[...]n 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
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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
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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'>?)
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
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
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, and what else does it mask culturally='qstn'>?
we also add on cultural ="trms">anthropological tracks to see which cultures or groups-psychologies practice San'an's teachings and in the service of what='lgc'>--what kind of will to power. because rarely something is practiced and it is not in service of some ="trms">sort of buffing off a self or something.
(does San'an practice the will to obedience and to ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listening='qstn'>?)
what (the hell) does he want (from Tarsaa, from her Being)='qstn'>?!!!
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to let the other go
I am talking about ="ppl">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 ='strcls'>*synonym-finder='strcls'>* machine
we are looking for mutations of San'an's work
after he dreams...
the event (‘vaghee’ واقعه) has (al="trms"nttrm="already,spread">ready) happened, he ="trms">travels to ‘understand’ the “event” and not to ‘find out’ ='lgc'>='lgc'>--- (we can also critique ‘event’ or ‘vaghee’ as a violent and omnipotent ="trms">sublime or a happening-art, versus the fragmented ="trms">phenomena='lgc'>='lgc'>---as="trms">sociated with femininity)
“tafaroj” (تفرّج) or ="trms">wondering around in Rome, very ="trms">different than ="ppl">Sohrevardi's order ='lgc'>='lgc'>--> http://sinaseifee.com/sorkh.html
='lgc'>[San'an with a damaged GPS ="trms">system='lgc'>--why he goes to Italy='qstn'>?='lgc'>]
he is walking the walk,
how does he get through the borders!='qstn'>?
was it a ‘Road to Canossa’='qstn'>?
(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">communication 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 (='lgc'>~= absence of the same) ='lgc'>='lgc'>--> he needs the absence of his students and the absence of himself and the absence of his God.
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='strcls'>*****Tarsaa takes away San'an's human ID, his masterhood, his ="trms">members ='lgc'>[his parts='lgc'>: his pupils, pencils, penises='lgc'>], (that's why he must re="trms">member='qstn'>? his ‘="trms">members’ returning to him='qstn'>? what is he ="trms">composed of anyways='qstn'>?!) ='lgc'>[="trms">memory is a way consistency maintain itself='lgc'>='lgc'>---are we having a disjunction='qstn'>?='lgc'>] ='lgc'>[he makes contact, and contact is the medium of ="trms">language ='lgc'>='lgc'>--> and this is his performance='lgc'>]
in this ="trms">story ='strcls'>*the human ID='lgc'> = master='strcls'>*
(self-possession is ="trms">supposed a primordial property)
="prgrph">-the ="trms">question is how let yourself be invested with alterity, without becoming a seed of transcendence='qstn'>? (San'an let himself but then fails in the second part) by ‘seed of transcendence’ I mean making a ="trms">symbol that is of a ="trms">symbol (the basis of power='lgc'>='lgc'>---state='qstn'>?) ='lgc'>='lgc'>='lgc'>---> is this how San'an's ="trms">symbolism can be ="trms">recruited by ="nms">Iranian war lords='qstn'>?
San'an in the ="trms">story is shamanistically de-subjectified (by becoming the pig, etc.) instead of becoming hyper-subjectified (game-="trms">animal) ='lgc'>[something that Abu-="frds scrmbld">Saeed Abu-Al-Kheir almost achieve it='qstn'>?='lgc'>] ='strcls'>**a game-="trms">animal is for example when dogs go after a dear in the forest, the dear is in this case a game-="trms">animal. the San'an's pigsty is not that, he doesn't become wolf or dear or Jinn for that ="trms">matter!
if I where Tarsaa I would ask San'an to become the Jinn instead of pig.
(Tarsaa is sighted by him initially on her balcony)
balcony's architectural register
San'an might have been fallen in ="trms">love 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
Tarsaa's ="trms">morphology='lgc'>--="trms">different in every ="trms">aesthetic moment, a dynamic entity
='lgc'>[person of flesh, thing of illusio, ="trms">category of mechanism,
ترسا or ترسنده ='lgc'>=~ ="trms">child-being, نصرانی ='lgc'>=~ the-other='lgc'>]
Tarsaa is a defferent kind of mediatized body, not that of woman on the television, which produces a wasted body in front of the TV
what kind of hostility is she performing -or making available='qstn'>?
she doesn't accept his marriage proposal
is there a woman hidden under the concept of Tarsaa='qstn'>?
which toxicities or ="trms">horrors the-woman-of-the-house in the ="trms">story of San'an conceals precisely with the figure of Tarsaa='qstn'>?
