[...]t this was not an antithesist oplss="trms">posite, it was a logical oplss="trms">posite


violences of the encounter

<lrg clss="large lg2" stl="font-size:111%">
San'an's lss="trms">love-lss="trms">story, ist nicht das Tristan und Isolde
lrg>

‘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>lrg>

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)


<lrg clss="large lg14" stl="font-size:106%">
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



(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'>?



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'>?)

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>

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> Student is whom that which defines what is ls clss='strcls'>*ls>failss="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurels clss='strcls'>*ls> (<lgc clss='lgc'>--lgc>'to be fixed’ <lgc clss='lgc'>=lgc>lss='qstn'>? olss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of teaching)
<lgc clss='lgc'>{lgc>pupil is that which ‘summons’ the master - استاد احضار<lgc clss='lgc'>}lgc>

ملامت

...and an idealization of the self, and not the object
<lgc clss='lgc'>[lgc>where is the object in San'an lss="trms">poemlss='qstn'>? where is the shadow, the deadlss='qstn'>?<lgc clss='lgc'>]lgc>


basically here, I am opening a l clss="ppl">Derridl>ean expanse


...full path of an another Dasein


how far we are from the Dionysian Athenian festivallss='qstn'>? lss='trgt hghlght 1'href='?q=L'>Lenaia, a dramatic/comic competition of theatrical plays; coming from those of aristocrats and wine-mixing rituals, also where l clss="ppl">Aristophanesl> was testing ground and lss="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 lss="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 textslss='qstn'>?)

the concept of ملامتگر (Malamatgar) or the one who reproaches is both central and peripheral in the lss="trms">story of Sheikh San'an. the lss="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 lss="trms">story tells that when your lss="trms">love falls in lss="trms">love with another person<lgc clss='lgc'>--lgc>that person, being a pagan gorgeous girl, a pig, or another idol<lgc clss='lgc'>--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 clss='lgc'>--lgc>is the pillar in the lss="trms">narrative. the failss="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 lss="trms">lover, results into the inception of ملامتگر and that is delss="trms">finitional for the formation of ملامتگر<lgc clss='lgc'>:lgc> someone who refuses to exercise another selfhood.

(This is also the central theme of the lss="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 clss='lgc'><lgc clss='lgc'>--lgc>-lgc>l clss="ppl">Attarl>'s idea of unfixity of discipleship's authenticity is kind of messed up)
how San'an is over or not over the lss="trms">material and his boner direction or erection is towards which psychoanalytically accessible phalluslss='qstn'>?

<lrg clss="large lg6" stl="font-size:113%"> His students are following him backward!lss='qstn'>?
“Authentic disciple of four hundred men, were regressed (zurückschreiten) on a journey with him.” <lgc clss='lgc'>[lgc>why l clss="ppl">Attarl> is insisting on the authenticity of the disciple and apprenticeshiplss='qstn'>?<lgc clss='lgc'>]lgc>


we should always ask where this text comes from.


I try not to pre-program what is going to happen. <lgc clss='lgc'>[lgc>here now<lgc clss='lgc'>]lgc>


<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> https://www.youtube.com/watchlss='qstn'>?v=D9SIlss='trgt hghlght 1'href='?q=L'>L38hkgw
in the Shams Group music video, the soldiers in the video are having the little-l clss="ppl">Rumil>-packet in their backpacks, along with other suicides. (other soldiers having l clss="ppl">Holderlinl> or l clss="ppl">Nietzschel> in their backpacks)



lss="trms">lss="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical strongholds


to keep partnership with the self, so that there can be lss="trms">interlocution
(is this a possible ethicslss='qstn'>? <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> “can I live with myselflss='qstn'>?”)



what one does to be in consonant with what one is capable of.
(then what is vowellss='qstn'>?) vowel switches tracks and resonations
...penetrative grasp of a text, discovery and recreative apprehension of it life-forms, is impossible to paraphrase or lss="trms">systematize.


<lgc clss='lgc'>[lgc>Michel l clss="ppl">Serresl><lgc clss='lgc'>]lgc>


...temporal and local settings of one's text. (to master itlss='qstn'>?)


to lss="trms"nttrm="already,spread">read X, is lss="trms">literally, to ‘prepare’ to lss="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 lss="trms">history<lgc clss='lgc'>:lgc> lss="trms">past is a lss="trms">language construct, that the lss="trms">past tense of the lss="trms">verb is the sole guarantor of lss="trms">history.


to lss="trms"nttrm="already,spread">read<lgc clss='lgc'>:lgc> is to restore all that one can of the immediacies of value and intent in which speech actually occurs.


