[...]ries of mysticism) and mystic boundaries of the civilized city
the peripheries of the city became mystic/sacred


mystical channelstrcls class='strcls'>*trcls>


they <trms class="trms">presentrms>t <trms class="trms">worldtrms>s immersed in a kind of constructed a <trms class="trms">priortrms>i

tl="font-size:112%"> two irrational analytical strands:
(1) to isolate the rare <trms class="trms">techntrms>ical and conceptual arsenal behind an ethnographically <trms class="trms">imagitrms>ned space (San'an's biography missing in Attar's trgt hghlght 1'href='?q=T'>Tazkirat al-Awliya--Attar's obsession with biographies, he is <trms class="trms">drugtrms>ged by bios, totally high---he can't let go of them, he cannot detach from the absents, the paternalstn'>? his master-complextn'>? has he forgotten to mention his teacher, San'an, in trgt hghlght 1'href='?q=T'>Tazkirat al-Awliyatn'>? --Attar is himself San'antn'>? <trms class="trms">drugtrms>ged and doped by tastes and spices of his shop, his establishment. OR San'an is Ibn-Sagha (ابن ساقا)tn'>? (Ibn-Sagha was a Islamist jurist who lived in Baghdad 11th century, lived Muslim and died christian.) Attar's engagement with re<trms class="trms">memtrms>brance and bios --> is the San'an's <trms class="trms">narrattrms>ive also about forgettingtn'>? trgt hghlght 1'href='?q=T'>Tazkirat (تذکره) --> trgt hghlght 1'href='?q=T'>Tazakor (تذکر) --> re<trms class="trms">memtrms>ber! --we are now on how Attar's San'an influences Hafez--(حافظ) trgt hghlght 1'href='?q=T'>The <trms class="trms">Memtrms>orizer. Hafez <trms class="trms">lovtrms>es the <trms class="trms">storytrms> of San'an the non-<trms class="trms">memtrms>orizer, San'an loses his ‘hafeze’ (حافظه). (<trms class="trms">accordtrms>ing to Hafez and San'an, the best student is the one who doesn't re<trms class="trms">memtrms>ber. precisely because they are trying so hard to remind San'an of what they thing ‘he’ is) --> [Indian MAtrgt hghlght 1'href='?q=T'>TSYENDRANAtrgt hghlght 1'href='?q=T'>TH amnesia tale, tells the <trms class="trms">storytrms> of a yogi who falls in <trms class="trms">lovtrms>e with the woman kind--one of his students puts makeup and dances his <trms class="trms">memtrms>ory back to him. he must become the woman. there is a queer moment in the o<trms class="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigtrms>in <trms class="trms">storytrms> of the San'an, which Attar censures(tn'>?). he erased his name from the black-<trms class="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listtrms> of death-‘the forgottens’, then danced for him as a woman-<trms class="trms">storytrms>-teller. (muse is the mother of <trms class="trms">memtrms>ory.) the class struggle has obviously a Bollywood touch to it]-->Attar's source and storagetn'>?)
regarding Hafez and San'an, the <trms class="trms">poetrms>t must leave the home, the <trms class="trms">poetrms>t must <trms class="trms">travetrms>l foreign zones, and stay in the foreign. (this is, by the way, Heidegger's <trms class="trms"nttrm="already,spread">readtrms>ing of the <trms class="trms">poetrms>t.) and that is also one Heideggerian <trms class="trms">poetrms>tic <trms class="trms">demandtrms> 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 <trms class="trms">rhetortrms>ical 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 class="trms">storytrms>tn'>?)


the dominion of the partially unseen


guarding its inner workings and <trms class="trms">trajecttrms>ories
(the cinematic openness also is) guarantor of its constant mutability(tn'>?)



the exoteric logic of <trms class="trms">intertrms>iority (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: op<trms class="trms">posittrms>e, omen, and alarm (in art)]
omen =/=tn'>? artwork
(omen is a <trms class="trms">phenomentrms>on that is buried to foretell the future, isn't that an attractive <trms class="trms">traptrms> for artist's self grandiositytn'>?!)
omen has a binary answer
omen =~ ‘audire’ (Latin root, to <trms class="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listtrms>en)
omens come in the artistic and <trms class="trms">poetrms>tic production--in the <trms class="trms">poiestrms>is--when the artist is young: the <trms class="trms">fabutrms>lous 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

tl="font-size:121%">
at once episodic and <trms class="trms">veiltrms>ed, protecting their <trms class="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigtrms>ht to invisibility above all else


(perceive themselves as) the merchants of the unreasoned experience.
(as opposed to the mechanisms of <trms class="trms">instrutrms>mental reason) ---- omens


<trms class="trms">Literatrms>tur(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 class="trms">languagetrms>--I am not in the house of <trms class="trms">languagetrms>, but Attar is

transmutative
depthforming


sudden exposure to exile space

a postcultural <trms class="trms">intertrms>action (tn'>?) --with no proximity to the <trms class="trms">pasttrms> or known <trms class="trms">presentrms>t
(am I trying to create proximity to <trms class="trms">histotrms>ry in my <trms class="trms">lecturtrms>es versus my non-proximity in earlier visual works such as “vagabond” 2011 trgt hghlght 1'href='?q=T'>Tehran)
is that to adopt an trcls class='strcls'>******trcls>existence without contexttrcls class='strcls'>******trcls>tn'>?
(in <trms class="trms">lecturtrms>es, am I un-separating myself from my own <trms class="trms">histotrms>rytn'>?)


trcls class='strcls'>*trcls>reverie (=the mind flees across se<trms class="trms"nttrm="cluster,club">clutrms>ded planes)

exile space =~ refuge, solitude, immobility =tn'>? 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 sovereigntn'>?
-continuously <trms class="trms">intertrms>lacing experiences of solitude and immobility
-minima<trms class="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listtrms> side of mysticism --> stillness is a catalyst for accelerationtn'>?
-nomadic dis<trms class="trms">posittrms>ions
-suspended (=the chasm of self-consciousness)
-


<trms class="trms">aesthettrms>ic tactility over <trms class="trms">aesthettrms>ic fantasy
where is the cinematic-mystical ritual happeningtn'>?

profound separation from the <trms class="trms">networktrms>s of <trms class="trms">socitrms>al reality
the subjects betrays its own <trms class="trms">histotrms>ry

<trms class="trms">intertrms>rupting the trans<trms class="trms">missiontrms> of the <trms class="trms">epistemtrms>e


the result of mystic disjointment => a renovated perception of all activity as self-forsaking (trgt hghlght 1'href='?q=T'>Tark-e Nafstn'>? 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 class="trms">booktrms> out of a place in order to <trms class="trms">writtrms>e text, or to <trms class="trms">booktrms> himself in again
the San'an's <trms class="trms">poetrms>m's ‘Will' = instinct for abandonment and anonymity
is this instinct pre<trms class="trms">dictitrms>ng what Attar will <trms class="trms">writtrms>etn'>? or explains trcls class='strcls'>*trcls>why he <trms class="trms">writtrms>estn'>?
[<trms class="trms">writtrms>ing as an act of <trms class="trms">memtrms>ory and performtn'>?]

the mystic event is predicted by an instinct for abandonment and anonymity,
at the same time it mutates the <trms class="trms"nttrm="disturban">urbantrms> environment in which it <trms class="trms">stagtrms>e 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-breaktn'>?

to be honest, Attar's San'an's <trms class="trms">poetrms>try, is living by a roaming assemblage of assertions. [he wrote his <trms class="trms">poetrms>m in a time when the highly <trms class="trms">religtrms>ious Sheikhs would go to monasteries and get drunk with the non-Muslims, getting high with the nonhuman. it is Seljuq (سلجوق) time, medieval trgt hghlght 1'href='?q=T'>Turko-Persian. trgt hghlght 1'href='?q=T'>The Seljuqs were educated in the service of Muslim courts as slaves or mercenaries. trgt hghlght 1'href='?q=T'>The dynasty brought with itself a sense of revival. Under the Seljuqs, New-Persian became the <trms class="trms">languagetrms> for <trms class="trms">histotrms>rical recording. Attar (عطار) means herba<trms class="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listtrms>, <trms class="trms">drugtrms>gist, perfumist or alchemist, and during his lifetime in Persia, much of medicine and <trms class="trms">drugtrms>s were based on herbs. trgt hghlght 1'href='?q=T'>Therefore, by profession he was similar to a <trms class="trms">moderntrms>-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 <trms class="trms">Birdtrms>s epic, he is bringing an instinct coalition that <trms class="trms">translattrms>es all movement into a devouring collectivity --> the logic of their fading (--of the <trms class="trms">birdtrms>s) is the same explosively that that fuels their inception, (why the <trms class="trms">birdtrms>s must gather in the first placetn'>?!)

once-mystical and now-post<trms class="trms">moderntrms> tribalism (tn'>?)

(“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 <trms class="trms">communtrms>ity is desperate to exist (which is why it degenerates into totalitarian declarations--do the San'an's students have thattn'>?)
is Attar, in his <trms class="trms">poetrms>try, obsessed with constructing mythologies of <trms class="trms">presentrms>ce (and being re<trms class="trms">presentrms>ted)tn'>? (when he repeatedly tries to synthesize an “authentic” discipleship, ﻣﺮﯾﺪى, Anhängerschafttn'>?, for the San'an's “teachings”) --whereas the exile, the <trms class="trms">animaltrms>, the shadow, the <trms class="trms">monsttrms>er, the machine, the thing, the contagion --> carries none of the <trms class="trms">anxitrms>ety of <trms class="trms">ontotrms>logical 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 sug<trms class="trms">gesttrms>ed in his music or wordstn'>?

tl="font-size:110%">
San'an, taken by other<trms class="trms">worldtrms>ly <trms class="trms">crafttrms>s that signal him to become (gracefully) transfixed

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

disavowal of (an explicit) <trms class="trms">narrattrms>ive (<trms class="trms">trajecttrms>ory)


tl="font-size:129%"> [sunken tranquility, relaxed self-annihilation, ascetic r<trms class="trms">enunctrms>iation of <trms class="trms">materitrms>al] trcls class='strcls'>*trcls>mystictrcls class='strcls'>*trcls> =/= ortn'>? =~ trcls class='strcls'>*trcls>post<trms class="trms">moderntrms>trcls class='strcls'>*trcls> [obsession with speed, with <trms class="trms">narcisstrms>istic <trms class="trms">techntrms>ologies, hyper-<trms class="trms">materitrms>a<trms class="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listtrms>ic]
is there in post<trms class="trms">moderntrms>ism then an alternative version of mystical experiencetn'>?
...


feeling like a foreign body, until you find a jobtn'>?! (Attari as a job)


let's jam on this


this <trms class="trms">storytrms> is <trms class="trms">priortrms> to psychoanalysis (tn'>?)
<trms class="trms">posittrms>ionality, placements, displacements

a <trms class="trms">systrms>tem that doesn't have access to its own knowl<trms class="trms"nttrm="knowledge,Knowledge">edgetrms>



<trms class="trms">histotrms>rical struggle for the de<trms class="trms">finittrms>ion of the real


I can't keep clean boundaries


rituals (of promise and contract), (things that) must address <trms class="trms">anxitrms>ety --tn'>?--> a <trms class="trms">religtrms>ious stamp


what is the San'an text promising the Othertn'>? (like every text does, every utterance)
what it cannot trcls class='strcls'>*trcls>not dotn'>?


my <trms class="trms">childtrms>ish playful inventiveness and its <trms class="trms">relationtrms>ship to weakness.
so I come up week, saying ‘let us do this or that,’ but that is a will to power (tn'>?)


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

(think in terms of de-appropriation, which entails a form of <trms class="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigtrms>orous hesitation when assuming <trms class="trms">respontrms>sibility for the work or thought of another) is that what I am practicing encountering the work of Attartn'>? as an ally or <trms class="trms">ancesttrms>or or an unknown sidetrack of <trms class="trms">writtrms>ing


<trms class="trms">differentrms>t modalities of <trms class="trms">lovtrms>e and <trms class="trms">lovtrms>ing

I guess what I wanted to ask you is your <trms class="trms">lovtrms>e

I have been teaching Islam to youtn'>?! in a shattered and transgressive way
of course this not teach-<trms class="trms">accordtrms>ing-to-de<trms class="trms">finittrms>ion

of course every <trms class="trms">demandtrms> is the <trms class="trms">demandtrms> for <trms class="trms">lovtrms>e


the SM-inserts in San'an <trms class="trms">storytrms>
he is asked to perform some <trms class="trms">seriotrms>us Sado-Masochist <trms class="trms">intertrms>actions with nonhuman <trms class="trms">animaltrms>s, his favorite <trms class="trms">booktrms>, and trgt hghlght 1'href='?q=T'>Tarsaa as <trms class="trms">stagtrms>e-manager
we are left with the task of <trms class="trms"nttrm="already,spread">readtrms>ing the enigma of something that no longer is. if things ‘were’ we wouldn't need to be thinking, <trms class="trms"nttrm="already,spread">readtrms>ing, running after them.
(I am <trms class="trms"nttrm="already,spread">readtrms>ing the enigma of something that no longer is)
precisely Bayazid defines trgt hghlght 1'href='?q=T'>Tasawwuf/trgt hghlght 1'href='?q=T'>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 waytn'>?

