[...]ند 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.

="large lg2" stl="font-size:112%"> (="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

="large lg1" stl="font-size:135%"> ...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


="large lg3" stl="font-size:110%"> 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.


="large lg4" stl="font-size:110%"> 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.


="large lg5" stl="font-size:125%"> (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'>?
[...]