What lss="trms">material reality has lss="trms">history out of lss="trms">languagelss='qstn'>? <lgc clss='lgc'>--lgc>the Tasawwuf/Tasavof lss="trms">verbal lss="trms">linguistic tradition

...to remind you that everything is the condition of madness.


(protest against “was” <lgc clss='lgc'><lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>>lgc> lss='gtrw'>go to l clss="ppl">Attarl>'s lss="trms">relation with biographies in Tazkirat al-Awliya<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>he mobilizes ‘personalities’ in the index of his mystic-lss="trms">ontological lss="trms">demand<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>what would the lack of personality take revenge of l clss="ppl">Attarl>lss='qstn'>?)
we are at a tense lss="trms">past and a lss="trms">past tense<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>prison tense


..the landscape lss="trms">composed by the lss="trms">past tense, the semantic organization of relss="trms">membrance... is styled and lss="trms">coded lss="trms">differently by cultures. <lgc clss='lgc'>--lgc>miniature illustrating San'anlss='qstn'>?


The lss="trms">verbal icon made up of all successive lss="trms">translations of lss="trms">Greek lss="trms">literature and philosophy has oriented fundamental movements in Islamic feelings <lgc clss='lgc'>--lgc>l clss="ppl">Farabil>, Mirdamad, etc.


My lss="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 lss="trms">past. Myth of the ‘true lss="trms">past’...  lss="trms">different perspectives can co-exist and blss="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lur


the lss="trms">lss="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics of the insult, in San'an lss="trms">story


I am lss="trms">interested in the conventions in which texts can be lss="trms"nttrm="already,spread">read, in which a semantic statement can be carried over into someone's own idiom. I am teaching how to relss="trms"nttrm="already,spread">read texts of l clss="ppl">Attarl> and so forth.
I think we have civilization because (we have learned) ‘to lss="trms">translate out of time’



übertrlss="trms">agen,
handing down thought lss="trms">narrative,
something that also depends on transfer of meaning in ls clss='strcls'>*ls>spacels clss='strcls'>*ls>



San'an's sudden lss="trms">interest in the woman/lss="trms">child (Tarsaa could also be a young boy) reminds us the uniquely vulnerable and creative condition of the lss="trms">childhood

privileged inferiority (of both lss="trms">child and woman)

we are dealing with both lss="trms">intercourse and discourse


how his voice will change after San'an actually gets the girllss='qstn'>?


...lss="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'anlss='qstn'>?

lss="prgrph">-the breakdowns and lss="trms">translations in San'an lss="trms">story.
lss="prgrph">-The sexual lss="trms">translation and breakdown of lss="trms">linguistic exchange in San'an lss="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 lss="trms">language had set them desperately apart.


In whose idiom, male or female, one can grasp (only) falsehood or menacelss='qstn'>?


...as declaimer of my own stifled, tongue

<lrg clss="large lg6" stl="font-size:124%">

my performance, corlss="trms">responding to my level of lss="trms">literacy, and a private thesaurus, part of my subconscious and personal lss="trms">memories, and using the singular and irreducibly lss="trms">specific ensemble of somatic and psychological identity.


lss='thdf'>the ideal of a totally personal voice, of a unique ‘fit’ between an individual's expressive means and his lss="trms">world-image, perused by the lss="trms">poets.


this is not a formal hard-lss="trms"nttrm="knowledge,Knowledge">edged lss="trms">linguistic relegation, rather a lss="trms">lss="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical speculation

ls clss='strcls'>*ls>note to self<lgc clss='lgc'>:lgc> my lss="trms">interest in the ʿAjā'ib al-makhlūqāt (جائب المخلوقات وغرائب الموجودات) is due to the traces it provides into lss="trms">verbal lss="trms">literacy, a living vulgar lss="trms">language of mix, rather than a dead structure such as Manṭiq-uṭ-Ṭayr (منطق الطیر) of l clss="ppl">Attarl>.


