[...]tency 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'>]
="large lg2" stl="font-size:110%">
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
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
="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................
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'>]
(="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'>==> 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
...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
how far we are from the Dionysian Athenian festival='qstn'>? Lenaia, a dramatic/comic competition of theatrical plays; coming from those of aristocrats and wine-mixing rituals, also where ="ppl">Aristophanes was testing ground and ="trms">staging and test-audiencing his first texts and performances. and his “The Frogs” won the first prize actually. it is a divine comedy, Dionysus and Heracles etc. and it has a choral ="trms">interlude sung by the eponymous chorus of frogs, a frog greatest-hits. (on his trip to Rome, is San'an going to encounter other texts='qstn'>?)
the concept of ملامتگر (Malamatgar) or the one who reproaches is both central and peripheral in the ="trms">story of Sheikh San'an. the ="trms">story shows the crucial transformation of the students of the sheikh from ‘followers’ to ملامتگر. the stake are high at students’ behavior and not San'an's. the ="trms">story tells that when your ="trms">love falls in ="trms">love with another person='lgc'>--that person, being a pagan gorgeous girl, a pig, or another idol='lgc'>--you must also fall in as well. it is important to understand whose perspective here is blamed for whose expectations. students’ project is expectation (of Sheikh)='lgc'>--is the pillar in the ="trms">narrative. the fai="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure to change and ability to experience that other perspective, and in this case the perspective of your significant-other's ="trms">lover, results into the inception of ملامتگر and that is de="trms">finitional for the formation of ملامتگر='lgc'>: someone who refuses to exercise another selfhood.
(This is also the central theme of the ="trms">story of Moses and Khidr, in which Moses as follower/student becomes the Malaamatgar thing. This attitude of Khidr or San'an is provoking their audience to go beyond any version of fixation ='lgc'>='lgc'>---="ppl">Attar's idea of unfixity of discipleship's authenticity is kind of messed up)
how San'an is over or not over the ="trms">material and his boner direction or erection is towards which psychoanalytically accessible phallus='qstn'>?
His students are following him backward!='qstn'>?
“Authentic disciple of four hundred men, were regressed (zurückschreiten) on a journey with him.” ='lgc'>[why ="ppl">Attar is insisting on the authenticity of the disciple and apprenticeship='qstn'>?='lgc'>]
we should always ask where this text comes from.
I try not to pre-program what is going to happen. ='lgc'>[here now='lgc'>]
='lgc'>='lgc'>--> https://www.youtube.com/watch='qstn'>?v=D9SIL38hkgw
in the Shams Group music video, the soldiers in the video are having the little-="ppl">Rumi-packet in their backpacks, along with other suicides. (other soldiers having ="ppl">Holderlin or ="ppl">Nietzsche in their backpacks)
="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical strongholds
to keep partnership with the self, so that there can be ="trms">interlocution
(is this a possible ethics='qstn'>? ='lgc'>='lgc'>--> “can I live with myself='qstn'>?”)
what one does to be in consonant with what one is capable of.
(then what is vowel='qstn'>?) vowel switches tracks and resonations
...penetrative grasp of a text, discovery and recreative apprehension of it life-forms, is impossible to paraphrase or ="trms">systematize.
='lgc'>[Michel ="ppl">Serres='lgc'>]
...temporal and local settings of one's text. (to master it='qstn'>?)
to ="trms"nttrm="already,spread">read X, is ="trms">literally, to ‘prepare’ to ="trms"nttrm="already,spread">read X
in certain civilizations there comes epochs in which syntax stiffens...
Changing landscape of fact
words, the guardians of meanings, are not immortal.
note on ="trms">history='lgc'>: ="trms">past is a ="trms">language construct, that the ="trms">past tense of the ="trms">verb is the sole guarantor of ="trms">history.
to ="trms"nttrm="already,spread">read='lgc'>: is to restore all that one can of the immediacies of value and intent in which speech actually occurs.