San'an was <trms class="trms">booktrms>ed “elsewhere,” he had a transcendental hearing, he had to take a call
[we should here study a ‘hauntology'---the <trms class="trms">scietrms>nce of morning-disorder. all prophets have it also]. haunt---the figure is neither <trms class="trms">presentrms>t nor absent --> (and “real” <trms class="trms">presentrms>ce has always been the <trms class="trms">religtrms>ion's obsession)


از شبح به شیخ

از صنع به صنعان


صنع = fake, صانع fabricated, made-up, <trms class="trms">techntrms>ological, dead, etc.
صنم = idol
صنع = eidolon
-(eídōlon, “figure, re<trms class="trms">presentrms>tation”), from εἶδοςtn'>? (eîdos, “sight”), from εἴδωtn'>? (eídō, “I see”)
-a phantom, a ghost or elusive entity (=/=tn'>? haecceity)
-‘you still see them'---is this an o<trms class="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigtrms>in of <trms class="trms"><trms class="trms"nttrm="metaph,metamorph,metabol,metal">metatrms>phystrms>ictn'>?
-eidolon is the image in water, apparition, ‘surat,’ a double / <trms class="trms">techntrms>ical. idea comes from the word “to see” in <trms class="trms">Greektrms> <trms class="trms">verbtrms>s, linked to <thdf class='thdf'>the notion ofthdf> ‘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 backtn'>? (San'an practically encounters an eidolon and converts it to an idol. what trgt hghlght 1'href='?q=T'>Tarsaa asks San'an to worship is the confirmation of what sheikh has al<trms class="trms"nttrm="already,spread">readtrms>y done.)
-what is the secret of the vitality of the image that bewitches San'antn'>? why dream/images, works of <trms class="trms"><trms class="trms"nttrm="metaph,metamorph,metabol,metal">metatrms>phortrms>s have lives of their own and cannot be explained as <trms class="trms">epistemtrms>ological windows <trms class="trms">ontotrms> realitytn'>?
-San'an is first captive of apparition (صورت), then captive of meaning (معنی‌)
-o<trms class="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigtrms>inality of the site is abolished by <trms class="trms">techntrms>ological register of the ‘sent,’ (the telephonic cyber-space) of the eidolon =tn'>?=> displacement (-how San'an loses a sense of place first in order to move)

[in the beginning of Miyazaki's 2013 trgt hghlght 1'href='?q=T'>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 dreamingtn'>? that what you are seeing and hearing is not ‘real’tn'>? ----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 (Vaticantn'>?)

a mapping is going on

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

and the <trms class="trms">questiontrms> of <trms class="trms">techntrms>ologytn'>?
how <trms class="trms">techntrms>ology breaks up and breaks into all <trms class="trms">sorttrms>s of <trms class="trms"><trms class="trms"nttrm="metaph,metamorph,metabol,metal">metatrms>phystrms>ical premises

San'an is at a primal s<trms class="trms">cenetrms> of aggressiontn'>?
provoking hostility
there is no sweet device that should <trms class="trms">suppostrms>ed to suspend hostility, there is no magic flute in San'an <trms class="trms">storytrms>
why am I taking so many detourstn'>? whether this is describable at all

discursive formations

the teacher vs. trainer
the teacher that asks for your <trms class="trms">intertrms>ioritytrcls class='strcls'>****trcls> (<trms class="trms">lovtrms>etn'>?) any kind of transfers of emotional funds. or other economies of approval

Attar, the great and complicated <trms class="trms">poetrms>t

also my own attachments to certain formations


what kinds of <trms class="trms">poetrms>tic bodies Attar sacrificestn'>?
what cognitive back-up <trms class="trms">systrms>tem he usestn'>?
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 dis<trms class="trms">figurattrms>ions it is <trms class="trms">respontrms>sible for, and what else does it mask culturallytn'>?

we also add on cultural <trms class="trms">anthroptrms>ological 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 <trms class="trms">sorttrms> of buffing off a self or something.

(does San'an practice the will to obedience and to <trms class="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listtrms>eningtn'>?)
what (the hell) does he want (from trgt hghlght 1'href='?q=T'>Tarsaa, from her Being)tn'>?!!!

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 trcls class='strcls'>*trcls>synonym-findertrcls class='strcls'>*trcls> machine

tl="font-size:126%"> we are looking for mutations of San'an's work

after he dreams...
the event (‘vaghee’ واقعه) has (al<trms class="trms"nttrm="already,spread">readtrms>y) happened, he <trms class="trms">travetrms>ls to ‘understand’ the “event” and not to ‘find out’ --- (we can also critique ‘event’ or ‘vaghee’ as a violent and omnipotent <trms class="trms">sublimtrms>e or a happening-art, versus the fragmented <trms class="trms">phenomentrms>a---as<trms class="trms">socitrms>ated with femininity)
“tafaroj” (تفرّج) or <trms class="trms">wondertrms>ing around in Rome, very <trms class="trms">differentrms>t than Sohrevardi's order --> http://sinaseifee.com/sorkh.html
[San'an with a damaged GPS <trms class="trms">systrms>tem--why he goes to Italytn'>?]
he is walking the walk,
how does he get through the borders!tn'>?
was it a ‘Road to Canossa’tn'>?
(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 class="trms">communtrms>ication 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 (<tld>~tld>= absence of the same) --> he needs the absence of his students and the absence of himself and the absence of his God.

trcls class='strcls'>*****trcls>trgt hghlght 1'href='?q=T'>Tarsaa takes away San'an's human ID, his masterhood, his <trms class="trms">memtrms>bers [his parts: his pupils, pencils, penises], (that's why he must re<trms class="trms">memtrms>bertn'>? his ‘<trms class="trms">memtrms>bers’ returning to himtn'>? what is he <trms class="trms">compostrms>ed of anywaystn'>?!) [<trms class="trms">memtrms>ory is a way consistency maintain itself---are we having a disjunctiontn'>?] [he makes contact, and contact is the medium of <trms class="trms">languagetrms> --> and this is his performance]
in this <trms class="trms">storytrms> trcls class='strcls'>*trcls>the human ID = mastertrcls class='strcls'>*trcls>
(self-possession is <trms class="trms">suppostrms>ed a primordial property)
-the <trms class="trms">questiontrms> is how let yourself be invested with alterity, without becoming a seed of transcendencetn'>? (San'an let himself but then fails in the second part) by ‘seed of transcendence’ I mean making a <trms class="trms">symtrms>bol that is of a <trms class="trms">symtrms>bol (the basis of power---statetn'>?) ---> is this how San'an's <trms class="trms">symtrms>bolism can be <trms class="trms">recruittrms>ed by Iranian war lordstn'>?
San'an in the <trms class="trms">storytrms> is shamanistically de-subjectified (by becoming the pig, etc.) instead of becoming hyper-subjectified (game-<trms class="trms">animaltrms>) [something that Abu-Saeed Abu-Al-Kheir almost achieve ittn'>?] trcls class='strcls'>**trcls>a game-<trms class="trms">animaltrms> is for example when dogs go after a dear in the forest, the dear is in this case a game-<trms class="trms">animaltrms>. the San'an's pigsty is not that, he doesn't become wolf or dear or Jinn for that <trms class="trms">mattertrms>!

if I where trgt hghlght 1'href='?q=T'>Tarsaa I would ask San'an to become the Jinn instead of pig.

(trgt hghlght 1'href='?q=T'>Tarsaa is sighted by him initially on her balcony)
balcony's architectural register
San'an might have been fallen in <trms class="trms">lovtrms>e 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

trgt hghlght 1'href='?q=T'>Tarsaa's <trms class="trms">morphtrms>ology--<trms class="trms">differentrms>t in every <trms class="trms">aesthettrms>ic moment, a dynamic entity
[person of flesh, thing of illusio, <trms class="trms">categtrms>ory of mechanism,
ترسا or ترسنده =~ <trms class="trms">childtrms>-being, نصرانی =~ the-other]

trgt hghlght 1'href='?q=T'>Tarsaa is a defferent kind of mediatized body, not that of woman on the television, which produces a wasted body in front of the trgt hghlght 1'href='?q=T'>TV

what kind of hostility is she performing -or making availabletn'>?

she doesn't accept his marriage proposal

is there a woman hidden under the concept of trgt hghlght 1'href='?q=T'>Tarsaatn'>?
which toxicities or <trms class="trms">horrortrms>s the-woman-of-the-house in the <trms class="trms">storytrms> of San'an conceals precisely with the figure of trgt hghlght 1'href='?q=T'>Tarsaatn'>?

trcls class='strcls'>*****trcls>trgt hghlght 1'href='?q=T'>Tarsaa doesn't have a father.
-she is autonomous and emancipated
-San'an is of course another legendary non-feminist <trms class="trms">posittrms>ion
-it's a masculinist <trms class="trms">storytrms> after all, in its plot

medieval <trms class="trms">narrattrms>ives of woman's image relating to the so-called sexual self-respect---woman always re<trms class="trms">presentrms>ting the <trms class="trms">mattertrms> and the <trms class="trms">materitrms>al
a comparative <trms class="trms">literatrms>ry note on trgt hghlght 1'href='?q=T'>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 <trms class="trms">storytrms>)

trcls class='strcls'>*trcls>this time, he stammers in a <trms class="trms">situtrms>ation <trms class="trms">articulattrms>ed by her

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

trgt hghlght 1'href='?q=T'>Tarsaa <trms class="trms">demandtrms>s him to drink and not to get drunk

سوی خوکان شتافت
San'an's pig-phobia
introducing the pig in a <trms class="trms">birdtrms>'s <trms class="trms">storytrms>
(Hoo<trms class="trms">poetrms> convincing the Nightingale, Nightingale convincing the ...)
the way of the pig

how earthly we are, we, creatures of earth, how <trms class="trms"><trms class="trms"nttrm="metaph,metamorph,metabol,metal">metatrms>phystrms>ics 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-<trms class="trms">systrms>tem or to desist, nondialectical negativity


‘<trms class="trms">Integrtrms>ieren’ is <trms class="trms">transittrms>ive <trms class="trms">verbtrms>, has a virtual object or project


I am in Ausländerbehörde, the op<trms class="trms">posittrms>e of hospitalitytn'>?
I have to stop talking op<trms class="trms">posittrms>e <trms class="trms">rhetortrms>ic. but this was not an antithesist op<trms class="trms">posittrms>e, it was a logical op<trms class="trms">posittrms>e


violences of the encounter


San'an's <trms class="trms">lovtrms>e-<trms class="trms">storytrms>, ist nicht das trgt hghlght 1'href='?q=T'>Tristan und Isolde


‘watch your back’ is the o<trms class="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigtrms>in of sur<trms class="trms">veiltrms>lance {tn'>?}


I hope I am not <trms class="trms">intertrms>rupting here!


killing it and <trms class="trms">lovtrms>ing it completely
so we are working (fine-tuning) on phantom noises, parasite e<trms class="trms">missiontrms>s, 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

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

and I like to hand myself over




how flowers make sense
(in Iranian <trms class="trms"><trms class="trms"nttrm="metaph,metamorph,metabol,metal">metatrms>phystrms>ics)


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



the <trms class="trms">rhetortrms>ic of desire in San'an, how is it (<trms class="trms">techntrms>ologically{tn'>?}) determinedtn'>?

how are things turned on or turned off in San'antn'>? etc.
<trms class="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigtrms>ht at the moment that he is allegedly at an e<trms class="trms">missiontrms> of a dream/call, we are dealing (or working) with (the essence of) <trms class="trms">techntrms>ology, there is a mitten, trans-mitten, transmitting, e<trms class="trms">missiontrms>, 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!!!tn'>?’ both in the sense of the ‘blame’ and the <trms class="trms">ontotrms>logy -and <trms class="trms">epistemtrms>ology of it]
(how is he revealed to experience the call of a more primal truthtn'>? 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 <trms class="trms">missiontrms>---but that is also a problem;

trcls class='strcls'>*trcls>footnote: Hafez trying to <trms class="trms">travetrms>l (to India, invited kindly with Reiseftn'>?rderung (<trms class="trms">travetrms>l 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 class="trms">languagetrms>-turn, when he is standing in front of the stormed sea, he turns back to Shiraz via a <trms class="trms">tropetrms>: چه آسان می‌نمود اول غم دریا به بوی سود غلط کردم که این طوفان به صد گوهر نمی‌ارزد it is so <trms class="trms">intertrms>esting how scholars and other <trms class="trms">poetrms>ts are trying to map out his itineraries and <trms class="trms">travetrms>l-logs from his <trms class="trms">poetrms>sies/<trms class="trms">poiestrms>is. the nagging and <trms class="trms">complaintrms>ing 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 <trms class="trms">travetrms>l, he falls with face down in the mud. for him also <trms class="trms">travetrms>l is traumatic, disruptive, and unpleasant; so they both <trms class="trms">demandtrms> another kind of trans-portation <trms class="trms">systrms>tem)

trgt hghlght 1'href='?q=T'>This essence of <trms class="trms">techntrms>ology, however, has nothing to do with <trms class="trms">techntrms>ology. [this is Heideggerian] --> <trms class="trms">techntrms>ology is a means of revealing the truth

[it is not the machines that we are at the age of <trms class="trms">techntrms>ology]

<trms class="trms">techntrms>ology is always sent to us
in the <trms class="trms">storytrms> we are shifting to ‘send’, this doesn't mean that there is a sovereign subject or some <trms class="trms">sorttrms> of powerful ‘self’ <trms class="trms">respontrms>sible or at the o<trms class="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigtrms>in of the productive behavior (or accomplishment) of San'an.

(Heidegger collects:)
destiny, destination, schicken, Schicksal, etc.
[ungeschickt =tn'>? destinal fai<trms class="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurtrms>e, existential <trms class="trms"nttrm="cluster,club">clutrms>msiness]
[<tld>~tld>= <trms class="trms">techntrms>ical error in destiny. what is the future of errortn'>?]
ts class="lsts lst1">•<trms class="trms">accordtrms>ing to Heidegger, nobody (that also means everybody) can take at the wheel and make certain determinations and destinations
ts> [this is his notion of ‘<trms class="trms">techntrms>e']
ts class="lsts lst1">•trgt hghlght 1'href='?q=T'>Tarsaa's <trms class="trms">techntrms>ical <trms class="trms">intertrms>vention in San'an's destiny
ts>
that is another kind of relatedness
you can no longer talk about the subject or object
is one in full possession of oneselftn'>? 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 <trms class="trms">authortrms>ity, “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 <trms class="trms">pervtrms>asive sense of not-belongingtn'>?---> longing (‘vermissen’) the girl/trgt hghlght 1'href='?q=T'>Tarsaa, ‘to-be-longing']
(why) am I in<trms class="trms"nttrm="cluster,club">clutrms>ding in my speech a <trms class="trms">rhetortrms>ic of faltering, self-sabotage, and hesitationtn'>?
should I edit it outtn'>? edit out the “I am not sure,” those self-canceling moments from my expressiontn'>?
(my) thoughts deserve elegant expressionstrcls class='strcls'>***trcls>


<trms class="trms">translattrms>ion of this is very unstable


(<trms class="trms">accordtrms>ing 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

tl="font-size:133%">

(these are rather ‘stances,’ than ‘<trms class="trms">questiontrms>s’)
how the <trms class="trms">poetrms>t-Attar serves or is served-up and devastated by <trms class="trms">languagetrms>tn'>?



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

-who are you destroyed bytn'>?

whom am I addressing heretn'>? but more importantly, who or what is addressing me here (in a non-<trms class="trms">presentrms>t way)tn'>?

San'an/girl/pig assemblage
(what is girl in San'an <trms class="trms">storytrms>tn'>? what is <trms class="trms">animaltrms> in San'an <trms class="trms">storytrms>tn'>?)