Cultures (during l clss="ppl">Attarl>'slss='qstn'>?) seem to expend on their lss="trms">vocabulary and syntax acquisitive energies and ostentations entirely lacking in their lss="trms">material lives.
<lgc clss='lgc'>[lgc>very lss="trms">interesting point by l clss="ppl">Serresl> regarding the lss="trms">language of mysticism, l clss="ppl">Attarl> and others.<lgc clss='lgc'>]lgc>



my lss="trms">translation of l clss="ppl">Attarl>, an lss="trms">interlinear version of the script, a virtual lss="trms"nttrm="search">archetype of lss="trms">translation

think about the lss="trms">presence of lss="trms">interpreters in the building site <lgc clss='lgc'>--lgc> l clss="ppl">Kafkal>'s lss="trms">literature house


Only if men could use lss="trms">language without perusing meaning to the forbidden lss="trms"nttrm="knowledge,Knowledge">edge of the absolute.
lrg>

‘a lss="trms">poetic lss="trms">vocabulary of concepts’
‘connections or aflss="trms">finities’
pursuit of an lss="trms">inter-lss="trms">lingua for philosophic discourse


as you can see in this lss="trms">writing, I am practicing loosening the tight axiom of lss="trms">relation of A<lgc clss='lgc'><<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>lgc>B, something other than the predecessor-successor or cause-effect pair (<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> this order of structure is coming from lss="trms">Greek lss="trms">geometric,) I am trying an unordered order-of-reason that is more reflexive, lss="trms">symmetric, and lss="trms">intransitive. (the construction of the text relss="trms">presents each chain incomplete and displaced<lgc clss='lgc'>--lgc>l clss="ppl">Attarl> knows)
towards a general theory of significant sign

Can we correlate the Persian syntax with the lss="trms">lss="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical ambience, lss="trms">internal divisions, and lyric bias of Persian peoplelss='qstn'>?


the lss="trms">language-matrix


lss="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 clss='lgc'><lgc clss='lgc'>--lgc>-lgc>we walk erect <lgc clss='lgc'>[lgc>l clss="ppl">Serresl><lgc clss='lgc'>]lgc>



jede Sprache ist ein Versuch<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>ls clss='strcls'>*ls>trial
(l clss="ppl">Humboldtl>)
lss="trms">different lss="trms">languages penetrate to lss="trms">different depths
<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> (every try is a) starting over with ls clss='strcls'>*ls>accuracy
ok, we are starting with lss="trms">language from scratch, here


lss="trms">lss='trgt hghlght 1'href='?q=L'>Literaturhaus, house has always been a lss="trms">lss="trms"nttrm="metaph,metamorph,metabol,metal">metaphor for consciousness

lrg>
how l clss="ppl">Attarl> can become lss="trms">interested in other lives other that San'an's that are worth livinglss='qstn'>?

although we see again and again in Islamic lss="trms">social order the hierarchical structured lss="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 lss="trms">authority and dependence lock, that the master-disciple lss="trms">relationship doesn't affirm the divine order.
and San'an is also against lss='thdf'>the notion that Sufi man is without the need of a feminine principle.
we are lss="trms">presented with will of the Tarsaa, the destination of San'an, and the lss="trms">poetic relss="trms">presentation is feminine. the female image is strong. although at the end it has to give up <lgc clss='lgc'>--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 sulss="trms">pervising San'an's diet, sleep, and speech


<lgc clss='lgc'>[lgc>I have become more lss="trms">interested in the term ‘tradition'<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>and more suspicious of preoccupations such as ‘invention’ as lss="trms">modernized and capitalss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list terms.<lgc clss='lgc'>]lgc>
tradition<lgc clss='lgc'>:lgc> an act of lss="trms">memory based on a salience-effect of shared knowllss="trms"nttrm="knowledge,Knowledge">edge
(ein Akt der Erinnerung basiert auf einer Hervorspringen-Effekt der gemeinsamen Kenntnisse)
lss="prgrph">-there is a sequence (where is the individual terms within itlss='qstn'>?)
lss="prgrph">-my lss="trms">storytelling is about<lgc clss='lgc'>:lgc> describing lss="trms">relations of inversion, extension, inlss="trms">lss="trms"nttrm="cluster,club">clusion, analogy, etc. between mythical, lyrical, or even lss="trms">scientific ‘beings’ that are (1) ls clss='strcls'>*ls>conventionalls clss='strcls'>*ls> (recognizable repertoire), and (2) ls clss='strcls'>*ls>closedls clss='strcls'>*ls> (refer to certain predefined lss="trms">situations and lss="trms">symbols)
<lgc clss='lgc'>==>lgc> I work-with and bypass with these aspects in l clss="ppl">Attarl>, l clss="ppl">Hafezl>, 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 lss="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 lss="trms">storylss='qstn'>?