What ="trms">material reality has ="trms">history out of ="trms">language='qstn'>? ='lgc'>--the Tasawwuf/Tasavof ="trms">verbal ="trms">linguistic tradition
...to remind you that everything is the condition of madness.
(protest against “was” ='lgc'>='lgc'>='lgc'>---> ='gtrw'>go to ="ppl">Attar's ="trms">relation with biographies in Tazkirat al-Awliya='lgc'>='lgc'>---he mobilizes ‘personalities’ in the index of his mystic-="trms">ontological ="trms">demand='lgc'>='lgc'>---what would the lack of personality take revenge of ="ppl">Attar='qstn'>?)
we are at a tense ="trms">past and a ="trms">past tense='lgc'>='lgc'>---prison tense
..the landscape ="trms">composed by the ="trms">past tense, the semantic organization of re="trms">membrance... is styled and ="trms">coded ="trms">differently by cultures. ='lgc'>--miniature illustrating San'an='qstn'>?
The ="trms">verbal icon made up of all successive ="trms">translations of ="trms">Greek ="trms">literature and philosophy has oriented fundamental movements in Islamic feelings ='lgc'>--="ppl">Farabi, Mirdamad, etc.
My ="trms">translation of classics is not out of a vital compulsion for immediacy or precise echo. I am not trying to build my own resonant ="trms">past. Myth of the ‘true ="trms">past’... ="trms">different perspectives can co-exist and b="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lur
the ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics of the insult, in San'an ="trms">story
I am ="trms">interested in the conventions in which texts can be ="trms"nttrm="already,spread">read, in which a semantic statement can be carried over into someone's own idiom. I am teaching how to re="trms"nttrm="already,spread">read texts of ="ppl">Attar and so forth.
I think we have civilization because (we have learned) ‘to ="trms">translate out of time’
="large lg1" stl="font-size:148%">
übertr="trms">agen,
handing down thought ="trms">narrative,
something that also depends on transfer of meaning in ='strcls'>*space='strcls'>*
San'an's sudden ="trms">interest in the woman/="trms">child (Tarsaa could also be a young boy) reminds us the uniquely vulnerable and creative condition of the ="trms">childhood
privileged inferiority (of both ="trms">child and woman)
we are dealing with both ="trms">intercourse and discourse
how his voice will change after San'an actually gets the girl='qstn'>?
...="trms">communication like breathing is subject to obstruction and homicidal breakdowns, under stress of hatred, of boredom, or of sudden panic, great gaps open ...that their previous understanding had been based on a trivial pidgin which had left the heart of meaning untouched.
What is the female speech in San'an='qstn'>?
="prgrph">-the breakdowns and ="trms">translations in San'an ="trms">story.
="prgrph">-The sexual ="trms">translation and breakdown of ="trms">linguistic exchange in San'an ="trms">story.
...having an ‘ear’ for contrasting pressures of sexual discourse or identity
in San'an, man and woman, each respective experience of Eros and ="trms">language had set them desperately apart.
In whose idiom, male or female, one can grasp (only) falsehood or menace='qstn'>?
...as declaimer of my own stifled, tongue
my performance, cor="trms">responding to my level of ="trms">literacy, and a private thesaurus, part of my subconscious and personal ="trms">memories, and using the singular and irreducibly ="trms">specific ensemble of somatic and psychological identity.
='thdf'>the ideal of a totally personal voice, of a unique ‘fit’ between an individual's expressive means and his ="trms">world-image, perused by the ="trms">poets.
="large lg22" stl="font-size:120%">
this is not a formal hard-="trms"nttrm="knowledge,Knowledge">edged ="trms">linguistic relegation, rather a ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical speculation
='strcls'>*note to self='lgc'>: my ="trms">interest in the ʿAjā'ib al-makhlūqāt (جائب المخلوقات وغرائب الموجودات) is due to the traces it provides into ="trms">verbal ="trms">literacy, a living vulgar ="trms">language of mix, rather than a dead structure such as Manṭiq-uṭ-Ṭayr (منطق الطیر) of ="ppl">Attar.