San'an <trms class="trms">storytrms>, as a scenography of sexual <trms class="trms">differentrms>ce, and ironization (to make ironic in appearance or effect) of <trms class="trms">questiontrms> 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 trcls class='strcls'>*trcls>fai<trms class="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurtrms>etrcls class='strcls'>*trcls> (--'to be fixed’ =tn'>? o<trms class="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigtrms>in 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 <trms class="trms">poetrms>mtn'>? where is the shadow, the deadtn'>?]


basically here, I am opening a Derridean expanse

tl="font-size:137%">
...full path of an another Dasein


how far we are from the Dionysian Athenian festivaltn'>? Lenaia, a dramatic/comic competition of theatrical plays; coming from those of aristocrats and wine-mixing rituals, also where Aristophanes was testing ground and <trms class="trms">stagtrms>ing and test-audiencing his first texts and performances. and his “trgt hghlght 1'href='?q=T'>The Frogs” won the first prize actually. it is a divine comedy, Dionysus and Heracles etc. and it has a choral <trms class="trms">intertrms>lude sung by the eponymous chorus of frogs, a frog greatest-hits. (on his trip to Rome, is San'an going to encounter other textstn'>?)

the concept of ملامتگر (Malamatgar) or the one who reproaches is both central and peripheral in the <trms class="trms">storytrms> of Sheikh San'an. the <trms class="trms">storytrms> 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 class="trms">storytrms> tells that when your <trms class="trms">lovtrms>e falls in <trms class="trms">lovtrms>e 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 <trms class="trms">narrattrms>ive. the fai<trms class="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurtrms>e to change and ability to experience that other perspective, and in this case the perspective of your significant-other's <trms class="trms">lovtrms>er, results into the inception of ملامتگر and that is de<trms class="trms">finittrms>ional for the formation of ملامتگر: someone who refuses to exercise another selfhood.

(trgt hghlght 1'href='?q=T'>This is also the central theme of the <trms class="trms">storytrms> of Moses and Khidr, in which Moses as follower/student becomes the Malaamatgar thing. trgt hghlght 1'href='?q=T'>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 <trms class="trms">materitrms>al and his boner direction or erection is towards which psychoanalytically accessible phallustn'>?

His students are following him backward!tn'>?
“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 apprenticeshiptn'>?]


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/watchtn'>?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)



<trms class="trms"><trms class="trms"nttrm="metaph,metamorph,metabol,metal">metatrms>phystrms>ical strongholds


to keep partnership with the self, so that there can be <trms class="trms">intertrms>locution
(is this a possible ethicstn'>? --> “can I live with myselftn'>?”)


tl="font-size:130%">
what one does to be in consonant with what one is capable of.
(then what is voweltn'>?) vowel switches tracks and resonations
...penetrative grasp of a text, discovery and recreative apprehension of it life-forms, is impossible to paraphrase or <trms class="trms">systrms>tematize.


[Michel Serres]


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


to <trms class="trms"nttrm="already,spread">readtrms> X, is <trms class="trms">literatrms>lly, to ‘prepare’ to <trms class="trms"nttrm="already,spread">readtrms> X


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


words, the guardians of meanings, are not immortal.


tl="font-size:129%"> note on <trms class="trms">histotrms>ry: <trms class="trms">pasttrms> is a <trms class="trms">languagetrms> construct, that the <trms class="trms">pasttrms> tense of the <trms class="trms">verbtrms> is the sole guarantor of <trms class="trms">histotrms>ry.


to <trms class="trms"nttrm="already,spread">readtrms>: is to restore all that one can of the immediacies of value and intent in which speech actually occurs.


What <trms class="trms">materitrms>al reality has <trms class="trms">histotrms>ry out of <trms class="trms">languagetrms>tn'>? --the trgt hghlght 1'href='?q=T'>Tasawwuf/trgt hghlght 1'href='?q=T'>Tasavof <trms class="trms">verbtrms>al <trms class="trms">lingutrms>istic tradition

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


(protest against “was” ---> trw'>go to Attar's <trms class="trms">relationtrms> with biographies in trgt hghlght 1'href='?q=T'>Tazkirat al-Awliya---he mobilizes ‘personalities’ in the index of his mystic-<trms class="trms">ontotrms>logical <trms class="trms">demandtrms>---what would the lack of personality take revenge of Attartn'>?)
we are at a tense <trms class="trms">pasttrms> and a <trms class="trms">pasttrms> tense---prison tense


..the landscape <trms class="trms">compostrms>ed by the <trms class="trms">pasttrms> tense, the semantic organization of re<trms class="trms">memtrms>brance... is styled and <trms class="trms">codtrms>ed <trms class="trms">differentrms>tly by cultures. --miniature illustrating San'antn'>?


trgt hghlght 1'href='?q=T'>The <trms class="trms">verbtrms>al icon made up of all successive <trms class="trms">translattrms>ions of <trms class="trms">Greektrms> <trms class="trms">literatrms>ture and philosophy has oriented fundamental movements in Islamic feelings --Farabi, Mirdamad, etc.


My <trms class="trms">translattrms>ion of classics is not out of a vital compulsion for immediacy or precise echo. I am not trying to build my own resonant <trms class="trms">pasttrms>. Myth of the ‘true <trms class="trms">pasttrms>’...  <trms class="trms">differentrms>t perspectives can co-exist and b<trms class="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurtrms>


the <trms class="trms"><trms class="trms"nttrm="metaph,metamorph,metabol,metal">metatrms>phystrms>ics of the insult, in San'an <trms class="trms">storytrms>


I am <trms class="trms">intertrms>ested in the conventions in which texts can be <trms class="trms"nttrm="already,spread">readtrms>, in which a semantic statement can be carried over into someone's own idiom. I am teaching how to re<trms class="trms"nttrm="already,spread">readtrms> texts of Attar and so forth.
I think we have civilization because (we have learned) ‘to <trms class="trms">translattrms>e out of time’



übertr<trms class="trms">agentrms>,
handing down thought <trms class="trms">narrattrms>ive,
something that also depends on transfer of meaning in trcls class='strcls'>*trcls>spacetrcls class='strcls'>*trcls>



San'an's sudden <trms class="trms">intertrms>est in the woman/<trms class="trms">childtrms> (trgt hghlght 1'href='?q=T'>Tarsaa could also be a young boy) reminds us the uniquely vulnerable and creative condition of the <trms class="trms">childtrms>hood

privileged inferiority (of both <trms class="trms">childtrms> and woman)

we are dealing with both <trms class="trms">intertrms>course and discourse


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


...<trms class="trms">communtrms>ication 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'antn'>?

-the breakdowns and <trms class="trms">translattrms>ions in San'an <trms class="trms">storytrms>.
-trgt hghlght 1'href='?q=T'>The sexual <trms class="trms">translattrms>ion and breakdown of <trms class="trms">lingutrms>istic exchange in San'an <trms class="trms">storytrms>.


...having an ‘ear’ for contrasting pressures of sexual discourse or identity


in San'an, man and woman, each respective experience of Eros and <trms class="trms">languagetrms> had set them desperately apart.


In whose idiom, male or female, one can grasp (only) falsehood or menacetn'>?


...as declaimer of my own stifled, tongue



my performance, cor<trms class="trms">respontrms>ding to my level of <trms class="trms">literatrms>cy, and a private thesaurus, part of my subconscious and personal <trms class="trms">memtrms>ories, and using the singular and irreducibly <trms class="trms">specifitrms>c ensemble of somatic and psychological identity.


<thdf class='thdf'>the ideal ofthdf> a totally personal voice, of a unique ‘fit’ between an individual's expressive means and his <trms class="trms">worldtrms>-image, perused by the <trms class="trms">poetrms>ts.


this is not a formal hard-<trms class="trms"nttrm="knowledge,Knowledge">edgetrms>d <trms class="trms">lingutrms>istic relegation, rather a <trms class="trms"><trms class="trms"nttrm="metaph,metamorph,metabol,metal">metatrms>phystrms>ical speculation

trcls class='strcls'>*trcls>note to self: my <trms class="trms">intertrms>est in the ʿAjā'ib al-makhlūqāt (جائب المخلوقات وغرائب الموجودات) is due to the traces it provides into <trms class="trms">verbtrms>al <trms class="trms">literatrms>cy, a living vulgar <trms class="trms">languagetrms> of mix, rather than a dead structure such as Manṭiq-uṭ-Ṭayr (منطق الطیر) of Attar.


Cultures (during Attar'stn'>?) seem to expend on their <trms class="trms">vocabulartrms>y and syntax acquisitive energies and ostentations entirely lacking in their <trms class="trms">materitrms>al lives.
[very <trms class="trms">intertrms>esting point by Serres regarding the <trms class="trms">languagetrms> of mysticism, Attar and others.]



my <trms class="trms">translattrms>ion of Attar, an <trms class="trms">intertrms>linear version of the script, a virtual <trms class="trms"nttrm="search">archetrms>type of <trms class="trms">translattrms>ion

think about the <trms class="trms">presentrms>ce of <trms class="trms">intertrms>preters in the building site -- Kafka's <trms class="trms">literatrms>ture house


Only if men could use <trms class="trms">languagetrms> without perusing meaning to the forbidden <trms class="trms"nttrm="knowledge,Knowledge">edgetrms> of the absolute.


tl="font-size:101%"> ‘a <trms class="trms">poetrms>tic <trms class="trms">vocabulartrms>y of concepts’
‘connections or af<trms class="trms">finittrms>ies’
pursuit of an <trms class="trms">intertrms>-<trms class="trms">lingutrms>a for philosophic discourse


as you can see in this <trms class="trms">writtrms>ing, I am practicing loosening the tight axiom of <trms class="trms">relationtrms> of A<-->B, something other than the predecessor-successor or cause-effect pair (--> this order of structure is coming from <trms class="trms">Greektrms> <trms class="trms">geometrms>tric,) I am trying an unordered order-of-reason that is more reflexive, <trms class="trms">symtrms>metric, and <trms class="trms">intratrms>nsitive. (the construction of the text re<trms class="trms">presentrms>ts each chain incomplete and displaced--Attar knows)
towards a general theory of significant sign

Can we correlate the Persian syntax with the <trms class="trms"><trms class="trms"nttrm="metaph,metamorph,metabol,metal">metatrms>phystrms>ical ambience, <trms class="trms">intertrms>nal divisions, and lyric bias of Persian peopletn'>?


the <trms class="trms">languagetrms>-matrix


<trms class="trms">languagetrms>, informed by energies proper to itself, more comprehensive and timeless than any who makes use of it...


discourse (die Rede) would not be muffled by the ground---we walk erect [Serres]



jede Sprache ist ein Versuch---trcls class='strcls'>*trcls>trial
(Humboldt)
<trms class="trms">differentrms>t <trms class="trms">languagetrms>s penetrate to <trms class="trms">differentrms>t depths
--> (every try is a) starting over with trcls class='strcls'>*trcls>accuracy
ok, we are starting with <trms class="trms">languagetrms> from scratch, here


<trms class="trms">Literatrms>turhaus, house has always been a <trms class="trms"><trms class="trms"nttrm="metaph,metamorph,metabol,metal">metatrms>phortrms> for consciousness


how Attar can become <trms class="trms">intertrms>ested in other lives other that San'an's that are worth livingtn'>?

although we see again and again in Islamic <trms class="trms">socitrms>al order the hierarchical structured <trms class="trms">relationtrms>ships, I like to show the otherwise in mystic stances, and argue that the model doesn't remain static normative from the master-disciple to the <trms class="trms">authortrms>ity and dependence lock, that the master-disciple <trms class="trms">relationtrms>ship doesn't affirm the divine order.
and San'an is also against <thdf class='thdf'>the notion thatthdf> Sufi man is without the need of a feminine principle.
we are <trms class="trms">presentrms>ted with will of the trgt hghlght 1'href='?q=T'>Tarsaa, the destination of San'an, and the <trms class="trms">poetrms>tic re<trms class="trms">presentrms>tation is feminine. the female image is strong. although at the end it has to give up -- she converts to his style. the will of the disciple is not replaced by the will of the guide, the master himself doesn't have a will.


trgt hghlght 1'href='?q=T'>The trgt hghlght 1'href='?q=T'>Tarsaa is su<trms class="trms">pervtrms>ising San'an's diet, sleep, and speech


[I have become more <trms class="trms">intertrms>ested in the term ‘tradition'---and more suspicious of preoccupations such as ‘invention’ as <trms class="trms">moderntrms>ized and capita<trms class="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listtrms> terms.]
tradition: an act of <trms class="trms">memtrms>ory based on a salience-effect of shared knowl<trms class="trms"nttrm="knowledge,Knowledge">edgetrms>
(ein Akt der Erinnerung basiert auf einer Hervorspringen-Effekt der gemeinsamen Kenntnisse)
-there is a sequence (where is the individual terms within ittn'>?)
-my <trms class="trms">storytrms>telling is about: describing <trms class="trms">relationtrms>s of inversion, extension, in<trms class="trms"><trms class="trms"nttrm="cluster,club">clutrms>sitrms>on, analogy, etc. between mythical, lyrical, or even <trms class="trms">scietrms>ntific ‘beings’ that are (1) trcls class='strcls'>*trcls>conventionaltrcls class='strcls'>*trcls> (recognizable repertoire), and (2) trcls class='strcls'>*trcls>closedtrcls class='strcls'>*trcls> (refer to certain predefined <trms class="trms">situtrms>ations and <trms class="trms">symtrms>bols)
==> I work-with and bypass with these aspects in Attar, Hafez, Ajā'ib al-makhlūqāt, etc.


the performance of ‘stop’ in San'an
sign-functions that cannot be stopped

the master-pupil lock
‘locken’ is also to <trms class="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurtrms>e, seduce, etc.


thank you for becoming my students, temporarily
we are not locked, and not necessarily unlocked



what is concealed behind the special effects of the awesome signifier in San'an's <trms class="trms">storytrms>tn'>?


concealed =/= canceled



in Rumi every word is pass-word. you don't <trms class="trms">translattrms>e a password! (fallacy of the <trms class="trms">literatrms>l)


ts class="lsts lst1">•all same-sex <trms class="trms">relationtrms>ships are hierarchical and dyadic (of two, ‘paarweise’ in German)tn'>?
ts> and are based on the cultural diagram of the master-disciple <trms class="trms">relationtrms>ship in Sufi orderstn'>?

