[...]ر) 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

="large lg2" stl="font-size:111%"> 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

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.


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)


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 operate San'an's dream='lgc'>]
="prgrph">-why eidolon has the tendency to become an idol that talks back='qstn'>? (San'an practically encounters an eidolon and converts it to an idol. what Tarsaa asks San'an to worship is the confirmation of what sheikh has al="trms"nttrm="already,spread">ready done.)
="prgrph">-what is the secret of the vitality of the image that bewitches San'an='qstn'>? why dream/images, works of ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphors have lives of their own and cannot be explained as ="trms">epistemological windows ="trms">onto reality='qstn'>?
="prgrph">-San'an is first captive of apparition (صورت), then captive of meaning (معنی‌)
="prgrph">-o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginality of the site is abolished by ="trms">technological register of the ‘sent,’ (the telephonic cyber-space) of the eidolon ='lgc'>=='qstn'>?='lgc'>=> displacement (-how San'an loses a sense of place first in order to move)

='lgc'>[in the beginning of ="ppl">Miyazaki's 2013 The Wind Rises 風立ちぬ, a boy, vivid dreaming, meets an Italian aerospace engineer, who is shocked when he hears that the boy thinks he is dreaming. then he deceivingly says to the boy='lgc'>: “yesssss yes you are in a dream, boy” and saying to himself “how naive the boy is."='lgc'>]
="prgrph">-how is it naive to think that you are dreaming='qstn'>? that what you are seeing and hearing is not ‘real’='qstn'>? ='lgc'>='lgc'>='lgc'>----San'an is not naive in that sense. he knows that the dream is not just a projection of his subjectivity. he is not ="ppl">Freudian, or he knows his own subconscious too well.
San'an going to Italy (Vatican='qstn'>?)

="large lg3" stl="font-size:112%"> a mapping is going on

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

and the ="trms">question of ="trms">technology='qstn'>?
how ="trms">technology breaks up and breaks into all ="trms">sorts of ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical premises

San'an is at a primal s="trms">cene of aggression='qstn'>?
provoking hostility
there is no sweet device that should ="trms">supposed to suspend hostility, there is no magic flute in San'an ="trms">story
why am I taking so many detours='qstn'>? whether this is describable at all

="large lg4" stl="font-size:110%"> discursive formations

the teacher vs. trainer
the teacher that asks for your ="trms">interiority='strcls'>**** (="trms">love='qstn'>?) any kind of transfers of emotional funds. or other economies of approval

="ppl">Attar, the great and complicated ="trms">poet

also my own attachments to certain formations


="large lg5" stl="font-size:150%"> what kinds of ="trms">poetic bodies ="ppl">Attar sacrifices='qstn'>?
what cognitive back-up ="trms">system he uses='qstn'>?
and so on
(the students) cannot cognize (San'an's program)

forecloser, foreclosing you
توقيف

distribution of value, action, and non-action in San'an


to discover San'an where it dwells, what kinds of figures and dis="trms">figurations it is ="trms">responsible for, a[...]