Cultures (during ="ppl">Attar's='qstn'>?) seem to expend on their ="trms">vocabulary and syntax acquisitive energies and ostentations entirely lacking in their ="trms">material lives.
='lgc'>[very ="trms">interesting point by ="ppl">Serres regarding the ="trms">language of mysticism, ="ppl">Attar and others.='lgc'>]
my ="trms">translation of ="ppl">Attar, an ="trms">interlinear version of the script, a virtual ="trms"nttrm="search">archetype of ="trms">translation
think about the ="trms">presence of ="trms">interpreters in the building site ='lgc'>-- ="ppl">Kafka's ="trms">literature house
Only if men could use ="trms">language without perusing meaning to the forbidden ="trms"nttrm="knowledge,Knowledge">edge of the absolute.
‘a ="trms">poetic ="trms">vocabulary of concepts’
‘connections or af="trms">finities’
pursuit of an ="trms">inter-="trms">lingua for philosophic discourse
as you can see in this ="trms">writing, I am practicing loosening the tight axiom of ="trms">relation of A='lgc'><='lgc'>='lgc'>-->B, something other than the predecessor-successor or cause-effect pair (='lgc'>='lgc'>--> this order of structure is coming from ="trms">Greek ="trms">geometric,) I am trying an unordered order-of-reason that is more reflexive, ="trms">symmetric, and ="trms">intransitive. (the construction of the text re="trms">presents each chain incomplete and displaced='lgc'>--="ppl">Attar knows)
towards a general theory of significant sign
Can we correlate the Persian syntax with the ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical ambience, ="trms">internal divisions, and lyric bias of Persian people='qstn'>?
the ="trms">language-matrix
="large lg22" stl="font-size:122%">
="trms">language, informed by energies proper to itself, more comprehensive and timeless than any who makes use of it...
discourse (die Rede) would not be muffled by the ground='lgc'>='lgc'>---we walk erect ='lgc'>[="ppl">Serres='lgc'>]
jede Sprache ist ein Versuch='lgc'>='lgc'>---='strcls'>*trial
(="ppl">Humboldt)
="trms">different ="trms">languages penetrate to ="trms">different depths
='lgc'>='lgc'>--> (every try is a) starting over with ='strcls'>*accuracy
ok, we are starting with ="trms">language from scratch, here
="trms">Literaturhaus, house has always been a ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor for consciousness
how ="ppl">Attar can become ="trms">interested in other lives other that San'an's that are worth living='qstn'>?
although we see again and again in Islamic ="trms">social order the hierarchical structured ="trms">relationships, I like to show the otherwise in mystic stances, and argue that the model doesn't remain static normative from the master-disciple to the ="trms">authority and dependence lock, that the master-disciple ="trms">relationship doesn't affirm the divine order.
and San'an is also against ='thdf'>the notion that Sufi man is without the need of a feminine principle.
we are ="trms">presented with will of the Tarsaa, the destination of San'an, and the ="trms">poetic re="trms">presentation is feminine. the female image is strong. although at the end it has to give up ='lgc'>-- she converts to his style. the will of the disciple is not replaced by the will of the guide, the master himself doesn't have a will.
The Tarsaa is su="trms">pervising San'an's diet, sleep, and speech
='lgc'>[I have become more ="trms">interested in the term ‘tradition'='lgc'>='lgc'>---and more suspicious of preoccupations such as ‘invention’ as ="trms">modernized and capita="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list terms.='lgc'>]
tradition='lgc'>: an act of ="trms">memory based on a salience-effect of shared knowl="trms"nttrm="knowledge,Knowledge">edge
(ein Akt der Erinnerung basiert auf einer Hervorspringen-Effekt der gemeinsamen Kenntnisse)
="prgrph">-there is a sequence (where is the individual terms within it='qstn'>?)
