[...]t 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

<lrg clss="large lg2" stl="font-size:112%">
‘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>
lrg>

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)



<lrg clss="large lg1" stl="font-size:114%"> 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'>?
lrg>
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


<lrg clss="large lg3" stl="font-size:112%"> ...full path of an another Dasein
lrg>

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.

<lrg clss="large lg4" stl="font-size:111%"> (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>
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.


<lrg clss="large lg5" stl="font-size:118%"> I try not to pre-program what is going to happen. <lgc clss='lgc'>[lgc>here now<lgc clss='lgc'>]lgc>
lrg>

<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>-pack[...]