgc'>]


="large lg18" stl="font-size:131%"> basically here, I am opening a ="ppl">Derridean expanse


="large lg10" stl="font-size:107%"> ...full path of an another Dasein


how far we are from the Dionysian Athenian festival='qstn'>? Lenaia, a dramatic/comic competition of theatrical plays; coming from those of aristocrats and wine-mixing rituals, also where ="ppl">Aristophanes was testing ground and ="trms">staging and test-audiencing his first texts and performances. and his “The Frogs” won the first prize actually. it is a divine comedy, Dionysus and Heracles etc. and it has a choral ="trms">interlude sung by the eponymous chorus of frogs, a frog greatest-hits. (on his trip to Rome, is San'an going to encounter other texts='qstn'>?)

the concept of ملامتگر (Malamatgar) or the one who reproaches is both central and peripheral in the ="trms">story of Sheikh San'an. the ="trms">story shows the crucial transformation of the students of the sheikh from ‘followers’ to ملامتگر. the stake are high at students’ behavior and not San'an's. the ="trms">story tells that when your ="trms">love falls in ="trms">love with another person='lgc'>--that person, being a pagan gorgeous girl, a pig, or another idol='lgc'>--you must also fall in as well. it is important to understand whose perspective here is blamed for whose expectations. students’ project is expectation (of Sheikh)='lgc'>--is the pillar in the ="trms">narrative. the fai="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure to change and ability to experience that other perspective, and in this case the perspective of your significant-other's ="trms">lover, results into the inception of ملامتگر and that is de="trms">finitional for the formation of ملامتگر='lgc'>: someone who refuses to exercise another selfhood.

(This is also the central theme of the ="trms">story of Moses and Khidr, in which Moses as follower/student becomes the Malaamatgar thing. This attitude of Khidr or San'an is provoking their audience to go beyond any version of fixation ='lgc'>='lgc'>---="ppl">Attar's idea of unfixity of discipleship's authenticity is kind of messed up)
how San'an is over or not over the ="trms">material and his boner direction or erection is towards which psychoanalytically accessible phallus='qstn'>?

His students are following him backward!='qstn'>?
“Authentic disciple of four hundred men, were regressed (zurückschreiten) on a journey with him.” ='lgc'>[why ="ppl">Attar is insisting on the authenticity of the disciple and apprenticeship='qstn'>?='lgc'>]


we should always ask where this text comes from.


I try not to pre-program what is going to happen. ='lgc'>[here now='lgc'>]


='lgc'>='lgc'>--> https://www.youtube.com/watch='qstn'>?v=D9SIL38hkgw
in the Shams Group music video, the soldiers in the video are having the little-="ppl">Rumi-packet in their backpacks, along with other suicides. (other soldiers having ="ppl">Holderlin or ="ppl">Nietzsche in their backpacks)



="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical strongholds

[...]