[...]!

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 lss="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 lss="trms">morphology<lgc clss='lgc'>--lgc>lss="trms">different in every lss="trms">aesthetic moment, a dynamic entity
<lgc clss='lgc'>[lgc>person of flesh, thing of illusio, lss="trms">category of mechanism,
ترسا or ترسنده <lgc clss='lgc'>=~lgc> lss="trms">child-being, نصرانی <lgc clss='lgc'>=~lgc> the-other<lgc clss='lgc'>]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 availablelss='qstn'>?

<lrg clss="large lg2" stl="font-size:110%"> she doesn't accept his marriage proposal

is there a woman hidden under the concept of Tarsaalss='qstn'>?
which toxicities or lss="trms">horrors the-woman-of-the-house in the lss="trms">story of San'an conceals precisely with the figure of Tarsaalss='qstn'>?
lrg>
ls clss='strcls'>*****ls>Tarsaa doesn't have a father.
lss="prgrph">-she is autonomous and emancipated
lss="prgrph">-San'an is of course another legendary non-feminist lss="trms">position
lss="prgrph">-it's a masculinist lss="trms">story after all, in its plot

medieval lss="trms">narratives of woman's image relating to the so-called sexual self-respect<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>woman always relss="trms">presenting the lss="trms">matter and the lss="trms">material
a comparative lss="trms">literary note on Tarsaa's framework and other female protagonist/antagonists <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>
in<lgc clss='lgc'>:lgc> l clss="ppl">Nezamil><lgc clss='lgc'>:lgc> Khosro-o-Shirin and lss='trgt hghlght 1'href='?q=L'>Leili-o-Majnun (woman is there for the man, to elevate him); l clss="ppl">Jamil><lgc clss='lgc'>:lgc> Salaman-o-Absal and Yusof-o-Zoleikha (woman is body and to be avoided); l clss="ppl">Gorganil><lgc clss='lgc'>:lgc> Vis-o-Ramin (woman is autonomous and for herself in the plot of the lss="trms">story)

ls clss='strcls'>*ls>this time, he stammers in a lss="trms">situation lss="trms">articulated by her

preserving the ‘good object’
who is doing it and what is the good object forlss='qstn'>?
(the missing good object, forever)

Tarsaa lss="trms">demands him to drink and not to get drunk

سوی خوکان شتافت
San'an's pig-phobia
introducing the pig in a lss="trms">bird's lss="trms">story
(Hoolss="trms">poe convincing the Nightingale, Nightingale convincing the ...)
the way of the pig

how earthly we are, we, creatures of earth, how lss="trms">lss="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics forecloses us
l clss="ppl">Attarl> keep throwing similies of horizontal and vertical
(simile صنعت تشبيه, شبيه صنع)


scanning through the scandalous moments in San'an...


<lrg clss="large lg1" stl="font-size:133%"> I want to be German everyday
lrg>


de-lss="trms">system or to desist, nondialectical negativity


‘lss="trms">Integrieren’ is lss="trms">transitive lss="trms">verb, has a virtual object or project


I am in Ausländerbehörde, the oplss="trms">posite of hospitalitylss='qstn'>?
I have to stop talking oplss="trms">posite lss="trms">rhetoric. but this was not an antithesist oplss="trms">posite, it was a logical oplss="trms">posite


violences of the encounter


San'an's lss="trms">love-lss="trms">story, ist nicht das Tristan und Isolde


‘watch your back’ is the olss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of surlss="trms">veillance <lgc clss='lgc'>{lgc>lss='qstn'>?<lgc clss='lgc'>}lgc>


I hope I am not lss="trms">interrupting here!


killing it and lss="trms">loving it completely
so we are working (fine-tuning) on phantom noises, parasite elss="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

lrg>lbrkr stl="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................lbrkr>

and I like to hand myself over




how flowers make sense
(in lss="nms">Iranian lss="trms">lss="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics)


(<lgc clss='lgc'><lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>>lgc> lss='gtrw'>go to l clss="ppl">Baudelairel>'s Fleurs du mal)



the lss="trms">rhetoric of desire in San'an, how is it (lss="trms">technologically<lgc clss='lgc'>{lgc>lss='qstn'>?<lgc clss='lgc'>}lgc>) determinedlss='qstn'>?

how are things turned on or turned off in San'anlss='qstn'>? etc.
lss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right at the moment that he is allegedly at an elss="trms">mission of a dream/call, we are dealing (or working) with (the essence of) lss="trms">technology, there is a mitten, trans-mitten, transmitting, elss="trms">mission, etc.
<lgc clss='lgc'>[lgc>he is welcoming a call<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>it was l clss="ppl">Heideggerl> who linked thinking with welcoming<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>to arrive<lgc clss='lgc'>]lgc> <lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc> <lgc clss='lgc'>[lgc>to San'an, ‘what (the hell) was he thinking!!!lss='qstn'>?’ both in the sense of the ‘blame’ and the lss="trms">ontology -and lss="trms">epistemology of it<lgc clss='lgc'>]lgc>
(how is he revealed to experience the call of a more primal truthlss='qstn'>? the girl)
<lgc clss='lgc'>[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 lss="trms">mission<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>but that is also a problem;

ls clss='strcls'>*ls>footnote<lgc clss='lgc'>:lgc> l clss="ppl">Hafezl> trying to lss="trms">travel (to India, invited kindly with Reiseflss='qstn'>?rderung (lss="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 lss="trms">language-turn, when he is standing in front of the stormed sea, he turns back to Shiraz via a lss="trms">trope<lgc clss='lgc'>:lgc> چه آسان می‌نمود اول غم دریا به بوی سود غلط کردم که این طوفان به صد گوهر نمی‌ارزد it is so lss="trms">interesting how scholars and other lss="trms">poets are trying to map out his itineraries and lss="trms">travel-logs from his lss="trms">poesies/lss="trms">poiesis. the nagging and lss="trms">complaining l clss="ppl">Hafezl>, always annoyed by weather or something, and can't stop saying how much he misses his friends in Shiraz and so on<lgc clss='lgc'>]lgc>