Sufi order =/=tn'>? flirtation


mystic, is one mode of subjectivity emerged in the middle eastern thought--- a prototype of closeness and removal.



in Rumi--Masnavi's third <trms class="trms">booktrms>--the un-concentrated Sheikh (- <trms class="trms">storytrms> of Daghughi - شیخ دقوقی) is scandalously abandoned by his devotees. they broke his heart.
[Plot: Daghughi and his disciples are in deep trance beside a beach. a ship comes and sink in a sudden theatrical storm <trms class="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigtrms>ht in front of them, but miraculously the passengers survive. the students check with each other if any of them have prayed for the God's help's redirect to the sinking ship. no, they deduce it must have been their sheikh who saved those people: “he is distracted by the <trms class="trms">worldtrms>.” finally when sheikh comes out of his Namaz he turns his head to <trms class="trms">greettrms> his devotees but only to realize that all of them have left him in silence!]
and then Rumi goes in length in <trms class="trms">differentrms>ces between mud and water. [the “prison” of mud for the water, who “belongs” to the sea, and this is a problem, the mud doesn't want to dry, therefore doesn't let go of the water, and so on.]

what the image of the sinking ship has to do with the anti-clarity movements of the Sufistn'>?

[and then suddenly: pishe and bishe (پیشه و بیشه)---lion comes out of Pishe(business)/Bishe(bushes) and rubs you off,
bush =/= Arbeit/<trms class="trms">crafttrms>]

also, Rumi opens the mechanics of praying in this <trms class="trms">storytrms>, he <trms class="trms">zootrms>ms in Daghughi's performance, the God is force-handed into the pray, because the human prayer temporarily simulates nonexistence (فنا). the prayer becomes Nichts and God takes over both the <trms class="trms">posittrms>ion of pray and its answer; a site where subjectivity evacuates, almost mechanically generates a form of existential void that God functionally cannot not fill (ejabat - اجابت).

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what time is it for San'antn'>?



switching time-zones, from quotidian to <trms class="trms">ontotrms>logical, transcendental to experimental
his jet-lags
exhaustion of <trms class="trms"><trms class="trms"nttrm="metaph,metamorph,metabol,metal">metatrms>phystrms>ics
I am just alerting to a <trms class="trms">relationtrms> to time
(in a nano-structural sense---are we fasttn'>? slowtn'>? which all these classics and texts I am having here.)
how much time does it take or took for the San'an's students to hook on to the teacher, to the difficult philosophical program that each teaching brings to beartn'>?

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I am introducing myself to you

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t class='at'>#t>postscript


trcls class='strcls'>***trcls>Sheikh-e-San'antrcls class='strcls'>***trcls> was the Old trgt hghlght 1'href='?q=T'>Testament itself.
It was the perfection of whatever I say more.
(Was it she at the shrine of Sheikh for fifty yearstn'>?)
Cherished with the perfect disciple. He was a disciple of Kahn, wow!! (Who is Kahntn'>?!)
Ministry of austerity, day and night; Practiced the <trms class="trms">scietrms>nce of offspringing. Discovering the (secrets that are) revealed. trcls class='strcls'>*trcls>It was a life to be hadtrcls class='strcls'>*trcls> --->
But Hajj (حج) had claws instead of proximity. He didn't know the meaning of his own extremes. He did not sink any traditions.
ts class="lsts lst1">•Leaders who were in <trms class="trms">lovtrms>e with him. <trms class="trms">Wildtrms>-gar<trms class="trms">denstrms> (باغ وحشها) themselves came to him.
ts> trcls class='strcls'>*trcls>A hairy spiritual man.
trotzdem, in greatness and strong <trms class="trms">authortrms>ities, her illness and frailty found him. And he correctly found the tail—people's de<trms class="trms">finittrms>ions of joy and sorrow—an idol in the <trms class="trms">worldtrms> of <trms class="trms">scietrms>nce.


Although the Qibla (قبله) his compass could see, a few nights on still he dreamed, ‘the fall of a shrine in the center.’
Betty would prostrate on durability. (Who is Bettytn'>?).
He woke up to the <trms class="trms">worldtrms> as a lifesaver, and said, “Alas!” this time, “Joseph has succeeded to fallen well.”
From behind he felt a difficult way.
“I do not know going from this sad life” John said “that if I left the faith.” Not a ton on all the ground.
Where is such Qibla---in Ratn'>? (trgt hghlght 1'href='?q=T'>The ancient Egyptian sun god.)
While it cut the <trms class="trms">posittrms>ion of the Qibla, it became for him a clear path to justice, and stayed in the Qibla---after it opened.
trgt hghlght 1'href='?q=T'>The punishment be upon him in arboreal (baumig, grotn'>?artig), period.
trgt hghlght 1'href='?q=T'>The master grew suddenly old. “With my trcls class='strcls'>*trcls>disciples” said he.
Go now! trgt hghlght 1'href='?q=T'>The early Going.
trcls class='strcls'>****trcls>It soon turned out to be ‘devised.’
Authentic disciple of four hundred men, were regressed on a journey with him; Would go to the ends of the Ka'ba (کعبه).


trgt hghlght 1'href='?q=T'>Time, variable, filter -- they go from head to foot.
It turned out to be an awesome perspective—a girl sitting on the landscape. (trgt hghlght 1'href='?q=T'>This is trgt hghlght 1'href='?q=T'>Tarsaa - ترسا).
trcls class='strcls'>**trcls>christian girl and with spiritual attributes.trcls class='strcls'>**trcls>
In Ra hundred knowl<trms class="trms"nttrm="knowledge,Knowledge">edgetrms> Allah spirit. trgt hghlght 1'href='?q=T'>The sphere of Jamal Hassan trgt hghlght 1'href='?q=T'>Tower. It was sunny but she envied sun-shots. Yellow coy <trms class="trms">lovtrms>ers in him. Here, heart of the hair of a dead <trms class="trms">lovtrms>er, around her hair gripping the <trms class="trms">imagitrms>nation. Here, pomegranate lives on the <trms class="trms">beasttrms> that pees in Ra.
Saba (صبا) did her hair because he did Moshkin (مشکین). (He didn't have time to do the hairtn'>? --but the wind fucked up my hair.)
Leaving it wrinkled up a trait. Both eyes was int<trms class="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigtrms>ued <trms class="trms">lovtrms>ers. Both eyebrows to arch, was good. Comments on Valentine's Day because he flocked. John, the coquetry, with his arch ‘flocked,’ was closed on May—eyebrow <trms class="trms"nttrm="search">archetrms>d. Kurdish, she collected hundreds of human lives that would follow the twists of hair.
LOL, it was thirsty. Feed the hungry <trms class="trms">worldtrms>!
“N has thousands of labels,” said he, because of the lack of his mouth. trgt hghlght 1'href='?q=T'>That said, if it was not any of her mouth.
Such eye needle-like mouth around the midst of package. Simin (سیمین) was well on his chin. (It was like Jesus in his speech.)
Joseph chewed hundreds of thousands of heart with blood. First in what he overthrew: Hair jewel in the sun.
Burqa (برقع) on the black <trms class="trms">poetrms>try---trgt hghlght 1'href='?q=T'>Tarsaa took her Burqa off ==> Laden Sheikh's fire broke out, because of the Burqa and the following.
trgt hghlght 1'href='?q=T'>Then a hundred dead in their hair.
Although the Sheikh was far in advance, (Betty will <trms class="trms">lovtrms>e this:)
ts class="lsts lst1">•Loss of the hands and feet
ts> ts class="lsts lst1">•Loss of fire, place, and left (=/= <trms class="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigtrms>ht)
ts> All his heads were destroyed. He was melancholy because of the smoke from the fire. <trms class="trms">Lovtrms>e that girl! -looting her life.
trcls class='strcls'>**trcls>Hair on his faith (as disbelief.)
Sheikh's faith and christian purchase!tn'>? God bless scandal! <trms class="trms">Lovtrms>ing that christian girl is going to be difficult.


When the disciples saw this meadow--in<trms class="trms"nttrm="cluster,club">clutrms>ding the works of Kafdast (کفدست) that they knew--head-to-head were astonished at his job. trcls class='strcls'>*trcls>trgt hghlght 1'href='?q=T'>They were toppled and strandedtrcls class='strcls'>*trcls>
Gave him very good advice, no treatment.
<trms class="trms">Lovtrms>e turbulent was keyboard command. Aroma therapy to treat paintn'>?! It was still day to night long.
From eye view, his mouth remained open, because of dark night in black <trms class="trms">poetrms>try, because it was hidden under the sin of unbelief.
Each LED erupted the night. Old moons came out of it. His <trms class="trms">lovtrms>e that night was one hundred more. trgt hghlght 1'href='?q=T'>The hearts of the <trms class="trms">worldtrms> took their time together. trgt hghlght 1'href='?q=T'>The soil took over and broke mourning. Not a dream, not a trail. “Lord of the day!,” said he, “Do not burn candles or fairies. At night I was in great austerity. Such a burning pile did not sleep. trgt hghlght 1'href='?q=T'>The liver bloods to the heart, and not backward. Such a pile of Kill and Burn! Hindi night, burn and kill my day! In<trms class="trms"nttrm="cluster,club">clutrms>ding in the blood of the night of <trms class="trms">wondertrms>...”
trgt hghlght 1'href='?q=T'>The head remained steeped in blood.
Every moment of the evening that passes was ‘a percentage’ of ambush;
Day and night, he was fighting liver.
Day and night I was in fever.
“trgt hghlght 1'href='?q=T'>Tonight I am his day. I paid for the day, for this made my night. trgt hghlght 1'href='?q=T'>Tonight will be a day or <trms class="trms">pasttrms>e. God would not be burning candles.” Or <trms class="trms">pasttrms>e this ambush several signs. Ambush until the Day of Judgment. trgt hghlght 1'href='?q=T'>The shames in the curtains. trgt hghlght 1'href='?q=T'>The night is long and black as her hair. Hundred people <trms class="trms">intertrms>cepted him. trgt hghlght 1'href='?q=T'>Tonight, of melancholy, <trms class="trms">lovtrms>e will burn. (Wait to pull down the skirt.) Resolve a wake or help me in his <trms class="trms">lovtrms>e! “Where is the <trms class="trms">scietrms>nce in my mind that was beforetn'>?” Or to bring in more reasontn'>? trcls class='strcls'>**trcls>I hand over the <trms class="trms">childtrms> to the territory of Ra. (Or the subsoil and the blood.) “Where is the <trms class="trms">intertrms>rogator's alleytn'>?” Where is hand to take a blowtn'>? Where is force until I criedtn'>? Where is intelligence to alert my makertn'>?!”
Wisdom and patience go go go, sweethearts! trgt hghlght 1'href='?q=T'>This is what <trms class="trms">lovtrms>e is, what pain does is this.


Companions---to console him---were gathered that night. He cried.
t class='at'>@t>trgt hghlght 1'href='?q=T'>The companions said to him: “Apply skip to this obsession!”
t class='at'>@t>Sheikh said to them, “trgt hghlght 1'href='?q=T'>Tonight is liver blood!” he continued, “I washed a hundred times while unaware of it.”
t class='at'>@t>Where the other one said, “trgt hghlght 1'href='?q=T'>Tasbih! (تسبیح) When was that you worked <trms class="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigtrms>ht without trgt hghlght 1'href='?q=T'>Tasbih!”
t class='at'>@t>Sheikh said, “I closed up on trgt hghlght 1'href='?q=T'>The Round of trgt hghlght 1'href='?q=T'>Tasbih.”
t class='at'>@t>trgt hghlght 1'href='?q=T'>The other one said, “If you go wrong, repent!”

t class='at'>@t>“I had repent of:
ts class="lsts lst1">•the honor of Sheikhness
ts> ts class="lsts lst1">•the honor of <trms class="trms">presentrms>t
ts> ts class="lsts lst1">•the honor of impossible.”
ts> t class='at'>@t>Another one said, “Knower of secrets, jump and pull your selves together behind the prayer!”
t class='at'>@t>trgt hghlght 1'href='?q=T'>Told the journa<trms class="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listtrms>s, “trgt hghlght 1'href='?q=T'>The altar, to be anything other than my prayer!”
t class='at'>@t>trgt hghlght 1'href='?q=T'>The other in a long saddle he said, “Reach in privacy and worshiped God now!”
t class='at'>@t>“If my idol were here, would be beautiful to bow down before him.” said Sheikh.
t class='at'>@t>Another one asked him, “Do you not penance Islamic is a breath of paintn'>?!”
t class='at'>@t>Said, “One regret is that I was not previously so in <trms class="trms">lovtrms>e.”
t class='at'>@t>Another one said to him “trgt hghlght 1'href='?q=T'>That is the way of duty. trgt hghlght 1'href='?q=T'>The heart suddenly shots up.”
t class='at'>@t>“If she told that way--trgt hghlght 1'href='?q=T'>Tough-trgt hghlght 1'href='?q=T'>Talk--because of his chest and beautiful.” He answered.
t class='at'>@t>Another one said to him “Whom became aware of that old would says it was misled in this way.”
t class='at'>@t>“I said the very name of the pretender; Glass tooooo the Stone!!”
t class='at'>@t>Another one said to him that “old friends, you left half of the heart.”
t class='at'>@t>He said that “since trgt hghlght 1'href='?q=T'>Tarsaa was a good kid, heart suffered from this and not ignored it.”
t class='at'>@t>Another one said to him that “to make friends, tonight we open up towards the Ka'ba.”
(trcls class='strcls'>**trcls>If the Ka'ba was not told sooner.)
t class='at'>@t>“My Ka'ba in late sober drunk...”
t class='at'>@t>Said another one, “trgt hghlght 1'href='?q=T'>This time a determined way, in temples I sit and beg my pardon.”
t class='at'>@t>trgt hghlght 1'href='?q=T'>The journa<trms class="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listtrms> said on its doorstep, “it is Will's apologize that hurts me.”
t class='at'>@t>Another one said to him “that hell is <trms class="trms">intertrms>cepted. Man is hell!”
t class='at'>@t>“If Hell is the way,” I said it, “Seven of Hell, burn me a sigh!”
t class='at'>@t>Another one said to him “that the hope of heaventn'>? Go back and repeat saddle evil!”
t class='at'>@t>Said the man, “Is a paradise on nowtn'>?! (of course!) - it is paradise this dormitory.” (--> Naaaareh)
t class='at'>@t>Another said to him that “the shame of the <trms class="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigtrms>ht with Godtn'>?!”
t class='at'>@t>Said, “trgt hghlght 1'href='?q=T'>The fire in my <trms class="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigtrms>ht.”
t class='at'>@t>“trgt hghlght 1'href='?q=T'>That is...” another one resident said to him “Go! Open a believe that is believing!”
t class='at'>@t>“But I <trms class="trms">wondertrms> blasphemy!” replied Sheikh, “Faith disbelieves faith.”


