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



the exoteric logic of lss="trms">interiority (reigning since centuries in lss="nms">Iran)

<lrg clss="large lg2" stl="font-size:110%">
for only the buried dimension is sovereign
lrg>
secrecy <lgc clss='lgc'>=/=lgc> lie
(I am a fan of lie and against secrecy)
talk about a theory of lie
(a talk about a theory of violence)



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


(enforcement of an elusive stance from within) the self-enveloped site of the event<lgc clss='lgc'><lgc clss='lgc'>--lgc><lgc clss='lgc'>--lgc>lgc>the artworks become closer to omens


at once episodic and lss="trms">veiled, protecting their lss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right to invisibility above all else


(perceive themselves as) the merchants of the unreasoned experience.
(as opposed to the mechanisms of lss="trms">instrumental reason) <lgc clss='lgc'><lgc clss='lgc'>--lgc><lgc clss='lgc'>--lgc>lgc> omens


lss="trms">lss='trgt hghlght 1'href='?q=L'>Literatur(ware)haus
warehouse vs. Haus
(at the house of being)

warehouse of the irrational, a cellar-arena of provocation and unrest

I don't have an eloquent lss="trms">language<lgc clss='lgc'>--lgc>I am not in the house of lss="trms">language, but l clss="ppl">Attarl> is

transmutative
depthforming


sudden exposure to exile space

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


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

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


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


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

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

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


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

stab-through and un-brace one once was

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

the mystic event is predicted by an instinct for abandonment and anonymity,
at the same time it mutates the lss="trms"nttrm="disturban">urban environment in which it lss="trms">stage its runaways line.
the cityscape is cast into the frenetic rush of this disavowal, to the extent that it becomes the equivalent of the desert

what are the indentitarian qualifiers that San'an wants or needs to chain-breaklss='qstn'>?

to be honest, l clss="ppl">Attarl>'s San'an's lss="trms">poetry, is living by a roaming assemblage of assertions. <lgc clss='lgc'>[lgc>he wrote his lss="trms">poem in a time when the highly lss="trms">religious Sheikhs would go to monasteries and get drunk with the non-Muslims, getting high with the nonhuman. it is Seljuq (سلجوق) time, medieval Turko-Persian. The Seljuqs were educated in the service of Muslim courts as slaves or mercenaries. The dynasty brought with itself a sense of revival. Under the Seljuqs, New-Persian became the lss="trms">language for lss="trms">historical recording. l clss="ppl">Attarl> (عطار) means herbalss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list, lss="trms">druggist, perfumist or alchemist, and during his lifetime in Persia, much of medicine and lss="trms">drugs were based on herbs. Therefore, by profession he was similar to a lss="trms">modern-day town doctor and pharmacist. l clss="ppl">Rosel> oil means ‘attar’. l clss="ppl">Attarl> died a violent death in the massacre which the Mongols inflicted on Nishapur in April 1221.<lgc clss='lgc'>]lgc>
lss="prgrph">-in his lss="trms">Birds epic, he is bringing an instinct coalition that lss="trms">translates all movement into a devouring collectivity <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> the logic of their fading (<lgc clss='lgc'>--lgc>of the lss="trms">birds) is the same explosively that that fuels their inception, (why the lss="trms">birds must gather in the first placelss='qstn'>?!)

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

<lrg clss="large lg1" stl="font-size:143%"> (“I” threatens the nomadic workings of the pack event)
<lgc clss='lgc'>[lgc>there is a pack-event in the San'an's students<lgc clss='lgc'>]lgc>
self<lgc clss='lgc'> = lgc>migratory sensibility of a subjectivity adrift
lrg>
the exile does not need to exist / the lss="trms">community is desperate to exist (which is why it degenerates into totalitarian declarations<lgc clss='lgc'>--lgc>do the San'an's students have thatlss='qstn'>?)
is l clss="ppl">Attarl>, in his lss="trms">poetry, obsessed with constructing mythologies of lss="trms">presence (and being relss="trms">presented)lss='qstn'>? (when he repeatedly tries to synthesize an “authentic” discipleship, ﻣﺮﯾﺪى, Anhängerschaftlss='qstn'>?, for the San'an's “teachings”) <lgc clss='lgc'>--lgc>whereas the exile, the lss="trms">animal, the shadow, the lss="trms">monster, the machine, the thing, the contagion <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> carries none of the lss="trms">anxiety of lss="trms">ontological authenticity



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

going into vicious levels of self-consciousness

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


San'an, taken by otherlss="trms">worldly lss="trms">crafts that signal him to become (gracefully) transfixed

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

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


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


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


let's jam on this


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

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



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


I can't keep clean boundaries


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


<lrg clss="large lg3" stl="font-size:110%"> what is the San'an text promising the Otherlss='qstn'>? (like every text does, every utterance)
what it cannot ls clss='strcls'>*ls>not dolss='qstn'>?
lrg>

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


<lrg clss="large lg4" stl="font-size:110%"> we are here to understand the appropriation of meaning.
what does or does not belong to the protocols of lss="trms"nttrm="already,spread">reading, etc.
lrg>
(think in terms of de-appropriation, which entails a form of lss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigorous hesitation when assuming lss="trms">responsibility for the work or thought of another) is that what I am practicing encountering the work of l clss="ppl">Attarl>lss='qstn'>? as an ally or lss="trms">ancestor or an unknown sidetrack of lss="trms">writing


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

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

<lrg clss="large lg5" stl="font-size:167%"> I have been teaching Islam to youlss='qstn'>?! in a shattered and transgressive way
of course this not teach-lss="trms">according-to-delss="trms">finition
lrg>
of course every lss="trms">demand is the lss="trms">demand for lss="trms">love


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