[...] desert <lgc clss='lgc'>=>lgc> lss="trms">translation of a familiar topology into an lss="trms">ontological modalitylss='qstn'>?

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

civilizational taxonomies (<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> versus animist taxonomies, in l clss="ppl">Attarl>'s lss="trms">animal-lss="trms">birds)

<lrg clss="large lg2" stl="font-size:111%">
lrg>
the (sacred boundaries of mysticism) and mystic boundaries of the civilized city
the peripheries of the city became mystic/sacred


mystical channelsls clss='strcls'>*ls>


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

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


the dominion of the partially unseen

<lrg clss="large lg6" stl="font-size:115%">
guarding its inner workings and lss="trms">trajectories
(the cinematic openness also is) guarantor of its constant mutability(lss='qstn'>?)



<lrg clss="large lg10" stl="font-size:135%"> the exoteric logic of lss="trms">interiority (reigning since centuries in lss="nms">Iran)


for only the buried dimension is sovereign

secrecy <lgc clss='lgc'>=/=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 clss='lgc'>[lgc>the issue of<lgc clss='lgc'>:lgc> oplss="trms">posite, omen, and alarm (in art)<lgc clss='lgc'>]lgc>
omen <lgc clss='lgc'>=/=lgc>lss='qstn'>? artwork
(omen is a lss="trms">phenomenon that is buried to foretell the future, isn't that an attractive lss="trms">trap for artist's self grandiositylss='qstn'>?!)
omen has a binary answer
omen <lgc clss='lgc'>=~lgc> ‘audire’ (lss='trgt hghlght 1'href='?q=L'>Latin root, to lss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listen)
omens come in the artistic and lss="trms">poetic production<lgc clss='lgc'>--lgc>in the lss="trms">poiesis<lgc clss='lgc'>--lgc>when the artist is young<lgc clss='lgc'>:lgc> the lss="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 clss='lgc'><lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>-lgc>the artworks become closer to omens


at once episodic and lss="trms">veiled, protecting their lss="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 lss="trms">instrumental reason) <lgc clss='lgc'><lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>-lgc> omens


lss="trms">lss='trgt hghlght 1'href='?q=L'>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 lss="trms">language<lgc clss='lgc'>--lgc>I am not in the house of lss="trms">language, but l clss="ppl">Attarl> is

transmutative
depthforming


sudden exposure to exile space

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


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

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


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


lss="trms">aesthetic tactility over lss="trms">aesthetic fantasy
where is the cinematic-mystical ritual happeninglss='qstn'>?

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

lss="trms">interrupting the translss="trms">mission of the lss="trms">episteme


the result of mystic disjointment <lgc clss='lgc'>=>lgc> a renovated perception of all activity as self-forsaking (Tark-e Nafslss='qstn'>? ترک نفس), (such that all locations appear scorched in turn)

<lrg clss="large lg10" stl="font-size:115%"> stab-through and un-brace one once was

San'an's mechanistic commitments, he need to first lss="trms">book out of a place in order to lss="trms">write text, or to lss="trms">book himself in again
the San'an's lss="trms">poem's ‘Will'<lgc clss='lgc'> = lgc>instinct for abandonment and anonymity
is this instinct prelss="trms">dicting what l clss="ppl">Attarl> will lss="trms">writelss='qstn'>? or explains ls clss='strcls'>*ls>why he lss="trms">writeslss='qstn'>?
<lgc clss='lgc'>[lgc>lss="trms">writing as an act of lss="trms">memory and performlss='qstn'>?<lgc clss='lgc'>]lgc>

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

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

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

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

the exile does not need to exist / the lss="trms">community is desperate to exist (which is why it degenerates into totalitarian declarations<lgc clss='lgc'>--lgc>do the San'an's students have thatlss='qstn'>?)
is l clss="ppl">Attarl>, in his lss="trms">poetry, obsessed with constructing mythologies of lss="trms">presence (and being relss="trms">presented)lss='qstn'>? (when he repeatedly tries to synthesize an “authentic” discipleship, ﻣﺮﯾﺪى, Anhängerschaftlss='qstn'>?, for the San'an's “teachings”) <lgc clss='lgc'>--lgc>whereas the exile, the lss="trms">animal, the shadow, the lss="trms">monster, the machine, the thing, the contagion <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> carries none of the lss="trms">anxiety of lss="trms">ontological authenticity



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

going into vicious levels of self-consciousness

between all the lines of statement that l clss="ppl">Attarl> constructs, what is being suglss="trms">gested in his music or wordslss='qstn'>?