Because he did not speak work, that was the end of treatment.
Woman wave the curtain hearts blood-glucose.
What comes to your meeting un<trms class="trms">foldtrms>s... Leave days, with golden shield. Hinduism night to cast the razor head. Proud the other day. It was like a sea of light absorbing Fountain Creek.
Sheikh quiet in alley of the building, working with street dogs. Stayed on the ground and sat released. Such was the-hair-in-the-mouth. Finished up closeness day and night in his dormitory.
He waited for the sun.
Became ill.
(Soil was the idol bed in his dormitory.)



trcls class='strcls'>*trcls>trgt hghlght 1'href='?q=T'>The girl was aware of <trms class="trms">lovtrms>e.
Made a journa<trms class="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listtrms> of herself, “What patrol!” said Sheikh restless, who have drunk of the wine of idolatry.
christians meeting in dormitories.
Sheikh confessed to the Other, “Each blow brought a frenzy.” Sheikh asked him, “Do you see the tonguetn'>? trgt hghlght 1'href='?q=T'>Therefore stolen hearttn'>? Open heart or make me! I need perspective! Several prayers!”
Cute and proud of the passage: a str<trms class="trms"nttrm="danger,stranger">angertrms> <trms class="trms">lovtrms>ed and followed.
“John commands thee, although you will still die of lips.” “...of lips and my losses and profits.” Kuwait was the destination and to me. Do not twist the hair in shit! trgt hghlght 1'href='?q=T'>The shit in my eyes is not drunk.
(Heart on fire, seen as clouds from the top:)
“Without you, my life<trms class="trms">worldtrms> begs the center of you. Like rain that clouds the eye, without you, I eye the eye. Devil has seen the stay in mourning, the sighting of view—grief remains.”
I saw there was not one inch. I did not like the blood of the wine on the lives of the poor man.
He kicked several men's conquests. I refuse waiting time.
trgt hghlght 1'href='?q=T'>There was trcls class='strcls'>**trcls>the time of start-stoptrcls class='strcls'>**trcls>. Each night, the ambush of my life. John played on your campus.
Power is on the ground, my life.
I survive rates of cheap dirt.
“Some moan on power, in the opener, but I blow to the self-confidant ‘now.’”
Sunny---from as far away as you think. Although such Sheikh of <trms class="trms">anxitrms>ety jammed in the sun.

Gordon went under to earn some. Yes, it is lost, from the head down.
I burned the ground. Fire burned the universal soul.
Flowers left at the foot of your <trms class="trms">lovtrms>e. Your enthusiasm on the left hand. trgt hghlght 1'href='?q=T'>The dream of my life: a few more of you, hides from me.
Said the girl from the age of idiocy, “Construction camphor and shroud now!” Because not attuned to cufftn'>?
“Patrol, not going to the gametn'>?! In determination I am better than you! When will you find the kingdomtn'>?! Because you will not find b<trms class="trms"nttrm="already,spread">readtrms>.”
Sheikh said to him “tell another hundred thousand. I do not work but with your grief.”
<trms class="trms">Lovtrms>er, young or old, impact on every heart that will <trms class="trms">lovtrms>e her.
if you are the women, you must have four cards:
tsrd class="lstsrd">1. false prostrates before idols
tsrd> tsrd class="lstsrd">2. burn into Qur'an
tsrd> tsrd class="lstsrd">3. see drinking-alcohol
tsrd> tsrd class="lstsrd">4. observe the faith
tsrd> (Sheikh's speech got possession of alcohol)
And the other threetn'>? I do not know.
What is this that you said to trgt hghlght 1'href='?q=T'>The Other/Girltn'>?---Hands should be washed of parcels of Islamtn'>?
He did not paint his sweetheart. He does not <trms class="trms">lovtrms>e a flavor more than her's. Sheikh said to him that “if I command petty lives the circle of hair on throat...” Said, “Rise and come and drink wine!” Like to drink winetn'>?--Come in roaring!

trgt hghlght 1'href='?q=T'>They took Sheikh to the late magi (a pre-Zoroastrian form of priesthood) as disciples came in screaming...
“Fire!” “<trms class="trms">Lovtrms>e him!” “trgt hghlght 1'href='?q=T'>Take the water!” etc.
(trgt hghlght 1'href='?q=T'>Tarsaa takes over this time, and did not mind a bit of intelligence, off the tail.)
Following his assistant, drinking, and the use of their work---because there was a wine, <trms class="trms">lovtrms>e, and sweetheart---it was one hundred thousand. Sheikh saw tooth as the opponent. Pomegranate Sheikh see his smiling trick, fire of passion in his life. Flood bloody hand. trgt hghlght 1'href='?q=T'>The will of the winds and <trms class="trms">writtrms>ing.
trgt hghlght 1'href='?q=T'>The circle of her hair in his ears.
Notes of proximity hundred ballads in <trms class="trms">religtrms>ion.
Professor was too much <trms class="trms">memtrms>orizing the Qur'an. He went on to claim he was bragging--recalled from trcls class='strcls'>*trcls><trms class="trms">memtrms>ory--the reasons that wine pumped away, Khomr (خمر), whatever that means. Clean slate blasted his con<trms class="trms">scietrms>nce--<trms class="trms">Lovtrms>e the <trms class="trms">Beasttrms>! trgt hghlght 1'href='?q=T'>The general went to be cleared.
Sheikh, because he was drunk, not forced to <trms class="trms">lovtrms>e, he was a passionate kind of sea of life.
I saw these in the hands of the drunk fetish.
-Because of the Sheikh, hearts and hands could eattrcls class='strcls'>*trcls>
Until then that suddenly he asked her neck --> “Oh man! Claimed in <trms class="trms">lovtrms>e, not meaningful, only if you <trms class="trms">lovtrms>e walking on hard assets, <trms class="trms">religtrms>ion bending the hair of assets, such Zolf (زلف) does not walk in disbelievers. <trms class="trms">Lovtrms>e do not come lightly.”
Bless was not compatible with <trms class="trms">Lovtrms>e. <trms class="trms">Lovtrms>e makes retention (حافظه) blasphemy.
“If you follow me, you're unbeliever. With my hand on my neck. Will not hang around here, you followtn'>?!”
Sheikh's <trms class="trms">lovtrms>e have happened to have no enoughs. It happens to be the heart of neglect.
He was drunk at the time. A breath of her head did not exist intoxicated. trgt hghlght 1'href='?q=T'>The foot and the hand could not implement themselves and exposed him: a person—he was a christian.
(Operating harvest, very old, be<trms class="trms">wildtrms>ered as Sheikh's compass.)
(trgt hghlght 1'href='?q=T'>The old and young <trms class="trms">lovtrms>e. Who can be <trms class="trms">presentrms>ttn'>?)
-----It followed the devastation of lost and drunk. Drunk, and was gone because of lost <trms class="trms">lovtrms>e. I call that <trms class="trms">skiltrms>led impatient. What do you want me to saytn'>?! trgt hghlght 1'href='?q=T'>The pagan consciousness burn the Qur'an's idol, drunk drunk!tn'>?
Said his girl “this time, my man! Previously you were raw in <trms class="trms">lovtrms>e, with wishing patrols; now baked well as a goat, done!”


trgt hghlght 1'href='?q=T'>The news came close to christians, that ‘Sheikh took his soul!’ may he rest in peace.
trcls class='strcls'>*trcls>trgt hghlght 1'href='?q=T'>The late Sheikhtrcls class='strcls'>*trcls> was drunk-around and was then said to be around the squares. Fire knocked at the door and was working on. trcls class='strcls'>***trcls>Heart released the <trms class="trms">religtrms>ion itself.trcls class='strcls'>***trcls> Ka'ba not to mentioned to the Sheikh; (after several years of good faith.) christian girl will <trms class="trms">lovtrms>e his work.
It was not conscious pagan.
So looked drunk, drunk worshiped idols. Enough! Center of Khomr! People who leave the <trms class="trms">religtrms>ion---without doubt this is the mother of all vices. Sheikh said that “the girl remained a sweetheart. All that has been said and what remains, Khomr ate!” Worship the idol of <trms class="trms">lovtrms>e! I saw one inch of <trms class="trms">lovtrms>e, and so Sheikh (would be exposed.)
Nearness was struggling to open the year Secret sea wave was in my heart.
Chest particle seek <trms class="trms">lovtrms>e from ambush.
Ka'ba gave birth to Don Juan's <trms class="trms">lovtrms>e: prominent wander unseen <trms class="trms">lovtrms>e.
It was all a bit too much.
Who are you going to get metn'>?
Contact your building, because it is the principle.
I was connected to hope.
Contact finds trgt hghlght 1'href='?q=T'>The Familiar.
trcls class='strcls'>*trcls>Find a burn in trgt hghlght 1'href='?q=T'>The Separation!
Open the old! Girl said, “Heyyy ‘captured,’ my cabin is expensive and very poor for you! Gold and silver should know about me. When the wireless gold separates the fibers of the head, the sun shall be a person. Wait and be a Man!”
Sheikh said, “A tall cypress wire! trgt hghlght 1'href='?q=T'>To the head! trgt hghlght 1'href='?q=T'>Testament has no good. But you do not have one beautiful Negar (نگار). Finally, keep hands off these practices. Each tail of another type of tail. It had your blood without you. I was working on you. It was <trms class="trms">intertrms>cepted. ...were in <trms class="trms">lovtrms>e with each: Infidelity and Islam and loss and profit. You wait a few days. You did not like that with me. trgt hghlght 1'href='?q=T'>The friends turned against me, enemies of my soul. ‘He is such and such,’ because I am. Die was not me and not die, because I am. I'm an excellent <trms class="trms">naturtrms>e---with you in Hell without you in Heaven.”


trgt hghlght 1'href='?q=T'>The sequel came because Sheikh, man, hell burned that month of her pain, said an unfinished ‘ever’. “I now keep racing pigs a year.” A year has passed, both together. trgt hghlght 1'href='?q=T'>To share in the joys and sorrows of life.
Sheikh's commands will give pigs a year. In hundred pig's anywhere, around dead pigs. You're a nobody, so that's no suspicion.
He was an old-enough risk.
---trgt hghlght 1'href='?q=T'>This risk is within each person.
Meal, that comes out of head's trip. If you are aware of their pig-finals: a hard excuse, that the Ra-man is final.
If you step on the path of forbidding the working-man, (both Betty and nose pig hundred thousand,) catch pigs!
Idols burning trgt hghlght 1'href='?q=T'>The ‘Why’ of <trms class="trms">Lovtrms>e.
Sheikh shows notorious <trms class="trms">lovtrms>e.


...also unable so, center of John unable to stay down. Because it caught him, of his help. He fled as ‘trgt hghlght 1'href='?q=T'>The Bad.’
In sadness he took over the territory. (Was helping Among the chest.) Sheikh was al<trms class="trms"nttrm="already,spread">readtrms>y at work, loose: “trgt hghlght 1'href='?q=T'>Today we are going to open the Ka'ba.”
What is the command that must be said in secrettn'>?
ts class="lsts lst1">•Or all the time, because you're christians.
ts> “We, scandal of his altar. We, dislike such you, alone. Around us you are like barbarism. You also fail to your vision.” Saddle earth, early escape without you.
We stayed at the Ka'ba's sit.
Sheikh's speech of my life was filled with pain. “Want to go anywhere soontn'>?” asked me, “I'm late, girl!” John increases all my fears.
(Both were inspired by my grief. )
Friends return, to what it will be. If they ask of us, <trms class="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigtrms>ht. From wandering to where is commonplace. Blood filled his eyes and mouth full of venom. Remained in the mouth of the dragon. Reza does not have any infidel in the <trms class="trms">worldtrms>.
Ironically, old Islam is christian in her hair away.
He was a master of reason and <trms class="trms">religtrms>ion.
His hair became ring in his throat.
“If someone is blaming me, tell him ‘Falls in this period are far. In such period, note the dead!’”
No one is safe from deception and d<trms class="trms"nttrm="danger,stranger">angertrms>, the pigs!


Insomuch that cried trgt hghlght 1'href='?q=T'>The Fellowship of Sadness!, the pain of living-shit shift dead.
Eventually they opened the Ka'ba.
John remained in the burning.
trgt hghlght 1'href='?q=T'>Their Sheikh in Rome alone. (<trms class="trms">Datatrms> for the christian faith.)
trgt hghlght 1'href='?q=T'>Then, the astonisheds with life, each one is hiding in the corner.
trgt hghlght 1'href='?q=T'>To assist Ka'ba, Sheikh hit it in the chest.
Devotion was in the hands of the thumb.
Enough was enough. t class='at'>@t>“You were not aware of the sheikhtn'>?! Sheikh's Ka'ba was (because of) the trip! As a disciple of Sheikh you return insteadtn'>?!”
t class='at'>@t>“But Sheikh's deserted house was empty!” Open disciple of Sheikh asked.
Open the Sheikh all the time!
t class='at'>@t>“What happened to him was the center of a tiger. How much weight she came to head himtn'>? christians ‘hair to hair’ is the way of faith in him. trcls class='strcls'>*trcls><trms class="trms">Lovtrms>e loses hair and tattoos forever. (Overall: the arrest of his obedience.) Pork watches him around the middle of the frame, although much on <trms class="trms">religtrms>ion pursued our sheikh, ancient knowl<trms class="trms"nttrm="knowledge,Knowledge">edgetrms> is anew.”