concealed <lgc clss='lgc'>=/=lgc> canceled



in l clss="ppl">Rumil> every word is pass-word. you don't lss="trms">translate a password! (fallacy of the lss="trms">literal)


<lsts clss="lsts lst1">•all same-sex lss="trms">relationships are hierarchical and dyadic (of two, ‘paarweise’ in German)lss='qstn'>?
lsts> and are based on the cultural diagram of the master-disciple lss="trms">relationship in Sufi orderslss='qstn'>?

Sufi order <lgc clss='lgc'>=/=lgc>lss='qstn'>? flirtation


mystic, is one mode of subjectivity emerged in the middle eastern thought<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc> a prototype of closeness and removal.



in l clss="ppl">Rumil><lgc clss='lgc'>--lgc>Masnavi's third lss="trms">book<lgc clss='lgc'>--lgc>the un-concentrated Sheikh (- lss="trms">story of Daghughi - شیخ دقوقی) is scandalously abandoned by his devotees. they broke his heart.
<lgc clss='lgc'>[lgc>Plot<lgc clss='lgc'>:lgc> Daghughi and his disciples are in deep trance beside a beach. a ship comes and sink in a sudden theatrical storm lss="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 clss='lgc'>:lgc> “he is distracted by the lss="trms">world.” finally when sheikh comes out of his Namaz he turns his head to lss="trms">greet his devotees but only to realize that all of them have left him in silence!<lgc clss='lgc'>]lgc>
and then l clss="ppl">Rumil> goes in length in lss="trms">differences between mud and water. <lgc clss='lgc'>[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 clss='lgc'>]lgc>

what the image of the sinking ship has to do with the anti-clarity movements of the Sufislss='qstn'>?

<lgc clss='lgc'>[lgc>and then suddenly<lgc clss='lgc'>:lgc> pishe and bishe (پیشه و بیشه)<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>lion comes out of Pishe(business)/Bishe(bushes) and rubs you off,
bush <lgc clss='lgc'>=/=lgc> Arbeit/lss="trms">craft<lgc clss='lgc'>]lgc>

also, l clss="ppl">Rumil> opens the mechanics of praying in this lss="trms">story, he lss="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 lss="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).

<lrg clss="large lg14" stl="font-size:100%"> lrg>lbrkr stl="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................lbrkr>

what time is it for San'anlss='qstn'>?



switching time-zones, from quotidian to lss="trms">ontological, transcendental to experimental
his jet-lags
exhaustion of lss="trms">lss="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics
I am just alerting to a lss="trms">relation to time
(in a nano-structural sense<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>are we fastlss='qstn'>? slowlss='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 bearlss='qstn'>?

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

I am introducing myself to you

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

lss='at'>#postscript


<lrg clss="large lg3" stl="font-size:110%"> ls clss='strcls'>***ls>Sheikh-e-San'anls clss='strcls'>***ls> was the Old Testament itself.
It was the perfection of whatever I say more.
(Was it she at the shrine of Sheikh for fifty yearslss='qstn'>?)
Cherished with the perfect disciple. He was a disciple of Kahn, wow!! (Who is Kahnlss='qstn'>?!)
Ministry of austerity, day and night; Practiced the lss="trms">science of offspringing. Discovering the (secrets that are) revealed. ls clss='strcls'>*ls>It was a life to be hadls clss='strcls'>*ls> <lgc clss='lgc'><lgc clss='lgc'><lgc clss='lgc'>--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 clss="lsts lst1">•lss='trgt hghlght 1'href='?q=L'>Leaders who were in lss="trms">love with him. lss="trms">Wild-garlss="trms">dens (باغ وحشها) themselves came to him.
lsts> ls clss='strcls'>*ls>A hairy spiritual man.
trotzdem, in greatness and strong lss="trms">authorities, her illness and frailty found him. And he correctly found the tail—people's delss="trms">finitions of joy and sorrow—an idol in the lss="trms">world of lss="trms">science.
lrg>

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 Bettylss='qstn'>?).
He woke up to the lss="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 clss='lgc'><lgc clss='lgc'>--lgc>-lgc>in Ralss='qstn'>? (The ancient Egyptian sun god.)
While it cut the lss="trms">position of the Qibla, it became for him a clear path to justice, and stayed in the Qibla<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>after it opened.
The punishment be upon him in arboreal (baumig, grolss='qstn'>?artig), period.
The master grew suddenly old. “With my ls clss='strcls'>*ls>disciples” said he.
Go now! The early Going.
ls clss='strcls'>****ls>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).