<lrg clss="large lg10" stl="font-size:133%"> San'an, taken by otherlss="trms">worldly lss="trms">crafts that signal him to become (gracefully) transfixed

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

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


<lrg clss="large lg14" stl="font-size:128%"> <lgc clss='lgc'>[lgc>sunken tranquility, relaxed self-annihilation, ascetic rlss="trms">enunciation of lss="trms">material<lgc clss='lgc'>]lgc> ls clss='strcls'>*ls>mysticls clss='strcls'>*ls> <lgc clss='lgc'>=/=lgc> orlss='qstn'>? <lgc clss='lgc'>=~lgc> ls clss='strcls'>*ls>postlss="trms">modernls clss='strcls'>*ls> <lgc clss='lgc'>[lgc>obsession with speed, with lss="trms">narcissistic lss="trms">technologies, hyper-lss="trms">materialss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic<lgc clss='lgc'>]lgc>
is there in postlss="trms">modernism then an alternative version of mystical experiencelss='qstn'>?
...


feeling like a foreign body, until you find a joblss='qstn'>?! (l clss="ppl">Attarl>i as a job)


<lrg clss="large lg10" stl="font-size:100%"> let's jam on this


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

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


lrg>
lss="trms">historical struggle for the delss="trms">finition of the real


I can't keep clean boundaries
lrg>

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


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


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


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

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


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

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

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

<lrg clss="large lg6" stl="font-size:133%"> of course every lss="trms">demand is the lss="trms">demand for lss="trms">love


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

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


از شبح به شیخ

از صنع به صنعان


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

<lgc clss='lgc'>[lgc>in the beginning of l clss="ppl">Miyazakil>'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 clss='lgc'>:lgc> “yesssss yes you are in a dream, boy” and saying to himself “how naive the boy is."<lgc clss='lgc'>]lgc>
lss="prgrph">-how is it naive to think that you are dreaminglss='qstn'>? that what you are seeing and hearing is not ‘real’lss='qstn'>? <lgc clss='lgc'><lgc clss='lgc'><lgc clss='lgc'>--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 l clss="ppl">Freudl>ian, or he knows his own subconscious too well.
San'an going to Italy (Vaticanlss='qstn'>?)

a mapping is going on

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

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

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

discursive formations

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

l clss="ppl">Attarl>, the great and complicated lss="trms">poet

also my own attachments to certain formations


what kinds of lss="trms">poetic bodies l clss="ppl">Attarl> sacrificeslss='qstn'>?
what cognitive back-up lss="trms">system he useslss='qstn'>?
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 dislss="trms">figurations it is lss="trms">responsible for, and what else does it mask culturallylss='qstn'>?

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

<lrg clss="large lg3" stl="font-size:112%"> (does San'an practice the will to obedience and to lss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listeninglss='qstn'>?)
what (the hell) does he want (from Tarsaa, from her Being)lss='qstn'>?!!!
lrg>
to let the other go

I am talking about l clss="ppl">Attarl> 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 ls clss='strcls'>*ls>synonym-finderls clss='strcls'>*ls> machine

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

<lrg clss="large lg4" stl="font-size:112%"> after he dreams...
the event (‘vaghee’ واقعه) has (allss="trms"nttrm="already,spread">ready) happened, he lss="trms">travels to ‘understand’ the “event” and not to ‘find out’ <lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc> (we can also critique ‘event’ or ‘vaghee’ as a violent and omnipotent lss="trms">sublime or a happening-art, versus the fragmented lss="trms">phenomena<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>aslss="trms">sociated with femininity)
“tafaroj” (تفرّج) or lss="trms">wondering around in Rome, very lss="trms">different than l clss="ppl">Sohrevardil>'s order <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> http://sinaseifee.com/sorkh.html
<lgc clss='lgc'>[lgc>San'an with a damaged GPS lss="trms">system<lgc clss='lgc'>--lgc>why he goes to Italylss='qstn'>?<lgc clss='lgc'>]lgc>
he is walking the walk,
how d[...]