='strcls'>*****Tarsaa doesn't have a father.
="prgrph">-she is autonomous and emancipated
="prgrph">-San'an is of course another legendary non-feminist ="trms">position
="prgrph">-it's a masculinist ="trms">story after all, in its plot
medieval ="trms">narratives of woman's image relating to the so-called sexual self-respect='lgc'>='lgc'>---woman always re="trms">presenting the ="trms">matter and the ="trms">material
a comparative ="trms">literary note on Tarsaa's framework and other female protagonist/antagonists ='lgc'>='lgc'>-->
in='lgc'>: ="ppl">Nezami='lgc'>: Khosro-o-Shirin and Leili-o-Majnun (woman is there for the man, to elevate him); ="ppl">Jami='lgc'>: Salaman-o-Absal and Yusof-o-Zoleikha (woman is body and to be avoided); ="ppl">Gorgani='lgc'>: Vis-o-Ramin (woman is autonomous and for herself in the plot of the ="trms">story)
='strcls'>*this time, he stammers in a ="trms">situation ="trms">articulated by her
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preserving the ‘good object’
who is doing it and what is the good object for='qstn'>?
(the missing good object, forever)
Tarsaa ="trms">demands him to drink and not to get drunk
سوی خوکان شتافت
San'an's pig-phobia
introducing the pig in a ="trms">bird's ="trms">story
(Hoo="trms">poe convincing the Nightingale, Nightingale convincing the ...)
the way of the pig
how earthly we are, we, creatures of earth, how ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics forecloses us
="ppl">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">system or to desist, nondialectical negativity
‘="trms">Integrieren’ is ="trms">transitive ="trms">verb, has a virtual object or project
I am in Ausländerbehörde, the op="trms">posite of hospitality='qstn'>?
I have to stop talking op="trms">posite ="trms">rhetoric. but this was not an antithesist op="trms">posite, it was a logical op="trms">posite
violences of the encounter
San'an's ="trms">love-="trms">story, ist nicht das Tristan und Isolde
‘watch your back’ is the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of sur="trms">veillance ='lgc'>{='qstn'>?='lgc'>}
I hope I am not ="trms">interrupting here!
killing it and ="trms">loving it completely
so we are working (fine-tuning) on phantom noises, parasite e="trms">missions, 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
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and I like to hand myself over
how flowers make sense
(in ="nms">Iranian ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics)
(='lgc'>='lgc'>='lgc'>---> ='gtrw'>go to ="ppl">Baudelaire's Fleurs du mal)
the ="trms">rhetoric of desire in San'an, how is it (="trms">technologically='lgc'>{='qstn'>?='lgc'>}) determined='qstn'>?
how are things turned on or turned off in San'an='qstn'>? etc.
="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right at the moment that he is allegedly at an e="trms">mission of a dream/call, we are dealing (or working) with (the essence of) ="trms">technology, there is a mitten, trans-mitten, transmitting, e="trms">mission, etc.
='lgc'>[he is welcoming a call='lgc'>='lgc'>---it was ="ppl">Heidegger who linked thinking with welcoming='lgc'>='lgc'>---to arrive='lgc'>] ='lgc'>='lgc'>--- ='lgc'>[to San'an, ‘what (the hell) was he thinking!!!='qstn'>?’ both in the sense of the ‘blame’ and the ="trms">ontology -and ="trms">epistemology of it='lgc'>]
(how is he revealed to experience the call of a more primal truth='qstn'>? the girl)
='lgc'>[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">mission='lgc'>='lgc'>---but that is also a problem;
='strcls'>*footnote='lgc'>: ="ppl">Hafez trying to ="trms">travel (to India, invited kindly with Reisef='qstn'>?rderung (="trms">travel 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">language-turn, when he is standing in front of the stormed sea, he turns back to Shiraz via a ="trms">trope='lgc'>: چه آسان مینمود اول غم دریا به بوی سود غلط کردم که این طوفان به صد گوهر نمیارزد it is so ="trms">interesting how scholars and other ="trms">poets are trying to map out his itineraries and ="trms">travel-logs from his ="trms">poesies/="trms">poiesis. the nagging and ="trms">complaining ="ppl">Hafez, always annoyed by weather or something, and can't stop saying how much he misses his friends in Shiraz and so on='lgc'>]
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(="ppl">Hafez takes on San'an because he also fucks up the ="trms">travel, he falls with face down in the mud. for him also ="trms">travel is traumatic, disruptive, and unpleasant; so they both ="trms">demand another kind of trans-portation ="trms">system)
This essence of ="trms">technology, however, has nothing to do with ="trms">technology. ='lgc'>[this is ="ppl">Heideggerian='lgc'>] ='lgc'>='lgc'>--> ="trms">technology is a means of revealing the truth
='lgc'>[it is not the machines that we are at the age of ="trms">technology='lgc'>]
="trms">technology is always sent to us
in the ="trms">story we are shifting to ‘send’, this doesn't mean that there is a sovereign subject or some ="trms">sort of powerful ‘self’ ="trms">responsible or at the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of the productive behavior (or accomplishment) of San'an.