="prgrph">-my ="trms">storytelling is about='lgc'>: describing ="trms">relations of inversion, extension, in="trms">="trms"nttrm="cluster,club">clusion, analogy, etc. between mythical, lyrical, or even ="trms">scientific ‘beings’ that are (1) ='strcls'>*conventional='strcls'>* (recognizable repertoire), and (2) ='strcls'>*closed='strcls'>* (refer to certain predefined ="trms">situations and ="trms">symbols)
='lgc'>==> I work-with and bypass with these aspects in ="ppl">Attar, ="ppl">Hafez, Ajā'ib al-makhlūqāt, etc.
the performance of ‘stop’ in San'an
sign-functions that cannot be stopped
the master-pupil lock
‘locken’ is also to ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure, seduce, etc.
thank you for becoming my students, temporarily
we are not locked, and not necessarily unlocked
what is concealed behind the special effects of the awesome signifier in San'an's ="trms">story='qstn'>?
concealed ='lgc'>=/= canceled
in ="ppl">Rumi every word is pass-word. you don't ="trms">translate a password! (fallacy of the ="trms">literal)
="lsts lst1">•all same-sex ="trms">relationships are hierarchical and dyadic (of two, ‘paarweise’ in German)='qstn'>?
and are based on the cultural diagram of the master-disciple ="trms">relationship in Sufi orders='qstn'>?
Sufi order ='lgc'>=/=='qstn'>? flirtation
mystic, is one mode of subjectivity emerged in the middle eastern thought='lgc'>='lgc'>--- a prototype of closeness and removal.
in ="ppl">Rumi='lgc'>--Masnavi's third ="trms">book='lgc'>--the un-concentrated Sheikh (- ="trms">story of Daghughi - شیخ دقوقی) is scandalously abandoned by his devotees. they broke his heart.
='lgc'>[Plot='lgc'>: Daghughi and his disciples are in deep trance beside a beach. a ship comes and sink in a sudden theatrical storm ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right in front of them, but miraculously the passengers survive. the students check with each other if any of them have prayed for the God's help's redirect to the sinking ship. no, they deduce it must have been their sheikh who saved those people='lgc'>: “he is distracted by the ="trms">world.” finally when sheikh comes out of his Namaz he turns his head to ="trms">greet his devotees but only to realize that all of them have left him in silence!='lgc'>]
and then ="ppl">Rumi goes in length in ="trms">differences between mud and water. ='lgc'>[the “prison” of mud for the water, who “belongs” to the sea, and this is a problem, the mud doesn't want to dry, therefore doesn't let go of the water, and so on.='lgc'>]
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what the image of the sinking ship has to do with the anti-clarity movements of the Sufis='qstn'>?
='lgc'>[and then suddenly='lgc'>: pishe and bishe (پیشه و بیشه)='lgc'>='lgc'>---lion comes out of Pishe(business)/Bishe(bushes) and rubs you off,
bush ='lgc'>=/= Arbeit/="trms">craft='lgc'>]
also, ="ppl">Rumi opens the mechanics of praying in this ="trms">story, he ="trms">zooms in Daghughi's performance, the God is force-handed into the pray, because the human prayer temporarily simulates nonexistence (فنا). the prayer becomes Nichts and God takes over both the ="trms">position of pray and its answer; a site where subjectivity evacuates, almost mechanically generates a form of existential void that God functionally cannot not fill (ejabat - اجابت).
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what time is it for San'an='qstn'>?
switching time-zones, from quotidian to ="trms">ontological, transcendental to experimental
his jet-lags
exhaustion of ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics
I am just alerting to a ="trms">relation to time
(in a nano-structural sense='lgc'>='lgc'>---are we fast='qstn'>? slow='qstn'>? which all these classics and texts I am having here.)
how much time does it take or took for the San'an's students to hook on to the teacher, to the difficult philosophical program that each teaching brings to bear='qstn'>?
