[...]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, until you find a job?! (Attari as a job)


let's jam on this


this story is prior to psychoanalysis (?)
positionality, placements, displacements

a system that doesn't have access to its own knowledge



historical struggle for the definition of the real


I can't keep clean boundaries


rituals (of promise and contract), (things that) must address anxiety --?--> a religious stamp


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


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


we are here to understand the appropriation of meaning.
what does or does not belong to the protocols of reading, etc.

(think in terms of de-appropriation, which entails a form of rigorous hesitation when assuming responsibility for the work or thought of another) is that what I am practicing encountering the work of Attar? as an ally or ancestor or an unknown sidetrack of writing


different modalities of love and loving

I guess what I wanted to ask you is your love

I have been teaching Islam to you?! in a shattered and transgressive way
of course this not teach-according-to-definition

of course every demand is the demand for love


the SM-inserts in San'an story
he is asked to perform some serious Sado-Masochist interactions with nonhuman animals, his favorite book, and Tarsaa as stage-manager
we are left with the task of reading the enigma of something that no longer is. if things ‘were’ we wouldn't need to be thinking, reading, running after them.
(I am 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?

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


از شبح به شیخ

از صنع به صنعان


صنع = fake, صانع fabricated, made-up, technological, dead, etc.
صنم = idol
صنع = eidolon
-(eídōlon, “figure, representation”), from εἶδος? (eîdos, “sight”), from εἴδω? (eídō, “I see”)
-a phantom, a ghost or elusive entity (=/=? haecceity)
-‘you still see them'---is this an origin of metaphysic?
-eidolon is the image in water, apparition, ‘surat,’ a double / technical. idea comes from the word “to see” in Greek verbs, linked to the notion of ‘eidolon’ is the ‘visible image’ (in ancient optics and theories of perception) [the visible image is what appears to operate San'an's dream]
-why eidolon has the tendency to become an idol that talks back? (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 already done.)
-what is the secret of the vitality of the image that bewitches San'an? why dream/images, works of metaphors have lives of their own and cannot be explained as epistemological windows onto reality?
-San'an is first captive of apparition (صورت), then captive of meaning (معنی‌)
-originality of the site is abolished by technological register of the ‘sent,’ (the telephonic cyber-space) of the eidolon =?=> displacement (-how San'an loses a sense of place first in order to move)

[in the beginning of 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: “yesssss yes you are in a dream, boy” and saying to himself “how naive the boy is."]
-how is it naive to think that you are dreaming? that what you are seeing and hearing is not ‘real’? ----San'an is not naive in that sense. he knows that the dream is not just a projection of his subjectivity. he is not Freudian, or he knows his own subconscious too well.
San'an going to Italy (Vatican?)

a mapping is going on

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

and the question of technology?
how technology breaks up and breaks into all sorts of metaphysical premises

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

discursive formations

the teacher vs. trainer
the teacher that asks for your interiority**** (love?) any kind of transfers of emotional funds. or other economies of approval

Attar, the great and complicated poet

also my own attachments to certain formations


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

forecloser, foreclosing you
توقيف

distribution of value, action, and non-action in San'an


to discover San'an where it dwells, what kinds of figures and disfigurations it is responsible for, and what else does it mask culturally?

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

(does San'an practice the will to obedience and to listening?)
what (the hell) does he want (from Tarsaa, from her Being)?!!!

to let the other go

I am talking about 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 *synonym-finder* machine

we are looking for mutations of San'an's work

after he dreams...
the event (‘vaghee’ واقعه) has (already) happened, he travels to ‘understand’ the “event” and not to ‘find out’ --- (we can also critique ‘event’ or ‘vaghee’ as a violent and omnipotent sublime or a happening-art, versus the fragmented phenomena---associated with femininity)
“tafaroj” (تفرّج) or wondering around in Rome, very different than Sohrevardi's order --> http://sinaseifee.com/sorkh.html
[San'an with a damaged GPS system--why he goes to Italy?]
he is walking the walk,
how does he get through the borders!?
was it a ‘Road to Canossa’?
(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 excommunication 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 (~= absence of the same) --> he needs the absence of his students and the absence of himself and the absence of his God.