<lrg clss="large lg4" stl="font-size:111%"> Time, variable, filter <lgc clss='lgc'>--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).
ls clss='strcls'>**ls>christian girl and with spiritual attributes.ls clss='strcls'>**ls>
In Ra hundred knowllss="trms"nttrm="knowledge,Knowledge">edge Allah spirit. The sphere of Jamal Hassan Tower. It was sunny but she envied sun-shots. Yellow coy lss="trms">lovers in him. Here, heart of the hair of a dead lss="trms">lover, around her hair gripping the lss="trms">imagination. Here, pomegranate lives on the lss="trms">beast that pees in Ra.
Saba (صبا) did her hair because he did Moshkin (مشکین). (He didn't have time to do the hairlss='qstn'>? <lgc clss='lgc'>--lgc>but the wind fucked up my hair.)
lss='trgt hghlght 1'href='?q=L'>Leaving it wrinkled up a trait. Both eyes was intlss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigued lss="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 lss="trms"nttrm="search">arched. Kurdish, she collected hundreds of human lives that would follow the twists of hair.
lss='trgt hghlght 1'href='?q=L'>LOlss='trgt hghlght 1'href='?q=L'>L, it was thirsty. Feed the hungry lss="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 clss='lgc'>:lgc> Hair jewel in the sun.
Burqa (برقع) on the black lss="trms">poetry<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>Tarsaa took her Burqa off <lgc clss='lgc'>==>lgc> lss='trgt hghlght 1'href='?q=L'>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 lss="trms">love this<lgc clss='lgc'>:lgc>)
<lsts clss="lsts lst1">•lss='trgt hghlght 1'href='?q=L'>Loss of the hands and feet
lsts> <lsts clss="lsts lst1">•lss='trgt hghlght 1'href='?q=L'>Loss of fire, place, and left (<lgc clss='lgc'>=/=lgc> lss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right)
lsts> All his heads were destroyed. He was melancholy because of the smoke from the fire. lss="trms">lss='trgt hghlght 1'href='?q=L'>Love that girl! -looting her life.
ls clss='strcls'>**ls>Hair on his faith (as disbelief.)
Sheikh's faith and christian purchase!lss='qstn'>? God bless scandal! lss="trms">lss='trgt hghlght 1'href='?q=L'>Loving that christian girl is going to be difficult.
lrg>

When the disciples saw this meadow<lgc clss='lgc'>--lgc>inlss="trms"nttrm="cluster,club">cluding the works of Kafdast (کفدست) that they knew<lgc clss='lgc'>--lgc>head-to-head were astonished at his job. ls clss='strcls'>*ls>They were toppled and strandedls clss='strcls'>*ls>
Gave him very good advice, no treatment.
lss="trms">lss='trgt hghlght 1'href='?q=L'>Love turbulent was keyboard command. Aroma therapy to treat painlss='qstn'>?! It was still day to night long.
From eye view, his mouth remained open, because of dark night in black lss="trms">poetry, because it was hidden under the sin of unbelief.
Each lss='trgt hghlght 1'href='?q=L'>LED erupted the night. Old moons came out of it. His lss="trms">love that night was one hundred more. The hearts of the lss="trms">world took their time together. The soil took over and broke mourning. Not a dream, not a trail. “lss='trgt hghlght 1'href='?q=L'>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! Inlss="trms"nttrm="cluster,club">cluding in the blood of the night of lss="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 lss="trms">paste. God would not be burning candles.” Or lss="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 lss="trms">intercepted him. Tonight, of melancholy, lss="trms">love will burn. (Wait to pull down the skirt.) Resolve a wake or help me in his lss="trms">love! “Where is the lss="trms">scie[...]