When disciples heard these <trms class="trms">storiestrms>, they surprised. And moan broke out on their gold.
t class='at'>@t>trgt hghlght 1'href='?q=T'>The disciple said “In loyalty neither male nor female, disabled men have a hundred thousand sweetheart and one day to work. If you were his friends, to Sheikh, why did not help him advancedtn'>?!”
Shame wind, was the last of this assistance.
“Could be <trms class="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigtrms>ht and Loyaltn'>? Since its establishment are around the Sheikh's hand, around should be a closed sentence.
Should not be deliberately cut. trgt hghlght 1'href='?q=T'>Tarsaa was the sentence.
trgt hghlght 1'href='?q=T'>This is not to help and agree! You hypocrites!
Each is sweetheart to his sweetheart.
If pagan man should become the fai<trms class="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurtrms>e, can be sweetheart in the hundreds of thousands.
As was Sheikh whale on the palate, in<trms class="trms"nttrm="cluster,club">clutrms>ding the Name and Shame---<trms class="trms">Lovtrms>e the bad name of the base user! t class='at'>@t>trgt hghlght 1'href='?q=T'>They said an inch longer, “Previously we mentioned many times with him, Its determination to have me with him, the joys and sorrows of our soul. Sell and buy piety scandal! Boy, abolish <trms class="trms">religtrms>ion and christians!
Late Sheikh worked on that vision.
He opened one by one, got centered. Because seeing Sheikh's benefit was our help, Sheikh send us return soon. We all looked back on his sentence.” Mystery <trms class="trms">storytrms>...
t class='at'>@t>After, said it disciple to companions, “If you were to work on further---but not the <trms class="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigtrms>ht place for you---in-<trms class="trms">presentrms>ce is your head-to-your-feet. trgt hghlght 1'href='?q=T'>The <trms class="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigtrms>ht to petition, to have in advance.
Any one of the range of the Other is elevated.
When trgt hghlght 1'href='?q=T'>The <trms class="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigtrms>ht restlessly see you---Sheikh's extradition.
If you avoid the Sheikh himself, what was ‘open’ from trgt hghlght 1'href='?q=T'>The-<trms class="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigtrms>httn'>?”


When they heard spokens, of their frustration, a ton of pre-heads.
t class='at'>@t>He said, “now what profit from this shametn'>?! trgt hghlght 1'href='?q=T'>There is work, soon rise up!” t class='at'>@t>“It should be our <trms class="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigtrms>ht's portals. Pour soil in our petitions. We wear the shirt, all the papers. -In the end we all to our Sheikh.”


In<trms class="trms"nttrm="cluster,club">clutrms>ding the Arabs, were leaving hidden day and night, on the <trms class="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigtrms>ht of every one hundred thousand.
Sometimes the pleading shit works lamentation.
As the half-witted shepherd days, anyone official, not eating, not sleeping at night, in<trms class="trms"nttrm="cluster,club">clutrms>ding the half-witted.
Night's half-witted days neither b<trms class="trms"nttrm="already,spread">readtrms> nor water.
trgt hghlght 1'href='?q=T'>The people cry out “Clean!” Ferris was the hard-knock fusion. (Clan's ups and downs.) In<trms class="trms"nttrm="cluster,club">clutrms>ding: wore the black of mourning.
And there, before finally boiled down the line, in pray: throw shooting target!


Half-witted henchmen cleaning after opening night,
(have gone behind his back privately.)
Wind dawn, musk times earnings.
Was discovered--on the manifest <trms class="trms">worldtrms>--Mustafa came to see, like a moon, in two black hair.
On his <trms class="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigtrms>ht shade the sun. One hundred <trms class="trms">worldtrms> dedicated to her hair.
He was walking and smiling.
Harvest was lost!
It is disciple who saw it from a search, “Nabiollah, stuck my hand! Guide-Moon--from whatever deity; my Sheikh was the way that we lost the view.”
Mustafa said so loud, “I got out Sheikh to the s<trms class="trms">traptrms>. trgt hghlght 1'href='?q=T'>Thanks to the activities of their work, with the Sheikh's tail---in advance. Among the late Sheikh and <trms class="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigtrms>ht, it was round a very black dust, trcls class='strcls'>*trcls>since a very long time.trcls class='strcls'>*trcls> He took the dust of the road among the darkness. However, I do not <trms class="trms">intertrms>cede night. He will publish on time. It is now the Ra dust, refused to repent. I am certain that the percentage of the universe of sin spit up a repentance off the way. trgt hghlght 1'href='?q=T'>The wave becomes woman, and wipes away the sin of man and woman.”


trgt hghlght 1'href='?q=T'>The man was intoxicatingly joy.
His roar was vibrant.
Among his companions was aware and determination of the reward that went with people weeping and demon.
As far as was Pig-Sheikh, Sheikh saw the fire---among the well-known restlessness.
trgt hghlght 1'href='?q=T'>The bell around the time was broken through, hats thrown together. Also addressed the christian heart.
Sheikh's companions observed him from afar--saw themselves. (He was wearing the garments of shame.)
trgt hghlght 1'href='?q=T'>The inability from the head to the ground.
Sometimes when the cloud bloody tears, when John's sweet fire curtains burned the shit. trgt hghlght 1'href='?q=T'>The regret in his body burned blood.
Secrets of the Qur'an's wisdom, were washed from head to head, in<trms class="trms"nttrm="cluster,club">clutrms>ding throwing re<trms class="trms">memtrms>ber, of ignorance and misery.
trgt hghlght 1'href='?q=T'>To his own, wept in prostration. Also had goals for blood-stained eyes. Embarrassment was lost in sweat.


Left in grief and joy, before he went wandering all;
trgt hghlght 1'href='?q=T'>The following day, <thdf class='thdf'>thanks tothdf> John reject all,
Sheikh said that, “Having a secret, may be open before the sun is out. Infidelity arose from the meeting of Ra and faith, Roman pagan God-worship, sea wave suddenly passed out.
You want to work the <trms class="trms">intertrms>cession of the Apostletn'>? trgt hghlght 1'href='?q=T'>This time <thdf class='thdf'>thanks tothdf> the <trms class="trms">worldtrms>.”
What a sugar <trms class="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigtrms>ht now! God's grace in the sea, the sun shall obviously know he will turn black. Repentance knows that with several of sin, ignite the fire of his repentance.
Must also in<trms class="trms"nttrm="cluster,club">clutrms>de his burns.


I make <trms class="trms">storytrms> short, its place: Sheikh will open robe.
ts class="lsts lst1">•Went with his companions toward the Hejaz.
ts>
Saw it after, the christian girl, to sleep: in the sun beside him---the <trms class="trms">languagetrms>: “trgt hghlght 1'href='?q=T'>Then walk with Sheikh's center after this time. trgt hghlght 1'href='?q=T'>That is his <trms class="trms">religtrms>ion, her soil. Off Evil!
Cleared that is him.
He was in you---no <trms class="trms">tropetrms>s. In fact, I <trms class="trms">intertrms>cepted him open. trgt hghlght 1'href='?q=T'>The released body, to drive his way. Because it was the way you view the way.
trgt hghlght 1'href='?q=T'>That is, along being with his ‘<trms class="trms">intertrms>ceptor,’ be more of these ‘<trms class="trms">intertrms>cepted.’”


Because the christian girl was sleeping, she felt the light of the sun.
What a pain in her heart arose!- and the pain of <trms class="trms">lovtrms>ing it. Fire.
Hands on his heart, the heart of hand, her restless soul did not know what was inside her eggs.
Failed and the absence of a tail, see herself in the <trms class="trms">wondertrms>s of the universe.
Where a <trms class="trms">worldtrms> that way, one must be dumb, the way of no tongue. It took all cute -and cheerfulness, like of a rain, collapsed.
Bellowed garment gave run-out.
trgt hghlght 1'href='?q=T'>The soil over the blood ran.
With the painful and incapa<trms class="trms">citatrms>ting person, followed the Sheikh and his disciples running.
Also ran bleeding cloud.
Following the footsteps of the running, him in the desert and plains, from which must be passed by.
Welcomed helpless and confused. Welcomed her rubbing face in the dirt.
Said, “O God, work! Private parts of any work left.
I ran man's way because of you. You on me, that I was never aware.
trgt hghlght 1'href='?q=T'>The boiling sea. I did not take my poor. Dean agreed, stuck my hands. Nobody does not help us.”

Sheikh was told from within of that girl christian, “Not familiar with our port, she fell this time on our way.
Go back before it pop idol! And tune up your paid companion.”
Sheikh while returning like wind, opened disciples’ salt---in<trms class="trms"nttrm="cluster,club">clutrms>ding the head of what was open.
“What's the new single and had repented and several moretn'>?! Once again, ‘<trms class="trms">lovtrms>e you’tn'>? Much you repenttn'>?!”
Sheikh told of his girl, leaving dead each that hear it.


Sheikh and his companions came days after opening, till it was the ‘smooth’ (trgt hghlght 1'href='?q=T'>Tarsaa) was.
When he saw the yellow gold, lost in rounds, <trms class="trms">intertrms>cepted her coma. Clean bare feet and torn clothes.
trgt hghlght 1'href='?q=T'>The men on the ground, for example. Give it a month since his Sheikh bet his epileptic sore.
Because it takes months in epileptic sleep. Sheikh growth of water.
It looked like the journa<trms class="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listtrms> Sheikh. trgt hghlght 1'href='?q=T'>Tears fell like a cloud of spring.
His promises. In his own hands and feet. Said “you burned my soul. I can no longer burn in the curtains of repentance, to be aware. Supply now Islam! (to be <trms class="trms">intertrms>cepted)
He launched the Sheikh of Islam. Fellowship bubbling sentence rejected.
Because it was the idol of the people exposed. Rain tears, the woman waves in between.
San'an, because he was the last governor, heard tasteful faith in the heart.
She was restless taste faith.
“My patience was Sheikh's vault.” Said, “I do not have any patience at parting.
Saddle go full family. Sheikh, Hajj, Pilgrimage, <trms class="trms">worldtrms>, I will be as brief as speech, my poor... rather than an adversarial amnesty and not...”
trgt hghlght 1'href='?q=T'>This said in the hands of John, and was half dead. Her sun was hidden under cloud. Sweet life of girl parted, hesitated.
She followed a drop in the ocean.
trgt hghlght 1'href='?q=T'>The sea was actually open.


In<trms class="trms"nttrm="cluster,club">clutrms>ding the <trms class="trms">worldtrms>, it goes like the wind. He went and we all go.
Saddle such fall much in the way of <trms class="trms">lovtrms>e. trgt hghlght 1'href='?q=T'>This person is conscious, knows that <trms class="trms">lovtrms>e. Anything said may be <trms class="trms">intertrms>cepted.
Mercy, despair, deceit, and securely.
trgt hghlght 1'href='?q=T'>This can hear the secrets of the soul, Nasibat (نصیبت) cannot be won without balls. trgt hghlght 1'href='?q=T'>This is certainly the heart and soul, must be heard. Water
and mud reliance should not be heard. War was the heart and soul of
each tail hard. Dirge in that mourning was hard.

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

tl="font-size:122%"> =================

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

his mental hygiene, through strange theological appartouses, is not standing intrusions and pollutants of the middle ages trans-<trms class="trms">religtrms>iousity and cross-boundry encounters between the dislikes and those who differ in sexuality.
his hygiene is polluted
but in a peotic reappropriative act of Attar this will operate in another iteration to produce a more radical transcendence; still again a vital encounter with <trms class="trms">religtrms>ious pollution is avoided



[my teacher and prosecutor --> malamat, San'an students]

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[title]
main title:
“Four Eastern Cartographies of En<trms class="trms">traptrms>ment”

video:
“<trms class="trms">Writtrms>ing on Chaos - A trgt hghlght 1'href='?q=T'>Terminal Intimacy”

performance:
“trgt hghlght 1'href='?q=T'>The Reward of trgt hghlght 1'href='?q=T'>The Victim - trgt hghlght 1'href='?q=T'>Towards <trms class="trms">Poetrms>tic Extremism”

image assemblage wallpaper:
“Bad trgt hghlght 1'href='?q=T'>Temper - Apocalyptic Climates of End<trms class="trms"nttrm="danger,stranger">angertrms>ed Subjectivity”



delve
delvi
delphi

dilated

dionysian ecotone for performance
defp

dionysian epitom studies for performing ecotone
desfpe

artistic research center for <trms class="trms">materitrms>al epitom studies
arcfmes
(art)mes

eccentric center of/for <trms class="trms">materitrms>al and performance studies
(eco)maps

dionysian epitom for <trms class="trms">materitrms>al and performance studies
demaps

tl="font-size:124%"> eccentric center of/for epitomized <trms class="trms">materitrms>al studies
ecfem

cologne center for <trms class="trms">socitrms>al research
ccsr

ecotone
epitom

parc
performance and research center

cream
center for research in <trms class="trms">epistemtrms>ology and <trms class="trms">mattertrms>

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

trcls class='strcls'>***trcls>sharjah projecttrcls class='strcls'>***trcls>

[general approach of the project:]

this proposal gathers <trms class="trms">literatrms>ry forces from the speculative insights of Jason Bahbak Mohaghegh (on ‘radical modes of resistance’) and Edouard Glissant (on ‘modest modes of resistance’) in order to perform a ‘slider’ between hostile and relaxed patterns of “contact” and “nothingness” that has been rotating throughout the <trms class="trms">pasttrms> century in the Middle East. the performance of a knowl<trms class="trms"nttrm="knowledge,Knowledge">edgetrms>-<trms class="trms">zootrms>m in the hypnotic effects, nondialogue, non<trms class="trms">narrattrms>ive, and radical exile spaces that have emerged in eastern post<trms class="trms">moderntrms>ism to reverse and supersede the <trms class="trms">questiontrms> of <trms class="trms">moderntrms>ity.

by <trms class="trms">travetrms>rsing the domains of revolutionary ideology, avant-garde <trms class="trms">literatrms>ture, new-wave cinema, extremist thought, and protests from the limitless <trms class="trms">imagitrms>native reservoir of their political, <trms class="trms">poetrms>tic, spiritual, and <trms class="trms">aesthettrms>ic predecessors--this projects examines a Middle Eastern navigation of identity (via the concept of the ‘mask’) and its particular modest/hostile modes of resistance (via the concept of the ‘text’). visiting sites such as: subversive epitomes of charismatic <trms class="trms">authortrms>ity undertaking a <trms class="trms">poetrms>tic <trms class="trms">articulattrms>ion, when chaotic <trms class="trms">imagitrms>nation makes contact with nothingness, the will to chaos, and inscription of fatality in <trms class="trms">literatrms>ture-as-moral-transaction.


