[...]is ‘hafeze’ (حافظه). (="trms">according to ="ppl">Hafez and San'an, the best student is the one who doesn't re="trms">member. precisely because they are trying so hard to remind San'an of what they thing ‘he’ is) ='lgc'>='lgc'>--> ='lgc'>[Indian MATSYENDRANATH amnesia tale, tells the ="trms">story of a yogi who falls in ="trms">love with the woman kind='lgc'>--one of his students puts makeup and dances his ="trms">memory back to him. he must become the woman. there is a queer moment in the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin ="trms">story of the San'an, which ="ppl">Attar censures(='qstn'>?). he erased his name from the black-="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list of death-‘the forgottens’, then danced for him as a woman-="trms">story-teller. (muse is the mother of ="trms">memory.) the class struggle has obviously a Bollywood touch to it='lgc'>]='lgc'>='lgc'>-->="ppl">Attar's source and storage='qstn'>?)
regarding ="ppl">Hafez and San'an, the ="trms">poet must leave the home, the ="trms">poet must ="trms">travel foreign zones, and stay in the foreign. (this is, by the way, ="ppl">Heidegger's ="trms"nttrm="already,spread">reading of the ="trms">poet.) and that is also one ="ppl">Heideggerian ="trms">poetic ="trms">demand that ="ppl">Hafez is failing to reconcile with, when he is turned back, not having the balls to cross the Indian ocean.
(2) importance of an elite ="trms">rhetorical plane
initiatives towards the horizons of a mystical inquest
(cinematic) mystical landscapes
(what kind of mystical landscapes I am exploring in San'an's ="trms">story='qstn'>?)
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the dominion of the partially unseen
guarding its inner workings and ="trms">trajectories
(the cinematic openness also is) guarantor of its constant mutability(='qstn'>?)
the exoteric logic of ="trms">interiority (reigning since centuries in ="nms">Iran)
for only the buried dimension is sovereign
secrecy ='lgc'>=/= lie
(I am a fan of lie and against secrecy)
talk about a theory of lie
(a talk about a theory of violence)
='lgc'>[the issue of='lgc'>: op="trms">posite, omen, and alarm (in art)='lgc'>]
omen ='lgc'>=/=='qstn'>? artwork
(omen is a ="trms">phenomenon that is buried to foretell the future, isn't that an attractive ="trms">trap for artist's self grandiosity='qstn'>?!)
omen has a binary answer
omen ='lgc'>=~ ‘audire’ (Latin root, to ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listen)
omens come in the artistic and ="trms">poetic production='lgc'>--in the ="trms">poiesis='lgc'>--when the artist is young='lgc'>: the ="trms">fabulous age of self-assertion, and he or she starts way to big and later is abandoned or abused by it.
(enforcement of an elusive stance from within) the self-enveloped site of the event='lgc'>='lgc'>--='lgc'>--the artworks become closer to omens
at once episodic and ="trms">veiled, protecting their ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right to invisibility above all else
(perceive themselves as) the merchants of the unreasoned experience.
(as opposed to the mechanisms of ="trms">instrumental reason) ='lgc'>='lgc'>--='lgc'>-- omens
="trms">Literatur(ware)haus
warehouse vs. Haus
(at the house of being)
warehouse of the irrational, a cellar-arena of provocation and unrest
I don't have an eloquent ="trms">language='lgc'>--I am not in the house of ="trms">language, but ="ppl">Attar is
transmutative
depthforming
sudden exposure to exile space
a postcultural ="trms">interaction (='qstn'>?) ='lgc'>--with no proximity to the ="trms">past or known ="trms">present
(am I trying to create proximity to ="trms">history in my ="trms">lectures versus my non-proximity in earlier visual works such as “vagabond” 2011 ="nms">Tehran)
is that to adopt an ='strcls'>******existence without context='strcls'>******='qstn'>?
(in ="trms">lectures, am I un-separating myself from my own ="trms">history='qstn'>?)
='strcls'>*reverie (=the mind flees across se="trms"nttrm="cluster,club">cluded planes)
exile space ='lgc'>=~ refuge, solitude, immobility ='lgc'>=='qstn'>? nondialectics
='lgc'>[on Vagabond='lgc'>] ='lgc'>='lgc'>--> http://www.sinaseifee.com/Vagabond.html
="prgrph">-domination of the partially unseen in my own film, ‘vagabond’
="prgrph">-did I believe that only the buried dimension is sovereign='qstn'>?
="prgrph">-continuously ="trms">interlacing experiences of solitude and immobility
="prgrph">-minima="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list side of mysticism ='lgc'>='lgc'>--> stillness is a catalyst for acceleration='qstn'>?
