[...] 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)



the (sacred boundaries of mysticism) and mystic boundaries of the civilized city
the peripheries of the city became mystic/sacred

<lrg clss="large lg2" stl="font-size:111%">
mystical channelsls clss='strcls'>*ls>
lrg>

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


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



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


<lrg clss="large lg22" stl="font-size:125%"> 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

<lrg clss="large lg1" stl="font-size:149%"> lss="trms">interrupting the translss="trms">mission of the lss="trms">episteme
lrg>

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)

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'>?


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)


<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)


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



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

<lrg clss="large lg18" stl="font-size:131%">
I can't keep clean boundaries


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

lrg>
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

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.

(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'>?!!!

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

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 does he get through the borders!lss='qstn'>?
was it a ‘Road to Canossa’lss='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 exlss="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 clss='lgc'>ld>~ld>=lgc> absence of the same) <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> he needs the absence of his students and the absence of himself and the absence of his God.

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

<lrg clss="large lg22" stl="font-size:108%"> Tarsaa's lss="trms">morphology<lgc clss='lgc'>--lgc>lss="trms">different in every lss="trms">aesthetic moment, a dynamic entity
<lgc clss='lgc'>[lgc>person of flesh, thing of illusio, lss="trms">category of mechanism,
ترسا or ترسنده <lgc clss='lgc'>=~lgc> lss="trms">child-being, نصرانی <lgc clss='lgc'>=~lgc> the-other<lgc clss='lgc'>]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 availablelss='qstn'>?

she doesn't accept his marriage proposal

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

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

medieval lss="trms">narratives of woman's image relating to the so-called sexual self-respect<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>woman always relss="trms">presenting the lss="trms">matter and the lss="trms">material
a comparative lss="trms">literary note on Tarsaa's framework and other female protagonist/antagonists <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>
in<lgc clss='lgc'>:lgc> l clss="ppl">Nezamil><lgc clss='lgc'>:lgc> Khosro-o-Shirin and lss='trgt hghlght 1'href='?q=L'>Leili-o-Majnun (woman is there for the man, to elevate him); l clss="ppl">Jamil><lgc clss='lgc'>:lgc> Salaman-o-Absal and Yusof-o-Zoleikha (woman is body and to be avoided); l clss="ppl">Gorganil><lgc clss='lgc'>:lgc> Vis-o-Ramin (woman is autonomous and for herself in the plot of the lss="trms">story)

ls clss='strcls'>*ls>this time, he stammers in a lss="trms">situation lss="trms">articulated by her
lrg>
preserving the ‘good object’
who is doing it and what is the good object forlss='qstn'>?
(the missing good object, forever)

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

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

how earthly we are, we, creatures of earth, how lss="trms">lss="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics forecloses us
l clss="ppl">Attarl> 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

<lrg clss="large lg10" stl="font-size:101%">
lrg>
de-lss="trms">system or to desist, nondialectical negativity


‘lss="trms">Integrieren’ is lss="trms">transitive lss="trms">verb, has a virtual object or project


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

violences of the encounter


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

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


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


killing it and lss="trms">loving it completely
so we are working (fine-tuning) on phantom noises, parasite elss="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

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

and I like to hand myself over




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


(<lgc clss='lgc'>-<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>lgc> lss='gtrw'>go to l clss="ppl">Baudelairel>'s Fleurs du mal)



<lrg clss="large lg18" stl="font-size:135%"> the lss="trms">rhetoric of desire in San'an, how is it (lss="trms">technologically<lgc clss='lgc'>{lgc>lss='qstn'>?<lgc clss='lgc'>}lgc>) determinedlss='qstn'>?

how are things turned on or turned off in San'anlss='qstn'>? etc.
lss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right at the moment that he is allegedly at an elss="trms">mission of a dream/call, we are dealing (or working) with (the essence of) lss="trms">technology, there is a mitten, trans-mitten, transmitting, elss="trms">mission, etc.
<lgc clss='lgc'>[lgc>he is welcoming a call<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>it was l clss="ppl">Heideggerl> who linked thinking with welcoming<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>to arrive<lgc clss='lgc'>]lgc> <lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc> <lgc clss='lgc'>[lgc>to San'an, ‘what (the hell) was he thinking!!!lss='qstn'>?’ both in the sense of the ‘blame’ and the lss="trms">ontology -and lss="trms">epistemology of it<lgc clss='lgc'>]lgc>
(how is he revealed to experience the call of a more primal truthlss='qstn'>? the girl)
<lgc clss='lgc'>[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 lss="trms">mission<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>but that is also a problem;

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

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

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

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

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

(l clss="ppl">Heideggerl> collects<lgc clss='lgc'>:lgc>)
destiny, destination, schicken, Schicksal, etc.
<lgc clss='lgc'>[lgc>ungeschickt <lgc clss='lgc'>=lgc>lss='qstn'>? destinal failss="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure, existential lss="trms"nttrm="cluster,club">clumsiness<lgc clss='lgc'>]lgc>
<lgc clss='lgc'>[lgc><lgc clss='lgc'>ld>~ld>=lgc> lss="trms">technical error in destiny. what is the future of errorlss='qstn'>?<lgc clss='lgc'>]lgc>
<lsts clss="lsts lst1">•lss="trms">according to l clss="ppl">Heideggerl>, nobody (that also means everybody) can take at the wheel and make certain determinations and destinations
lsts> <lgc clss='lgc'>[lgc>this is his notion of ‘lss="trms">techne'<lgc clss='lgc'>]lgc>
<lsts clss="lsts lst1">•Tarsaa's lss="trms">technical lss="trms">intervention in San'an's destiny
lsts>
that is another kind of relatedness
you can no longer talk about the subject or object
is one in full possession of oneselflss='qstn'>? one doesn't belong to oneself or anybody else<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>that would be a post-l clss="ppl">lss='trgt hghlght 1'href='?q=L'>Lacanl>ian critique, which is the se[...]