(l clss="ppl">Hafezl> takes on San'an because he also fucks up the lss="trms">travel, he falls with face down in the mud. for him also lss="trms">travel is traumatic, disruptive, and unpleasant; so they both lss="trms">demand another kind of trans-portation lss="trms">system)

This essence of lss="trms">technology, however, has nothing to do with lss="trms">technology. <lgc clss='lgc'>[lgc>this is l clss="ppl">Heideggerl>ian<lgc clss='lgc'>]lgc> <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> lss="trms">technology is a means of revealing the truth

<lgc clss='lgc'>[lgc>it is not the machines that we are at the age of lss="trms">technology<lgc clss='lgc'>]lgc>

lss="trms">technology is always sent to us
in the lss="trms">story we are shifting to ‘send’, this doesn't mean that there is a sovereign subject or some lss="trms">sort of powerful ‘self’ lss="trms">responsible or at the olss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of the productive behavior (or accomplishment) of San'an.

(l clss="ppl">Heideggerl> collects<lgc clss='lgc'>:lgc>)
destiny, destination, schicken, Schicksal, etc.
<lgc clss='lgc'>[lgc>ungeschickt <lgc clss='lgc'>=lgc>lss='qstn'>? destinal failss="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure, existential lss="trms"nttrm="cluster,club">clumsiness<lgc clss='lgc'>]lgc>
<lgc clss='lgc'>[lgc><lgc clss='lgc'>ld>~ld>=lgc> lss="trms">technical error in destiny. what is the future of errorlss='qstn'>?<lgc clss='lgc'>]lgc>
<lsts clss="lsts lst1">•lss="trms">according to l clss="ppl">Heideggerl>, nobody (that also means everybody) can take at the wheel and make certain determinations and destinations
lsts> <lgc clss='lgc'>[lgc>this is his notion of ‘lss="trms">techne'<lgc clss='lgc'>]lgc>
<lsts clss="lsts lst1">•Tarsaa's lss="trms">technical lss="trms">intervention in San'an's destiny
lsts>
that is another kind of relatedness
you can no longer talk about the subject or object
is one in full possession of oneselflss='qstn'>? one doesn't belong to oneself or anybody else<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>that would be a post-l clss="ppl">lss='trgt hghlght 1'href='?q=L'>Lacanl>ian critique, which is the self-sabotage of the mystic is not necessarily attached to a inevitable devouring lss="trms">authority, “I don't belong to myself or anybody else.” nor God, nor teacher, etc. <lgc clss='lgc'>==>lgc> the self is not necessarily devourable. <lgc clss='lgc'>[lgc>what are the certain components of the self of San'an that will remain unavailable, those that underlay a lss="trms">pervasive sense of not-belonginglss='qstn'>?<lgc clss='lgc'><lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>>lgc> longing (‘vermissen’) the girl/Tarsaa, ‘to-be-longing'<lgc clss='lgc'>]lgc>
(why) am I inlss="trms"nttrm="cluster,club">cluding in my speech a lss="trms">rhetoric of faltering, self-sabotage, and hesitationlss='qstn'>?
should I edit it outlss='qstn'>? edit out the “I am not sure,” those self-canceling moments from my expressionlss='qstn'>?
(my) thoughts deserve elegant expressionsls clss='strcls'>***ls>


lss="trms">translation of this is very unstable


(lss="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

<lrg clss="large lg3" stl="font-size:112%"> lrg>

(these are rather ‘stances,’ than ‘lss="trms">questions’)
how the lss="trms">poet-l clss="ppl">Attarl> serves or is served-up and devastated by lss="trms">languagelss='qstn'>?


<lrg clss="large lg4" stl="font-size:110%"> lrg>
blast has a sense of destruction to it, and destruction is good and necessary, it clears away what is allss="trms"nttrm="already,spread">ready dead and hanging around burdening your being. blast is not a devastation, devastation promises no futurity

lss="prgrph">-who are you destroyed bylss='qstn'>?

whom am I addressing herelss='qstn'>? but more importantly, who or what is addressing me here (in a non-lss="trms">present way)lss='qstn'>?

San'an/girl/pig assemblage
(what is girl in San'an lss="trms">storylss='qstn'>? what is lss="trms">animal in San'an lss="trms">storylss='qstn'>?)

<lrg clss="large lg5" stl="font-size:160%"> San'an lss="trms">story, as a scenography of sexual lss="trms">difference, and ironization (to make ironic in appearance or effect) of lss="trms">question and answer, Q&As in l clss="ppl">Attarl>
lrg>
there is a dramaturgy of repudiation (when the students ask and blame<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>everyone is insulted) <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> Stud[...]