(="ppl">Heidegger collects='lgc'>:)
destiny, destination, schicken, Schicksal, etc.
='lgc'>[ungeschickt ='lgc'>=='qstn'>? destinal fai="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure, existential ="trms"nttrm="cluster,club">clumsiness='lgc'>]
='lgc'>[='lgc'>~= ="trms">technical error in destiny. what is the future of error='qstn'>?='lgc'>]
="lsts lst1">•="trms">according to ="ppl">Heidegger, nobody (that also means everybody) can take at the wheel and make certain determinations and destinations
='lgc'>[this is his notion of ‘="trms">techne'='lgc'>]
="lsts lst1">•Tarsaa's ="trms">technical ="trms">intervention in San'an's destiny
that is another kind of relatedness
you can no longer talk about the subject or object
is one in full possession of oneself='qstn'>? one doesn't belong to oneself or anybody else='lgc'>='lgc'>---that would be a post-="ppl">Lacanian critique, which is the self-sabotage of the mystic is not necessarily attached to a inevitable devouring ="trms">authority, “I don't belong to myself or anybody else.” nor God, nor teacher, etc. ='lgc'>=='lgc'>=> the self is not necessarily devourable. ='lgc'>[what are the certain components of the self of San'an that will remain unavailable, those that underlay a ="trms">pervasive sense of not-belonging='qstn'>?='lgc'>='lgc'>='lgc'>---> longing (‘vermissen’) the girl/Tarsaa, ‘to-be-longing'='lgc'>]
(why) am I in="trms"nttrm="cluster,club">cluding in my speech a ="trms">rhetoric of faltering, self-sabotage, and hesitation='qstn'>?
should I edit it out='qstn'>? edit out the “I am not sure,” those self-canceling moments from my expression='qstn'>?
(my) thoughts deserve elegant expressions='strcls'>***
="trms">translation of this is very unstable
(="trms">according 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
(these are rather ‘stances,’ than ‘="trms">questions’)
how the ="trms">poet-="ppl">Attar serves or is served-up and devastated by ="trms">language='qstn'>?
blast has a sense of destruction to it, and destruction is good and necessary, it clears away what is al="trms"nttrm="already,spread">ready dead and hanging around burdening your being. blast is not a devastation, devastation promises no futurity
="prgrph">-who are you destroyed by='qstn'>?
whom am I addressing here='qstn'>? but more importantly, who or what is addressing me here (in a non-="trms">present way)='qstn'>?
San'an/girl/pig assemblage
(what is girl in San'an ="trms">story='qstn'>? what is ="trms">animal in San'an ="trms">story='qstn'>?)
San'an ="trms">story, as a scenography of sexual ="trms">difference, and ironization (to make ironic in appearance or effect) of ="trms">question and answer, Q&As in ="ppl">Attar
there is a dramaturgy of repudiation (when the students ask and blame='lgc'>='lgc'>---everyone is insulted) ='lgc'>='lgc'>--> Student is whom that which defines what is ='strcls'>*fai="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure='strcls'>* (='lgc'>--'to be fixed’ ='lgc'>=='qstn'>? o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of teaching)
='lgc'>{pupil is that which ‘summons’ the master - استاد احضار='lgc'>}
ملامت
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...and an idealization of the self, and not the object
='lgc'>[where is the object in San'an ="trms">poem='qstn'>? where is the shadow, the dead='qstn'>?='lgc'>]
basically here, I am opening a ="ppl">Derridean expanse
...full path of an another Dasein
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how far we are from the Dionysian Athenian festival='qstn'>? Lenaia, a dramatic/comic competition of theat[...]