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

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

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?

she doesn't accept his marriage proposal

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

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

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

*this time, he stammers in a situation articulated by her

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

Tarsaa demands him to drink and not to get drunk

سوی خوکان شتافت
San'an's pig-phobia
introducing the pig in a bird's story
(Hoopoe convincing the Nightingale, Nightingale convincing the ...)
the way of the pig

how earthly we are, we, creatures of earth, how metaphysics forecloses us
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-system or to desist, nondialectical negativity


‘Integrieren’ is transitive verb, has a virtual object or project


I am in Ausländerbehörde, the opposite of hospitality?
I have to stop talking opposite rhetoric. but this was not an antithesist opposite, it was a logical opposite


violences of the encounter


San'an's love-story, ist nicht das Tristan und Isolde


‘watch your back’ is the origin of surveillance {?}


I hope I am not interrupting here!


killing it and loving it completely
so we are working (fine-tuning) on phantom noises, parasite emissions, 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

...................................

and I like to hand myself over




how flowers make sense
(in Iranian metaphysics)


(---> go to Baudelaire's Fleurs du mal)



the rhetoric of desire in San'an, how is it (technologically{?}) determined?

how are things turned on or turned off in San'an? etc.
right at the moment that he is allegedly at an emission of a dream/call, we are dealing (or working) with (the essence of) technology, there is a mitten, trans-mitten, transmitting, emission, etc.
[he is welcoming a call---it was Heidegger who linked thinking with welcoming---to arrive] --- [to San'an, ‘what (the hell) was he thinking!!!?’ both in the sense of the ‘blame’ and the ontology -and epistemology of it]
(how is he revealed to experience the call of a more primal truth? the girl)
[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 mission---but that is also a problem;

*footnote: Hafez trying to travel (to India, invited kindly with Reisef?rderung (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 language-turn, when he is standing in front of the stormed sea, he turns back to Shiraz via a trope: چه آسان می‌نمود اول غم دریا به بوی سود غلط کردم که این طوفان به صد گوهر نمی‌ارزد it is so interesting how scholars and other poets are trying to map out his itineraries and travel-logs from his poesies/poiesis. the nagging and complaining Hafez, always annoyed by weather or something, and can't stop saying how much he misses his friends in Shiraz and so on]

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

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

[it is not the machines that we are at the age of technology]

technology is always sent to us
in the story we are shifting to ‘send’, this doesn't mean that there is a sovereign subject or some sort of powerful ‘self’ responsible or at the origin of the productive behavior (or accomplishment) of San'an.

(Heidegger collects:)
destiny, destination, schicken, Schicksal, etc.
[ungeschickt =? destinal failure, existential clumsiness]
[~= technical error in destiny. what is the future of error?]
•according to Heidegger, nobody (that also means everybody) can take at the wheel and make certain determinations and destinations
[this is his notion of ‘techne']
•Tarsaa's technical 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? one doesn't belong to oneself or anybody else---that would be a post-Lacanian critique, which is the self-sabotage of the mystic is not necessarily attached to a inevitable devouring authority, “I don't belong to myself or anybody else.” nor God, nor teacher, etc. ==> the self is not necessarily devourable. [what are the certain components of the self of San'an that will remain unavailable, those that underlay a pervasive sense of not-belonging?---> longing (‘vermissen’) the girl/Tarsaa, ‘to-be-longing']
(why) am I including in my speech a rhetoric of faltering, self-sabotage, and hesitation?
should I edit it out? edit out the “I am not sure,” those self-canceling moments from my expression?
(my) thoughts deserve elegant expressions***


translation of this is very unstable


(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 ‘questions’)
how the poet-Attar serves or is served-up and devastated by language?



blast has a sense of destruction to it, and destruction is good and necessary, it clears away what is already dead and hanging around burdening your being. blast is not a devastation, devastation promises no futurity

-who are you destroyed by?

whom am I addressing here? but more importantly, who or what is addressing me here (in a non-present way)?

