[...]="trms">language='lgc'>--I am not in the house of ="trms">language, but ="ppl">Attar is

transmutative
depthforming


="large lg2" stl="font-size:110%"> 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

="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)


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



="trms">historical struggle for the de="trms">finition of the real


I can't keep clean boundaries


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 the Other='qstn'>? (like every text does, every utterance)
what it cannot ='strcls'>*not do='qstn'>?


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


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

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


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

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

="large lg3" stl="font-size:110%"> I have been teaching Islam to you='qstn'>?! in a shattered and transgressive way
of course this not teach-="trms">according-to-de="trms">finition

of course every ="trms">demand is the ="trms">demand for ="trms">love


the SM-inserts in San'an ="trms">story
he is asked to perform some ="trms">serious Sado-Masochist ="trms">interactions with nonhuman ="trms">animals, his favorite ="trms">book, and Tarsaa as ="trms">stage-manager
we are left with the task of ="trms"nttrm="already,spread">reading the enigma of something that no longer is. if things ‘were’ we wouldn't need to be thinking, ="trms"nttrm="already,spread">reading, running after them.
(I am ="trms"nttrm="already,spread">reading the enigma of something that no longer is)
precisely Bayazid defines Tasawwuf/Tasavof as something that ‘was’ and had no name and today ‘is not’ and has name.

="large lg4" stl="font-size:110%">
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 way='qstn'>?

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

="large lg5" stl="font-size:161%">
از شبح به شیخ

از صنع به صنعان


صنع='lgc'> = fake, صانع fabricated, made-up, ="trms">technological, dead, etc.
صنم='lgc'> = idol
صنع='lgc'> = eidolon
="prgrph">-(eídōlon, “figure, re="trms">presentation”), from εἶδος='qstn'>? (eîdos, “sight”), from εἴδω='qstn'>? (eídō, “I see”)
="prgrph">-a phantom, a ghost or elusive entity (='lgc'>=/=='qstn'>? haecceity)
="prgrph">-‘you still see them'='lgc'>='lgc'>---is this an o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysic='qstn'>?
="prgrph">-eidolon is the image in water, apparition, ‘surat,’ a double / ="trms">technical. idea comes from the word “to see” in ="trms">Greek ="trms">verbs, linked to ='thdf'>the notion of ‘eidolon’ is the ‘visible image’ (in ancient optics and theories of perception) ='lgc'>[the visible image is what appears to op[...]