[pressure points:]

mobile within a speculative/sug<trms class="trms">gesttrms>ive milieu, this project is <trms class="trms">intertrms>ested in examining <trms class="trms">literatrms>ry sites such as Kelile-o Demne's <trms class="trms">communtrms>al forms of fragile human cohabitation (11th century political/bestial <trms class="trms">fabletrms>), Rumi's simulation of nonexistence (13th century production of <trms class="trms">schizotrms>-darvish), Hafez's engineering <trms class="trms"><trms class="trms"nttrm="metaph,metamorph,metabol,metal">metatrms>phortrms>-factory (14th century <trms class="trms">imagitrms>nal faculty of extreme <trms class="trms">presentrms>ce), Hedayat's Buf Koor the Shelley's Frankenstein's <trms class="trms">monsttrms>er favorate <trms class="trms">booktrms> (20th century forms of r<trms class="trms">enunctrms>iation), Amir Naderi and Forough Farrokhzad films (20th century strategies of withdrawal), Jala Al Ahmad and ttrm="Alice,Shariati">Ali Shariati <trms class="trms">writtrms>ings (20th century fatal concepts of the outside), [<trms class="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listtrms> to be modified]


[background:]

this form of half-di<trms class="trms">gesttrms>ive omnivorous work is <trms class="trms">situtrms>ated in a larger <trms class="trms">trajecttrms>ory of creative investigations, which i have been busy with under “<trms class="trms">storytrms>telling,” are dealing with the <trms class="trms">questiontrms>s of conditions in which non-antagonistic critical encounters between ordered conventions of knowing and chaotic textuality/<trms class="trms">imagitrms>nation is possible. to take the mind where it does not belong. to the rogue arsenals of middle eastern reservoir of <trms class="trms">imagitrms>nation and its locatable mimicries. to its repetitive scaf<trms class="trms">foldtrms>ings, fugitive <trms class="trms">trajecttrms>ories, its performances of fatal experience of the text. to unload its corrosive textualities and let them run their acids across one another. this project is <trms class="trms">intertrms>ested in both the unleashing and the pleasure of watching the text die.

part of the dis<trms class="trms">posittrms>ion of this proposal is also the sug<trms class="trms">gesttrms>ion that the two collaborators of this project, Jassem and Foad, are invested in those notions in their practice. Foad Farahani's <trms class="trms">poetrms>m “farar” enacting contemporary artistic formations and <trms class="trms">pasttrms>-compound-mask, and Jassem Hindi transnational <trms class="trms">poetrms>tic <trms class="trms">agentrms>cy, are both artists with acute appetite for chaotic <trms class="trms">imagitrms>nation. trgt hghlght 1'href='?q=T'>Their instinct for the fusion of nothingness and <trms class="trms">excesstrms>, appearance and disappearance, creation and destruction, is at once carved and unpacked in the <trms class="trms">literatrms>ry-<trms class="trms">poetrms>tic mosaics of their work: Foad's use of middle-persian mystic sensibilities and Jassem's combination of intensive encounter with the <trms class="trms">poetrms>tics of apocalypse and acid textuality.

My work has been about: learning/training in the <trms class="trms">crafttrms>s of noticing little <trms class="trms">traptrms>s of <trms class="trms">semiotrms>tic and <trms class="trms">materitrms>al trans-<trms class="trms">specietrms>s cohabiting, <trms class="trms">mutualtrms> coproduction of economics, <trms class="trms">ecologtrms>y, <trms class="trms">affecttrms>-studies, <trms class="trms"><trms class="trms"nttrm="metaph,metamorph,metabol,metal">metatrms>phystrms>ical household studies, and understanding of the orders of the <trms class="trms">naturtrms>al and human <trms class="trms">worldtrms>, in the particular <trms class="trms">histotrms>ry/<trms class="trms">storytrms> of the East. in my projects i take <trms class="trms">histotrms>ry as the overlapping tracks and traces and many tranjectories of <trms class="trms">worldtrms>-making, human and nonhuman. the textual performance of this project is in the effects of my research and practice with the <trms class="trms">questiontrms>s of globalism and in<trms class="trms">herittrms>ance: difficult <trms class="trms">translattrms>ional spaces, <trms class="trms">communtrms>icative nonunderstanding, <trms class="trms">relationtrms>al <trms class="trms">aesthettrms>ics, and the <trms class="trms">differentrms>tial sites of <trms class="trms"nttrm="already,spread">readtrms>ing. and i use performative <trms class="trms">lecturtrms>es: a <trms class="trms">materitrms>al practice, hybrid in digital manual tactile operations of speaking.

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“Four Masks of an Eastern Post<trms class="trms">moderntrms>ism”

insurgent, <trms class="trms">poetrms>t, mystic, sectarian
    |       |       |        |
chaos, violence, illusion, silence

ts class="lsts lst1">•(sectarianism) apocalyptic <trms class="trms">writtrms>ing
ts> ts class="lsts lst1">•(<trms class="trms">poetrms>tic) will to chaos
ts> ts class="lsts lst1">•(mystic) exile space
ts> ts class="lsts lst1">•(insurgent's) otherless subjectivity
ts>

یاغی
شاعر
نوچه
زاهد


[performative <trms class="trms">methodtrms>ology]
for the collaborative part of sharjah project, i like to propose four “masks” (or “rotational avatars”) of subjective anarchy, that are few among many existential prototypes and subjectivity constellations of eastern post<trms class="trms">moderntrms>ism, as collaborative sites of encounter with four (or less and not necessarily individual) artists/participants.

ts class="lsts lst1">•collaborators’ masks: chaos, violence, illusion, silence / (yaghi یاغی, sha'er شاعر, noche نوچه, zahed زاهد)--each endeavoring to discern the <trms class="trms">ontotrms>logical possibilities and <trms class="trms">aesthettrms>ic <trms class="trms">imagitrms>nations of four theoretically-worked dis<trms class="trms">posittrms>ions that Jason Bahbak Mohaghegh puts forward: insurgent, <trms class="trms">poetrms>tic, mystical, sectarian modes of consciousness, operating within multiple terrains of human and inhuman experiences of the middle east.
ts> --> masks (the above mentioned four masks are accompanied by four “performative epitomes”): the exile, the <trms class="trms">animaltrms>, the shadow, the machine, (the <trms class="trms">monsttrms>er, the thing, the contagion, the mirror image)

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installation:
speculative objects (~/= <trms class="trms">anthroptrms>ological objects) --<tpt>totpt>--> quasi objects
between research, <trms class="trms">socitrms>al critique, speculative theory, and artistic production --> politics of re<trms class="trms">presentrms>tation

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[trcls class='strcls'>*trcls>]insurgent:
resistance to <trms class="trms">moderntrms>ism, and revolutionary <trms class="trms">agentrms>cy
<== exhaustive dis<trms class="trms">integrtrms>ation of belief-structures in <trms class="trms">moderntrms>ity
otherless individuation
eternal war
killer's freedom
(<trms class="trms">affecttrms>ive) overreaction


[trcls class='strcls'>*trcls>]<trms class="trms">poetrms>t:
will to chaos (--a type of consciousness that perceive the catastrophic-apocalyptic hint at each turn)
<== cataclysmic time of <trms class="trms">moderntrms>ism (<-- great <trms class="trms">socitrms>al disorder: prison, exile, censorship, etc. [==> Hedayat, Shamlu, Forough, Nima's tone of aggression --> a proto-sectarian space: secret <trms class="trms">socitrms>eties, iconoclastic <trms class="trms">trajecttrms>ories, trcls class='strcls'>*trcls>the compartmentalized and esoteric iranian avant-garde with <trms class="trms">aesthettrms>ic devices of: unity, isolation, subversion])
fugitive post<trms class="trms">moderntrms> map of escape from the grasp of the experience of the <trms class="trms">moderntrms>ist <trms class="trms">phenomentrms>on
|
<trms class="trms">respontrms>ses to <trms class="trms">histotrms>rical events of atrocity and <trms class="trms">transittrms>ion
mystical, criminal, mercenary, revolutionary edifice
a<trms class="trms">morphtrms>ous, obscure, versatile (thinker/<trms class="trms">writtrms>ers)
conceptual axes/<trms class="trms"nttrm="search">archetrms>types of: power, hostility, banishment, solitude, desire, sacrifice

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[trcls class='strcls'>*trcls>]mystic:
sunken tranquility, relaxed self-annihilation, ascetic r<trms class="trms">enunctrms>iation of <trms class="trms">materitrms>al (=/= post<trms class="trms">moderntrms>ism's obsession with speed, with <trms class="trms">narcisstrms>istic <trms class="trms">techntrms>ologies, hyper-<trms class="trms">materitrms>alism)
neomystial <trms class="trms">trajecttrms>ories of new-wave iranian cinema filmic style --> hypnotic effect =/= audition, dialogue, <trms class="trms">narrattrms>ive
& exile space


[trcls class='strcls'>*trcls>]sectarian:
will to extremity
(apocalyptic <trms class="trms">writtrms>ing)
breakaway modality
نوچه پروری noche-parvary's effective radars and tactics of attunement, detection, <trms class="trms">narrattrms>ion
(annihilatic temptation to) convert the text into a closed circle
(sect's threats of) forbidden power, moral ambiguity, collective <trms class="trms">denstrms>ity(/destiny)

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[this project works with:]

[]
contributions/<trms class="trms">respontrms>ses of:
ts class="lsts lst1">•radical leaders (Jala Al Ahmad, ttrm="Alice,Shariati">Ali Shariati, Khomeini) --> ideological suspicion towards models of machinism and <trms class="trms">cosmotrms>politanism in the <trms class="trms">moderntrms> age
ts> ts class="lsts lst1">•intellectual forerunners (--> sectarian)
ts> ts class="lsts lst1">•<trms class="trms">literatrms>ry icons (textual innovations of Hedayat, Shamlu, Akhavan, Baraheni) --> trcls class='strcls'>*trcls><trms class="trms">poetrms>tic violencetrcls class='strcls'>*trcls> and its apocalyptic tendencies --> that the declared east is plunged into a catastrophic epoch ==freed==> a “will to chaos”
ts> ts class="lsts lst1">•artistic visionaries (Naderi, Forough, iranian new-wave cinema neomystical) --> strategies of withdrawal, aims of disappearance, <trms class="trms">situtrms>ated in obscure elsewheres of auditory and visual landscape
ts> }--> t class='at'>#t>ideology t class='at'>#t><trms class="trms">literatrms>ture t class='at'>#t>mysticism t class='at'>#t>sectarianism
(from the middle eastern front) to (the issues of):
ts class="lsts lst2">◦post-<trms class="trms">histotrms>rical instant
ts> ts class="lsts lst2">◦catastrophic resistance
ts> ts class="lsts lst2">◦creative <trms class="trms">imagitrms>nation
ts>  }--> issues of:
ts class="lsts lst3">◾<trms class="trms">techntrms>ology
ts> ts class="lsts lst3">◾re<trms class="trms">presentrms>tation
ts> ts class="lsts lst3">◾globalization
ts> ts class="lsts lst3">◾colonialism
ts>   +}--> drastic re<trms class="trms">intertrms>pretations of:
ts class="lsts lst4">◽time and being
ts> ts class="lsts lst4">◽death
ts> ts class="lsts lst4">◽pain
ts> ts class="lsts lst4">◽transcendence
ts> ts class="lsts lst4">◽victory
ts> ts class="lsts lst4">◽blood
ts>
~~(<trms class="trms">moderntrms>ity is an extremist epoch)==> mithridatic approaches
anticultural visionaries
extreme --> resistance-fighter/ideological <trms class="trms">dictatrms>tor, artistic forerunner/experimental thinker, <trms class="trms">differentrms>t constellations of desire
trcls class='strcls'>***trcls>mithridatism مهردارو mehr-daru: trcls class='strcls'>*trcls><trms class="trms">intertrms>nalization of toxicitytrcls class='strcls'>*trcls> (the gradual in<trms class="trms">gesttrms>ion of lethal substances so as to gain immunity) --> an archaic protective tactic, an ancient model of defense, (subterranean practice of pirates, alchemists, cult leaders, shamans, guerrilla columns, spies, <trms class="trms">paranotrms>id kings's trcls class='strcls'>*trcls>logic of encountertrcls class='strcls'>*trcls>)
(<trms class="trms">poetrms>tic extremism -->) mithridatic: dispensing fragmented verses, aphorisms, and engravings of the atrocity; invitation and unleashing of the malevolence itself, to seduce ob<trms class="trms">literatrms>tion;
-affliction, existence thriving in the wound
(assumptions of) inevitability + anticipation + projection ==> mithridatic remedy (in ideological & <trms class="trms">literatrms>ry <trms class="trms">apparatustrms>es): “swallowing partial glances of the extinction of <trms class="trms">socitrms>ety, actuality, and being itself” (Mohaghegh) [a form of trainingtn'>? for continuationtn'>?]--> the <trms class="trms">poetrms>t asking us to fasten our reeling gazes to the objects of damage and derangement (t class='at'>@t>ttrm="Alice,Shariati">Ali ) ==> (extremist:) thought and expression have taken the shape of a trcls class='strcls'>*trcls>meteorological devicetrcls class='strcls'>*trcls>, forecasting seasons of pestilence and mutilation [<-- my whole work has been against that]

fanatical <trms class="trms">respontrms>ses to the evolving storm [=/= the fool (the one whose cognitive defend-<trms class="trms">systrms>tem is down), the <trms class="trms">joktrms>er (figure of the always problematic, with its speculative sense for potent tie between meaning and bodies), the cheerleader (porpoising <trms class="trms">socitrms>ally deviant, corrupting forerunner), the sleep-walker (moving in anachronistic temporality, in non-explicit non-intentional acting), the eros (weaker than the problem it tries to solve), the queer (optically <trms class="trms">denstrms>e and less elegant kind of corporality in our encounters), the rabbit-chaser (detouring off the <trms class="trms">ontotrms>logical <trms class="trms">anxitrms>ety of humanity's enigmatic destination)]



cyclopean protocols of extremity --> narrowest vision (immensified)
the cyclopean organ (of doing/thinking) ==> ‘oracle = explosive device’
|
--> wisdom + rage
--> boundless confined
--> precision + enormity
--> <trms class="trms">naturtrms>e + <trms class="trms">techntrms>ology
--> betrayal + devotion
|
....three brothers سه برادر
----[they were said to have primordial understanding, having monitored the building of creation itself--yet this brings no consolation تسلى, no spiritual <trms class="trms">compostrms>ure ارامش, only chronic infuriation, such that they remain at once eternal and impatient]
----[they are gargantuan, immortal, and among the rarest exceptions to be released from the under<trms class="trms">worldtrms> after the great defeat of the chthonic orders, and yet brought back to the surface to dwell among/away from men and the new gods in hard labor on a faraway island, discharged from one hell only to find another imprisonment]
----[they alone can swing the hammers that form mountains, bedrock, ocean floors, tectonic plates, seisamic, yet there is such insane detail even within their most jagged strokes, a punishing <trms class="trms">symtrms>biosis of the minuscule and the colossal]
----[they are the initial inventors of the earth's <trms class="trms">wildtrms> proportions, yet now are condemned to serve as apprentices to a lesser artisan-<trms class="trms"nttrm="metaph,metamorph,metabol,metal">metatrms>l<trms class="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurtrms>gist god <trms class="trms">intertrms>ested only in functional architecture and <trms class="trms">instrutrms>mentalized objects]
----[they are traitors to the new line of <trms class="trms">anthroptrms>o<trms class="trms">morphtrms>ic gods, having fought against their false ascent, and thus still fiercely loyal to the old titanic <trms class="trms">codtrms>es, even in their captivity and forced collusion, forever scarred by the robbery perpetrated against the older deities, able to picture the drainage ditches into which the others are now outcast, such that each episode of mastication and uproar is hurled like a psychic bomb intended to free this discarded confederation]

isolationism + monumentality

(teratological formations in <trms class="trms">moderntrms>ity)

inner contemplation / evacuation

attunement to the nothing
athleticism of stillness

[<trms class="trms">intertrms>iority (feels the need totn'>?) stretch out into exteriority:] (to transfer) personal self-contained oblivion --<trms class="trms">ontotrms>--> universal plane

(Setareh's event:) one part shadow, one part mist, one part smoke and mirrors trcls class='strcls'>*trcls>.trcls class='strcls'>*trcls>.trcls class='strcls'>*trcls>.

