[...]it.
Sheikh and his companions came days after opening, till it was the ‘smooth’ (Tarsaa) was.
When he saw the yellow gold, lost in rounds, ="trms">intercepted her coma. Clean bare feet and torn clothes.
The men on the ground, for example. Give it a month since his Sheikh bet his epileptic sore.
Because it takes months in epileptic sleep. Sheikh growth of water.
It looked like the journa="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list Sheikh. Tears fell like a cloud of spring.
His promises. In his own hands and feet. Said “you burned my soul. I can no longer burn in the curtains of repentance, to be aware. Supply now Islam! (to be ="trms">intercepted)
He launched the Sheikh of Islam. Fellowship bubbling sentence rejected.
Because it was the idol of the people exposed. ="ppl">Rain tears, the woman waves in between.
San'an, because he was the last governor, heard tasteful faith in the heart.
She was restless taste faith.
“My patience was Sheikh's vault.” Said, “I do not have any patience at parting.
Saddle go full family. Sheikh, Hajj, Pilgrimage, ="trms">world, I will be as brief as speech, my poor... rather than an adversarial amnesty and not...”
This said in the hands of John, and was half dead. Her sun was hidden under cloud. Sweet life of girl parted, hesitated.
She followed a drop in the ocean.
The sea was actually open.
In="trms"nttrm="cluster,club">cluding the ="trms">world, it goes like the wind. He went and we all go.
Saddle such fall much in the way of ="trms">love. This person is conscious, knows that ="trms">love. Anything said may be ="trms">intercepted.
Mercy, despair, deceit, and securely.
This can hear the secrets of the soul, Nasibat (نصیبت) cannot be won without balls. This is certainly the heart and soul, must be heard. Water
and mud reliance should not be heard. War was the heart and soul of
each tail hard. Dirge in that mourning was hard.
="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................
="large lg2" stl="font-size:110%">
='lgc'>=================
="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................
his mental hygiene, through strange theological appartouses, is not standing intrusions and pollutants of the middle ages trans-="trms">religiousity and cross-boundry encounters between the dislikes and those who differ in sexuality.
his hygiene is polluted
but in a peotic reappropriative act of ="ppl">Attar this will operate in another iteration to produce a more radical transcendence; still again a vital encounter with ="trms">religious pollution is avoided
='lgc'>[my teacher and prosecutor ='lgc'>='lgc'>--> malamat, San'an students='lgc'>]
="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................
="large lg1" stl="font-size:132%">
='lgc'>[title='lgc'>]
main title='lgc'>:
“Four Eastern Cartographies of En="trms">trapment”
video='lgc'>:
“="trms">Writing on Chaos - A Terminal Intimacy”
performance='lgc'>:
“The Reward of The Victim - Towards ="trms">Poetic Extremism”
image assemblage wallpaper='lgc'>:
“Bad Temper - Apocalyptic Climates of End="trms"nttrm="danger,stranger">angered Subjectivity”
delve
delvi
delphi
dilated
dionysian ecotone for performance
defp
dionysian epitom studies for performing ecotone
desfpe
artistic research center for ="trms">material epitom studies
arcfmes
(art)mes
eccentric center of/for ="trms">material and performance studies
(eco)maps
dionysian epitom for ="trms">material and performance studies
demaps
eccentric center of/for epitomized ="trms">material studies
ecfem
cologne center for ="trms">social research
ccsr
ecotone
epitom
parc
performance and research center
cream
center for research in ="trms">epistemology and ="trms">matter
="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................
='strcls'>***sharjah project='strcls'>***
='lgc'>[general approach of the project:='lgc'>]
this proposal gathers ="trms">literary forces from the speculative insights of ="ppl">Jason Bahbak ="ppl">Mohaghegh (on ‘radical modes of resistance’) and ="ppl">Edouard ="ppl">="ppl">Glissant (on ‘modest modes of resistance’) in order to perform a ‘slider’ between hostile and relaxed patterns of “contact” and “nothingness” that has been rotating throughout the ="trms">past century in the Middle East. the performance of a knowl="trms"nttrm="knowledge,Knowledge">edge-="trms">zoom in the hypnotic effects, nondialogue, non="trms">narrative, and radical exile spaces that have emerged in eastern post="trms">modernism to reverse and supersede the ="trms">question of ="trms">modernity.
by ="trms">traversing the domains of revolutionary ideology, avant-garde ="trms">literature, new-wave cinema, extremist thought, and protests from the limitless ="trms">imaginative reservoir of their political, ="trms">poetic, spiritual, and ="trms">aesthetic predecessors='lgc'>--this projects examines a Middle Eastern navigation of identity (via the concept of the ‘mask’) and its particular modest/hostile modes of resistance (via the concept of the ‘text’). visiting sites such as='lgc'>: subversive epitomes of charismatic ="trms">authority undertaking a ="trms">poetic ="trms">articulation, when chaotic ="trms">imagination makes contact with nothingness, the will to chaos, and inscription of fatality in ="trms">literature-as-moral-transaction.