San'an/girl/pig assemblage
(what is girl in San'an story? what is animal in San'an story?)

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

there is a dramaturgy of repudiation (when the students ask and blame---everyone is insulted) --> Student is whom that which defines what is *failure* (--'to be fixed’ =? origin of teaching)
{pupil is that which ‘summons’ the master - استاد احضار}

ملامت

...and an idealization of the self, and not the object
[where is the object in San'an poem? where is the shadow, the dead?]


basically here, I am opening a Derridean expanse


...full path of an another Dasein


how far we are from the Dionysian Athenian festival? Lenaia, a dramatic/comic competition of theatrical plays; coming from those of aristocrats and wine-mixing rituals, also where Aristophanes was testing ground and 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 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?)

the concept of ملامتگر (Malamatgar) or the one who reproaches is both central and peripheral in the story of Sheikh San'an. the 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 story tells that when your love falls in love with another person--that person, being a pagan gorgeous girl, a pig, or another idol--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)--is the pillar in the narrative. the failure to change and ability to experience that other perspective, and in this case the perspective of your significant-other's lover, results into the inception of ملامتگر and that is definitional for the formation of ملامتگر: someone who refuses to exercise another selfhood.

(This is also the central theme of the 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 ---Attar's idea of unfixity of discipleship's authenticity is kind of messed up)
how San'an is over or not over the material and his boner direction or erection is towards which psychoanalytically accessible phallus?

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


we should always ask where this text comes from.


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


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



metaphysical strongholds


to keep partnership with the self, so that there can be interlocution
(is this a possible ethics? --> “can I live with myself?”)



what one does to be in consonant with what one is capable of.
(then what is vowel?) vowel switches tracks and resonations
...penetrative grasp of a text, discovery and recreative apprehension of it life-forms, is impossible to paraphrase or systematize.


[Michel Serres]


...temporal and local settings of one's text. (to master it?)


to read X, is literally, to ‘prepare’ to read X


in certain civilizations there comes epochs in which syntax stiffens...
Changing landscape of fact


words, the guardians of meanings, are not immortal.


note on history: past is a language construct, that the past tense of the verb is the sole guarantor of history.


to read: is to restore all that one can of the immediacies of value and intent in which speech actually occurs.


What material reality has history out of language? --the Tasawwuf/Tasavof verbal linguistic tradition

...to remind you that everything is the condition of madness.


(protest against “was” ---> go to Attar's relation with biographies in Tazkirat al-Awliya---he mobilizes ‘personalities’ in the index of his mystic-ontological demand---what would the lack of personality take revenge of Attar?)
we are at a tense past and a past tense---prison tense


..the landscape composed by the past tense, the semantic organization of remembrance... is styled and coded differently by cultures. --miniature illustrating San'an?


The verbal icon made up of all successive translations of Greek literature and philosophy has oriented fundamental movements in Islamic feelings --Farabi, Mirdamad, etc.


My translation of classics is not out of a vital compulsion for immediacy or precise echo. I am not trying to build my own resonant past. Myth of the ‘true past’...  different perspectives can co-exist and blur


the metaphysics of the insult, in San'an story


I am interested in the conventions in which texts can be read, in which a semantic statement can be carried over into someone's own idiom. I am teaching how to reread texts of Attar and so forth.
I think we have civilization because (we have learned) ‘to translate out of time’



übertragen,
handing down thought narrative,
something that also depends on transfer of meaning in *space*



San'an's sudden interest in the woman/child (Tarsaa could also be a young boy) reminds us the uniquely vulnerable and creative condition of the childhood

privileged inferiority (of both child and woman)

we are dealing with both intercourse and discourse


how his voice will change after San'an actually gets the girl?


...communication like breathing is subject to obstruction and homicidal breakdowns, under stress of hatred, of boredom, or of sudden panic, great gaps open ...that their previous understanding had been based on a trivial pidgin which had left the heart of meaning untouched.


What is the female speech in San'an?

-the breakdowns and translations in San'an story.
-The sexual translation and breakdown[...]