="prgrph">-nomadic dis="trms">positions
="prgrph">-suspended (=the chasm of self-consciousness)
="prgrph">-
="trms">aesthetic tactility over ="trms">aesthetic fantasy
where is the cinematic-mystical ritual happening='qstn'>?
profound separation from the ="trms">networks of ="trms">social reality
the subjects betrays its own ="trms">history
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="trms">interrupting the trans="trms">mission of the ="trms">episteme
the result of mystic disjointment ='lgc'>=> a renovated perception of all activity as self-forsaking (Tark-e Nafs='qstn'>? ترک نفس), (such that all locations appear scorched in turn)
stab-through and un-brace one once was
San'an's mechanistic commitments, he need to first ="trms">book out of a place in order to ="trms">write text, or to ="trms">book himself in again
the San'an's ="trms">poem's ‘Will'='lgc'> = instinct for abandonment and anonymity
is this instinct pre="trms">dicting what ="ppl">Attar will ="trms">write='qstn'>? or explains ='strcls'>*why he ="trms">writes='qstn'>?
='lgc'>[="trms">writing as an act of ="trms">memory and perform='qstn'>?='lgc'>]
the mystic event is predicted by an instinct for abandonment and anonymity,
at the same time it mutates the ="trms"nttrm="disturban">urban environment in which it ="trms">stage its runaways line.
the cityscape is cast into the frenetic rush of this disavowal, to the extent that it becomes the equivalent of the desert
what are the indentitarian qualifiers that San'an wants or needs to chain-break='qstn'>?
to be honest, ="ppl">Attar's San'an's ="trms">poetry, is living by a roaming assemblage of assertions. ='lgc'>[he wrote his ="trms">poem in a time when the highly ="trms">religious Sheikhs would go to monasteries and get drunk with the non-Muslims, getting high with the nonhuman. it is Seljuq (سلجوق) time, medieval Turko-Persian. The Seljuqs were educated in the service of Muslim courts as slaves or mercenaries. The dynasty brought with itself a sense of revival. Under the Seljuqs, New-Persian became the ="trms">language for ="trms">historical recording. ="ppl">Attar (عطار) means herba="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list, ="trms">druggist, perfumist or alchemist, and during his lifetime in Persia, much of medicine and ="trms">drugs were based on herbs. Therefore, by profession he was similar to a ="trms">modern-day town doctor and pharmacist. ="ppl">Rose oil means ‘attar’. ="ppl">Attar died a violent death in the massacre which the Mongols inflicted on Nishapur in April 1221.='lgc'>]
="prgrph">-in his ="trms">Birds epic, he is bringing an instinct coalition that ="trms">translates all movement into a devouring collectivity ='lgc'>='lgc'>--> the logic of their fading (='lgc'>--of the ="trms">birds) is the same explosively that that fuels their inception, (why the ="trms">birds must gather in the first place='qstn'>?!)
once-mystical and now-post="trms">modern tribalism (='qstn'>?)
(“I” threatens the nomadic workings of the pack event)
='lgc'>[there is a pack-event in the San'an's students='lgc'>]
self='lgc'> = migratory sensibility of a subjectivity adrift
the exile does not need to exist / the ="trms">community is desperate to exist (which is why it degenerates into totalitarian declarations='lgc'>--do the San'an's students have that='qstn'>?)
is ="ppl">Attar, in his ="trms">poetry, obsessed with constructing mythologies of ="trms">presence (and being re="trms">presented)='qstn'>? (when he repeatedly tries to synthesize an “authentic” discipleship, ﻣﺮﯾﺪى, Anhängerschaft='qstn'>?, for the San'an's “teachings”) ='lgc'>--whereas the exile, the ="trms">animal, the shadow, the ="trms">monster, the machine, the thing, the contagion ='lgc'>='lgc'>--> carries none of the ="trms">anxiety of ="trms">ontological authenticity
رسوایی - using treachery for the sake of vitality
(‘Verrat'='lgc'>--betraying the student, in order to produce truth-event)
going into vicious levels of self-consciousness
between all the lines of statement that ="ppl">Attar constructs, what is being sug="trms">gested in his music or words='qstn'>?
San'an, taken by other="trms">worldly ="trms">crafts that signal him to become (gracefully) transfixed
‘naaareh’ - نعره
far cry from the mystic's encounter with divinity
disavowal of (an explicit) ="trms">narrative (="trms">trajectory)
='lgc'>[sunken tranquility, relaxed self-annihilation, ascetic r="trms">enunciation of ="trms">material='lgc'>] ='strcls'>*mystic='strcls'>* ='lgc'>=/= or='qstn'>? ='lgc'>=~ ='strcls'>*post="trms">modern='strcls'>* ='lgc'>[obsession with speed, with ="trms">narcissistic ="trms">technologies, hyper-="trms">materia="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic='lgc'>]
is there in post="trms">modernism then an alternative version of mystical experience='qstn'>?
...
feeling like a foreign body, until you find a job='qstn'>?! (="ppl">Attari as a job)
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let's jam on this
this ="trms">story is ="trms">prior to psychoanalysis (='qstn'>?)
="trms">positionality, placements, displacements
a ="trms">system that doesn't have access to its own knowl="trms"nttrm="knowledge,Knowledge">edge
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="trms">historical struggle for the de="trms">finition of the real
I can't keep clean boundaries
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rituals (of promise and contract), (things that) must address ="trms">anxiety ='lgc'>--='qstn'>?='lgc'>='lgc'>--> a ="trms">religious stamp
what is the San'an text promising[...]