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I am introducing myself to you
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='at'>#postscript
='strcls'>***Sheikh-e-San'an='strcls'>*** was the Old Testament itself.
It was the perfection of whatever I say more.
(Was it she at the shrine of Sheikh for fifty years='qstn'>?)
Cherished with the perfect disciple. He was a disciple of Kahn, wow!! (Who is Kahn='qstn'>?!)
Ministry of austerity, day and night; Practiced the ="trms">science of offspringing. Discovering the (secrets that are) revealed. ='strcls'>*It was a life to be had='strcls'>* ='lgc'>='lgc'>='lgc'>--->
But Hajj (حج) had claws instead of proximity. He didn't know the meaning of his own extremes. He did not sink any traditions.
="lsts lst1">•Leaders who were in ="trms">love with him. ="trms">Wild-gar="trms">dens (باغ وحشها) themselves came to him.
='strcls'>*A hairy spiritual man.
trotzdem, in greatness and strong ="trms">authorities, her illness and frailty found him. And he correctly found the tail—people's de="trms">finitions of joy and sorrow—an idol in the ="trms">world of ="trms">science.
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Although the Qibla (قبله) his compass could see, a few nights on still he dreamed, ‘the fall of a shrine in the center.’
Betty would prostrate on durability. (Who is Betty='qstn'>?).
He woke up to the ="trms">world as a lifesaver, and said, “Alas!” this time, “Joseph has succeeded to fallen well.”
From behind he felt a difficult way.
“I do not know going from this sad life” John said “that if I left the faith.” Not a ton on all the ground.
Where is such Qibla='lgc'>='lgc'>---in Ra='qstn'>? (The ancient Egyptian sun god.)
While it cut the ="trms">position of the Qibla, it became for him a clear path to justice, and stayed in the Qibla='lgc'>='lgc'>---after it opened.
The punishment be upon him in arboreal (baumig, gro='qstn'>?artig), period.
The master grew suddenly old. “With my ='strcls'>*disciples” said he.
Go now! The early Going.
='strcls'>****It soon turned out to be ‘devised.’
Authentic disciple of four hundred men, were regressed on a journey with him; Would go to the ends of the Ka'ba (کعبه).
Time, variable, filter ='lgc'>-- they go from head to foot.
It turned out to be an awesome perspective—a girl sitting on the landscape. (This is Tarsaa - ترسا).
='strcls'>**christian girl and with spiritual attributes.='strcls'>**
In Ra hundred knowl="trms"nttrm="knowledge,Knowledge">edge Allah spirit. The sphere of Jamal Hassan Tower. It was sunny but she envied sun-shots. Yellow coy ="trms">lovers in him. Here, heart of the hair of a dead ="trms">lover, around her hair gripping the ="trms">imagination. Here, pomegranate lives on the ="trms">beast that pees in Ra.
Saba (صبا) did her hair because he did Moshkin (مشکین). (He didn't have time to do the hair='qstn'>? ='lgc'>--but the wind fucked up my hair.)
Leaving it wrinkled up a trait. Both eyes was int="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigued ="trms">lovers. Both eyebrows to arch, was good. Comments on Valentine's Day because he flocked. John, the coquetry, with his arch ‘flocked,’ was closed on May—eyebrow ="trms"nttrm="search">arched. Kurdish, she collected hundreds of human lives that would follow the twists of hair.
LOL, it was thirsty. Feed the hungry ="trms">world!
“N has thousands of labels,” said he, because of the lack of his mouth. That said, if it was not any of her mouth.
Such eye needle-like mouth around the midst of package. Simin (سیمین) was well on his chin. (It was like Jesus in his speech.)
Joseph chewed hundreds of thousands of heart with blood. First in what he overthrew='lgc'>: Hair jewel in the sun.