...one part strategic essentialism, one part deconstructive smokescreen

part amateur, part pseudo-scholar, part civil servant, part serial killer

part vigilante, part crusader, part cult <trms class="trms">memtrms>ber, part thug


a site for hermeticism (recession from humans) ==> elevation



[inoperative <trms class="trms">communtrms>ity =/=] trcls class='strcls'>*trcls><trms class="trms">excesstrms>ive <trms class="trms">communtrms>itytrcls class='strcls'>*trcls>, where players must remain mesmerized, enchanted, and vigilant

sectarian <--> full charismatic <trms class="trms">authortrms>ity -->tn'>? morshed (=/= “pseudo-autonomous passivity”)
مرشد --> with its own matrix of study: hypnotic exchange [it requires ecstatic projection, not scholarly detachment]

ISIS --> scaf<trms class="trms">foldtrms>ings of invisible subjugations, highly performative site

trcls class='strcls'>***trcls>how does one make the <trms class="trms">memtrms>ory [--> Hoda], the shadow [--> Ehsan], the <trms class="trms">ancesttrms>or [--> Sina] speak across generationstn'>?trcls class='strcls'>***trcls>


the riotous, the militant, the deranged --> they have suspicions ~=> tn'>?

(sectarian mode of) trcls class='strcls'>*trcls><trms class="trms"nttrm="already,spread">readtrms>ing: to entertain the same mania, drunkenness, cruelty, or absurd temperament that engendered the very <trms class="trms">materitrms>alization of that text ==> apocalyptic significance (~ master-disciple <trms class="trms">relationtrms>ship)--San'an--> an excursion into the other<trms class="trms">worldtrms>ly
-cryptic terminologies
-cosmic ideas
--> ‘knowing’ becomes a high-stake transaction, one's own identity, future, and self-consciousness hangs in the balance (--> i can recognize this extremism in myself)

(an issue with iranian artists:) the pursuit to become the echo of a profound legacytrcls class='strcls'>***trcls>(!!)

trcls class='strcls'>***trcls>echo becomingtrcls class='strcls'>***trcls> --> (Mohaghegh's tone:) in an epoch that runs entirely on hollow <trms class="trms">spectatrms>cles of meaning and simulations of depth <-- <trms class="trms">aesthettrms>ic

(since declared by Western theory itself, and i agree tootn'>?) it is obsolete to speak of “legitimate/authentic knowl<trms class="trms"nttrm="knowledge,Knowledge">edgetrms>s =/= mythic doctrines” }==> the <trms class="trms">questiontrms> then becomes:
trcls class='strcls'>*trcls>which phantom-sphere is more arresting, more <trms class="trms">aesthettrms>ically philosophically attractivetn'>?trcls class='strcls'>*trcls> (--> phantomology, Avital) ~/tn'>?= trcls class='strcls'>*trcls>which archive remains on fire throughouttn'>?trcls class='strcls'>*trcls> (--> the concern of many of my peers in apass. why archive has become a predominant topic and practice: lack of master signifier ==> archiving as one remaining meaningful thing to do, that there is nothing meaningful to be done [<-- that is my source of disagreement with archive-discourse, because it <trms class="trms">mattertrms>s that there is something to be done now])


(taking) high doses of impulse and reason

trcls class='strcls'>**trcls>adapting old tales to new territories of experiencetrcls class='strcls'>**trcls> (<-- we need to permanently work this, <trms class="trms"nttrm="already,spread">readtrms> it, and so on)


exceedingly well-versed fever-dreams of Rumi
his intellectual-bodily <trms class="trms">gesttrms>ure
its innovative proportions
his typology of <trms class="trms">communtrms>ication/education (in Majales-e Sab'e مجالس سبعه)
remote plane of calculation


ts class="lsts lst1">•magnetic power of the sectarian voice (=/= “the weak cult of <trms class="trms">moderntrms> inevitability” ==> a <trms class="trms">formutrms>la of alienation, insularity انزوا, in<trms class="trms">differentrms>ce)
ts> ts class="lsts lst1">•freedom to choose the all-engulfing one thing (--> ISIS) =/= countervailing de<trms class="trms">finittrms>ions of freedom: the freedom of in<trms class="trms">finittrms>e mediocritized choices (--> <trms class="trms">consumtrms>erism)
ts>

(Elen's struggle to gauge her place in the existential game)


my critical rant


trcls class='strcls'>*trcls>build the rafttrcls class='strcls'>*trcls> <-- a <trms class="trms">poetrms>tic strategy (<-- i do this too, to go beyond the postcolonial aftermath)


tale of the “<trms class="trms">symtrms>ptom of a plague” (--> tale of “where we stand”) ==> (a concealed need for) trcls class='strcls'>***trcls>immunitytrcls class='strcls'>***trcls> (=/= toxication)
‘reality principle’ of ttrm="Alice,Shariati">Ali , apass

“the eastern post<trms class="trms">moderntrms>ism arrives at the doorstep of the western philosophical outlook as a foreigner” -Mohaghegh
==> a trcls class='strcls'>*trcls>privileged semantic <trms class="trms">herittrms>agetrcls class='strcls'>*trcls> --sug<trms class="trms">gesttrms>ing--> an oc<trms class="trms"nttrm="cluster,club">clutrms>ded alternative --from--> a shrouded/shredded resource ریزریزشده [==tn'>?==> my reparative <trms class="trms"nttrm="already,spread">readtrms>ings (of ajayeb). this is something i should be careful about: to give the iranian semantic <trms class="trms">herittrms>age <trms class="trms">denstrms>ity and texture, and not privileging it, not to give it a “voice” or “awareness"]

(Mona's dis<trms class="trms">posittrms>ion:) the assassin = the <trms class="trms">spectatrms>tor

(for ttrm="Alice,Shariati">Ali ) truth has a dead body, (deranged, tortured, raped)

(oriental)[trcls class='strcls'>*trcls>]exotic: commingling of trcls class='strcls'>***trcls><trms class="trms">excesstrms> & absencetrcls class='strcls'>***trcls> <tld>~tld>= the third <trms class="trms">worldtrms> (middle eastern) becomes all that EU renounces: the indecent, unrefined savage whose raw delirium stood as an offense to your elegance but somehow still enchanting a disenchanted earth

[trcls class='strcls'>*trcls>]eurocentrism: trcls class='strcls'>*trcls>carving a mirror into your presumed beginningstrcls class='strcls'>*trcls> (so it is displaces in elsewheres, as the effect of the mirror ---> trw'>go to the discussion of mirror in my amazon project)
[an <trms class="trms">imagitrms>nary mechanism of cutting off what the superego perceives as bad or good aspects of oneself (weakness or power) and projecting them <trms class="trms">ontotrms> someone else “over there” where they can be condemned, punished, praised, or endorsed (--mirror--> relates to imagestn'>? =/=tn'>? introjection: process of <trms class="trms">symtrms>bolic identification --> relates to signifiers)]

iran has become the global instantiation of madness

trcls class='strcls'>***trcls>dispossessed of <trms class="trms">sublimtrms>ity and excised from the <trms class="trms">worldtrms>-<trms class="trms">histotrms>rical process ==> trcls class='strcls'>*trcls><trms class="trms">ontotrms>logical vacancytrcls class='strcls'>*trcls> ==> trgt hghlght 1'href='?q=T'>Taliban extremism, achieving the <trms class="trms">mutualtrms> exercise of the death drive and the pleasure principletrcls class='strcls'>***trcls>(tn'>?!) ~->{rage of the id + libidinal appetite}--> never-ending allegory of loss and primal innocence

margin sedimented its own center


making my own white noise


masochistic + melancholic = tn'>?


infantilizing and self-contained forms of play masquerading itself as autonomy
(<trms class="trms">fashiontrms> makes such <trms class="trms">monsttrms>ers:) “self-hating winners of the game”


[civilizational taxonomies]
of globa<trms class="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listtrms> division of labor
of democracy (+ its negational counterpart [~ third <trms class="trms">worldtrms>] <-- to be very careful about it, i like to develop a bit of <trms class="trms">paranotrms>ia for it)

(in the alterity of ‘the textual’ someone else might be living)

[(who/why does thattn'>? -->) <trms class="trms">translattrms>ion of] a familiar topography --<tpt>intotpt>--> an <trms class="trms">ontotrms>logical modality

state of non-temporality (<--tn'>?-- majaz t class='at'>@t>Hoda) ==> no more locked in the imperishable antagonism of: <trms class="trms">intertrms>iority & exteriority, <trms class="trms">presentrms>ce & absence }--(Hoda's)--> extravagant paradox of trcls class='strcls'>*trcls>proximity & distancetrcls class='strcls'>*trcls>
==t'>✕==> derivative subjectivity


architects of the law (that Elen is against)


(<trms class="trms">fabletrms> of the) “despotism of the oriental way-of-life”


existential homogenization

traumatic <trms class="trms">obligtrms>ation

disjointed + cyclical (mind) ==> tn'>? ...

the (faint) whisper of “no more.”


disarray


artificial becomes set in stone as the <trms class="trms">naturtrms>al

bankrupt master-discourse

explode text & life into...


horizon of textual expression

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

<thdf class='thdf'>the idea ofthdf> chaos for the experience of <trms class="trms">writtrms>ing and thought

[trcls class='strcls'>*trcls>the <trms class="trms">worldtrms> as a wholetrcls class='strcls'>*trcls>, inexhaustible + urgent + unmastered (abundance of self-creation/destruction) --> totalitarian stimulus ==>] chaos: [<tld>~tld>=tn'>?! hegemonic will to mastery]
ts class="lsts lst1">•<trms class="trms">poetrms>tic <trms class="trms">imagitrms>nation (--> an art that ventures and wins chaos)
ts> ts class="lsts lst1">•insurgent mind-set (--> that every man is surrounded, oppressed, and penetrated by chaos --> Heidegger wants to live =/= insurgent's reflex in middle eastern anticontext, trcls class='strcls'>*trcls>eastern revolutionary ethostrcls class='strcls'>*trcls>, “thinking of struggle = dialectical”, no revolutionary <trms class="trms">intertrms>subjectivity [<tld>~tld>= otherless subjectivity])
ts>
Apollonian hyper-rational retreat from the void
Ascetic immensified retreat from the <trms class="trms">worldtrms>

self-willed experience of the <trms class="trms"nttrm="knowledge,Knowledge">edgetrms> allowed to guide forward

(Nietzsche's Zarathustra's chaotic temperament:) “one must still have chaos in oneself to be able to give birth to a dancing star.”

“chaos" = what (western) <trms class="trms">moderntrms>ity has left (in east)
(<thdf class='thdf'>that is whythdf> terminologies of “nomadism” can hardly be appropriated in middle east--they are chaotic, not nomadic)


[idioms of resistance] ~~--> intoxicating sense of power

(anti-,) “being-against”:
ts class="lsts lst1">•in <trms class="trms">moderntrms>ity: a direct/dialectical op<trms class="trms">posittrms>ion of forces
ts> ts class="lsts lst1">•in post<trms class="trms">moderntrms>ity: an oblique/diagonal stance
ts> ts class="lsts lst1">•today: “alternatives within" = an imperial device that works well ‘in itself’ but not ‘for itself’ --> trans-<trms class="trms">systrms>temic reality
ts>
...to believe in an outsider subjectivity capable of a<trms class="trms">histotrms>rical <trms class="trms">imagitrms>nation

(inflated dis<trms class="trms">posittrms>ions of) triumphalism and alarmist nightmare


<trms class="trms">communtrms>ist (Marxist silhouette) and liberatory combatants of the 20th century, intellectuals persecuted and exiled in the course of anti-fascist struggles, freedom-fighters of the anti-colonial/anti-imperia<trms class="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listtrms> wars --> nostalgic portrait of the contemporary militant
(Nietzsche, Kafka, Bataille, Foucault, Artaud, Baudrillard, Serres, D+G, etc.) continental thinkers architects of masks:
ts class="lsts lst1">•the overhuman (--> Nietzsche)
ts> ts class="lsts lst1">•the supplicant
ts> ts class="lsts lst1">•the deviant (or barbarian --> Foucault)
ts> ts class="lsts lst1">•the body-without-organs (--> D+G)
ts> ts class="lsts lst1">•the criminal
ts> ts class="lsts lst1">•the <trms class="trms">schizotrms>id
ts> ts class="lsts lst1">•the headless <trms class="trms">monsttrms>rosity (--> Bataille)
ts> [(an exilic) postcolonial intelligentsia]


---{Nietzsche and Artaud's familiar persuasive <trms class="trms">authortrms>ity, similar exuberant phraseology, and motifs in extremis --> ‘cruelty,’ Artaud wanted to “reject form and in<trms class="trms">citetrms> chaos.” antipsychological violent physical determination (a cruel yet necessary act upon the <trms class="trms">spectatrms>tor) to shatter the false reality (theatre/art as a place where the <trms class="trms">spectatrms>tor/actor is trcls class='strcls'>*trcls>exposedtrcls class='strcls'>*trcls> [=/= “protected"]) =/= (<trms class="trms">aesthettrms>ic) distance (---> trw'>go to ‘distance <trms class="trms">mattertrms>s’); this is the paradigm in iran's theatre and performance s<trms class="trms">cenetrms>, where the audience are to be engulfed and physically <trms class="trms">affecttrms>ed by the show, ‘to be <trms class="trms">traptrms>ped and powerless’ as a theatrical value is an Artaudian tradition.
-delirium: he wanted to deliberately be[...]