='lgc'>[pressure points:='lgc'>]
mobile within a speculative/sug="trms">gestive milieu, this project is ="trms">interested in examining ="trms">literary sites such as Kelile-o Demne's ="trms">communal forms of fragile human cohabitation (11th century political/bestial ="trms">fable), ="ppl">Rumi's simulation of nonexistence (13th century production of ="trms">schizo-darvish), ="ppl">Hafez's engineering ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor-factory (14th century ="trms">imaginal faculty of extreme ="trms">presence), Hedayat's Buf Koor the Shelley's Frankenstein's ="trms">monster favorate ="trms">book (20th century forms of r="trms">enunciation), Amir Naderi and Forough Farrokhzad films (20th century strategies of withdrawal), Jala Al Ahmad and ="frds scrmbld"nttrm="Alice,Shariati">Ali Shariati ="trms">writings (20th century fatal concepts of the outside), ='lgc'>[="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list to be modified='lgc'>]
='lgc'>[background:='lgc'>]
this form of half-di="trms">gestive omnivorous work is ="trms">situated in a larger ="trms">trajectory of creative investigations, which i have been busy with under “="trms">storytelling,” are dealing with the ="trms">questions of conditions in which non-antagonistic critical encounters between ordered conventions of knowing and chaotic textuality/="trms">imagination is possible. to take the mind where it does not belong. to the rogue arsenals of middle eastern reservoir of ="trms">imagination and its locatable mimicries. to its repetitive scaf="trms">foldings, fugitive ="trms">trajectories, its performances of fatal experience of the text. to unload its corrosive textualities and let them run their acids across one another. this project is ="trms">interested in both the unleashing and the pleasure of watching the text die.
="large lg3" stl="font-size:110%">
part of the dis="trms">position of this proposal is also the sug="trms">gestion that the two collaborators of this project, ="frds scrmbld">Jassem and ="frds scrmbld">Foad, are invested in those notions in their practice. ="frds scrmbld">Foad Farahani's ="trms">poem “farar” enacting contemporary artistic formations and ="trms">past-compound-mask, and ="frds scrmbld">Jassem Hindi transnational ="trms">poetic ="trms">agency, are both artists with acute appetite for chaotic ="trms">imagination. Their instinct for the fusion of nothingness and ="trms">excess, appearance and disappearance, creation and destruction, is at once carved and unpacked in the ="trms">literary-="trms">poetic mosaics of their work='lgc'>: ="frds scrmbld">Foad's use of middle-persian mystic sensibilities and ="frds scrmbld">Jassem's combination of intensive encounter with the ="trms">poetics of apocalypse and acid textuality.
My work has been about='lgc'>: learning/training in the ="trms">crafts of noticing little ="trms">traps of ="trms">semiotic and ="trms">material trans-="trms">species cohabiting, ="trms">mutual coproduction of economics, ="trms">ecology, ="trms">affect-studies, ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical household studies, and understanding of the orders of the ="trms">natural and human ="trms">world, in the particular ="trms">history/="trms">story of the East. in my projects i take ="trms">history as the overlapping tracks and traces and many tranjectories of ="trms">world-making, human and nonhuman. the textual performance of this project is in the effects of ='mywrk'>my research and practice with the ="trms">questions of globalism and in="trms">heritance='lgc'>: difficult ="trms">translational spaces, ="trms">communicative nonunderstanding, ="trms">relational ="trms">aesthetics, and the ="trms">differential sites of ="trms"nttrm="already,spread">reading. and i use performative ="trms">lectures='lgc'>: a ="trms">material practice, hybrid in digital manual tactile operations of speaking.
="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................
="large lg4" stl="font-size:112%">
“Four Masks of an Eastern Post="trms">modernism”
insurgent, ="trms">poet, mystic, sectarian
| | | |
chaos, violence, illusion, silence
="lsts lst1">•(sectarianism) apocalyptic ="trms">writing
="lsts lst1">•(="trms">poetic) will to chaos
="lsts lst1">•(mystic) exile space
="lsts lst1">•(insurgent's) otherless subjectivity
یاغی
شاعر
نوچه
زاهد
="large lg5" stl="font-size:126%">
='lgc'>[performative ="trms">methodology='lgc'>]
for the collaborative part of sharjah project, i like to propose four “masks” (or “rotational avatars”) of subjective anarchy, that are few among many existential protot[...]