Burqa (برقع) on the black ="trms">poetry='lgc'>='lgc'>---Tarsaa took her Burqa off ='lgc'>==> Laden Sheikh's fire broke out, because of the Burqa and the following.
Then a hundred dead in their hair.
Although the Sheikh was far in advance, (Betty will ="trms">love this='lgc'>:)
="lsts lst1">•Loss of the hands and feet
="lsts lst1">•Loss of fire, place, and left (='lgc'>=/= ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right)
All his heads were destroyed. He was melancholy because of the smoke from the fire. ="trms">Love that girl! -looting her life.
='strcls'>**Hair on his faith (as disbelief.)
Sheikh's faith and christian purchase!='qstn'>? God bless scandal! ="trms">Loving that christian girl is going to be difficult.
When the disciples saw this meadow='lgc'>--in="trms"nttrm="cluster,club">cluding the works of Kafdast (کفدست) that they knew='lgc'>--head-to-head were astonished at his job. ='strcls'>*They were toppled and stranded='strcls'>*
Gave him very good advice, no treatment.
="trms">Love turbulent was keyboard command. Aroma therapy to treat pain='qstn'>?! It was still day to night long.
From eye view, his mouth remained open, because of dark night in black ="trms">poetry, because it was hidden under the sin of unbelief.
Each LED erupted the night. Old moons came out of it. His ="trms">love that night was one hundred more. The hearts of the ="trms">world took their time together. The soil took over and broke mourning. Not a dream, not a trail. “Lord of the day!,” said he, “Do not burn candles or fairies. At night I was in great austerity. Such a burning pile did not sleep. The liver bloods to the heart, and not backward. Such a pile of Kill and Burn! Hindi night, burn and kill my day! In="trms"nttrm="cluster,club">cluding in the blood of the night of ="trms">wonder...”
The head remained steeped in blood.
Every moment of the evening that passes was ‘a percentage’ of ambush;
Day and night, he was fighting liver.
Day and night I was in fever.
“Tonight I am his day. I paid for the day, for this made my night. Tonight will be a day or ="trms">paste. God would not be burning candles.” Or ="trms">paste this ambush several signs. Ambush until the Day of Judgment. The shames in the curtains. The night is long and black as her hair. Hundred people ="trms">intercepted him. Tonight, of melancholy, ="trms">love will burn. (Wait to pull down the skirt.) Resolve a wake or help me in his ="trms">love! “Where is the ="trms">science in my mind that was before='qstn'>?” Or to bring in more reason='qstn'>? ='strcls'>**I hand over the ="trms">child to the territory of Ra. (Or the subsoil and the blood.) “Where is the ="trms">interrogator's alley='qstn'>?” Where is hand to take a blow='qstn'>? Where is force until I cried='qstn'>? Where is intelligence to alert my maker='qstn'>?!”
Wisdom and patience go go go, sweethearts! This is what ="trms">love is, what pain does is this.
Companions='lgc'>='lgc'>---to console him='lgc'>='lgc'>---were gathered that night. He cried.
='at'>@The companions said to him='lgc'>: “Apply skip to this obsession!”
='at'>@Sheikh said to them, “Tonight is liver blood!” he continued, “I washed a hundred times while unaware of it.”
='at'>@Where the other one said, “Tasbih! (تسبیح) When was that you worked ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right without Tasbih!”
='at'>@Sheikh said, “I closed up on The Round of Tasbih.”
='at'>@The other one said, “If you go wrong, repent!”
='at'>@“I had repent of='lgc'>:
="lsts lst1">•the honor of Sheikhness
="lsts lst1">•the honor of ="trms">present
="lsts lst1">•the honor of impossible.”
='at'>@Another one said, “Knower of secrets, jump and pull your selves together behind the prayer!”
='at'>@Told the journa="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists, “The altar, to be anything other than my prayer!”
