[...]nother 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'>]

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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.

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(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’



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.


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

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

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‘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


="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'>]

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


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


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.

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When th[...]