='at'>@The other in a long saddle he said, “Reach in privacy and worshiped God now!”
='at'>@“If my idol were here, would be beautiful to bow down before him.” said Sheikh.
='at'>@Another one asked him, “Do you not penance Islamic is a breath of pain='qstn'>?!”
='at'>@Said, “One regret is that I was not previously so in ="trms">love.”
='at'>@Another one said to him “That is the way of duty. The heart suddenly shots up.”
='at'>@“If she told that way='lgc'>--Tough-Talk='lgc'>--because of his chest and beautiful.” He answered.
='at'>@Another one said to him “Whom became aware of that old would says it was misled in this way.”
='at'>@“I said the very name of the pretender; Glass tooooo the Stone!!”
='at'>@Another one said to him that “old friends, you left half of the heart.”
='at'>@He said that “since Tarsaa was a good kid, heart suffered from this and not ignored it.”
='at'>@Another one said to him that “to make friends, tonight we open up towards the Ka'ba.”
(='strcls'>**If the Ka'ba was not told sooner.)
='at'>@“My Ka'ba in late sober drunk...”
='at'>@Said another one, “This time a determined way, in temples I sit and beg my pardon.”
='at'>@The journa="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list said on its doorstep, “it is Will's apologize that hurts me.”
='at'>@Another one said to him “that hell is ="trms">intercepted. Man is hell!”
='at'>@“If Hell is the way,” I said it, “Seven of Hell, burn me a sigh!”
='at'>@Another one said to him “that the hope of heaven='qstn'>? Go back and repeat saddle evil!”
='at'>@Said the man, “Is a paradise on now='qstn'>?! (of course!) - it is paradise this dormitory.” (='lgc'>='lgc'>--> Naaaareh)
='at'>@Another said to him that “the shame of the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right with God='qstn'>?!”
='at'>@Said, “The fire in my ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right.”
='at'>@“That is...” another one resident said to him “Go! Open a believe that is believing!”
='at'>@“But I ="trms">wonder blasphemy!” replied Sheikh, “Faith disbelieves faith.”
Because he did not speak work, that was the end of treatment.
Woman wave the curtain hearts blood-glucose.
What comes to your meeting un="trms">folds... Leave days, with golden shield. Hinduism night to cast the razor head. Proud the other day. It was like a sea of light absorbing Fountain Creek.
Sheikh quiet in alley of the building, working with street dogs. Stayed on the ground and sat released. Such was the-hair-in-the-mouth. Finished up closeness day and night in his dormitory.
He waited for the sun.
Became ill.
(Soil was the idol bed in his dormitory.)
='strcls'>*The girl was aware of ="trms">love.
Made a journa="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list of herself, “What patrol!” said Sheikh restless, who have drunk of the wine of idolatry.
christians meeting in dormitories.
Sheikh confessed to the Other, “Each blow brought a frenzy.” Sheikh asked him, “Do you see the tongue='qstn'>? Therefore stolen heart='qstn'>? Open heart or make me! I need perspective! Several prayers!”
Cute and proud of the passage='lgc'>: a str="trms"nttrm="danger,stranger">anger ="trms">loved and followed.
“John commands thee, although you will still die of lips.” “...of lips and my losses and profits.” Kuwait was the destination and to me. Do not twist the hair in shit! The shit in my eyes is not drunk.
(Heart on fire, seen as clouds from the top='lgc'>:)
“Without you, my life="trms">world begs the center of you. Like rain that clouds the eye, without you, I eye the eye. Devil has seen the stay in mourning, the sighting of view—grief remains.”
I saw there was not one inch. I did not like the blood of the wine on the lives of the poor man.
He kicked several men's conquests. I refuse waiting time.
There was ='strcls'>**the time of start-stop='strcls'>**. Each night, the ambush of my life. John played on your campus.
Power is on the ground, my life.
I survive rates of cheap dirt.
“Some moan on power, in the opener, but I blow to the self-c[...]