[...]ecrets 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.

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='lgc'>=================

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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'>]

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='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

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='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.

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.

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“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

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یاغی
شاعر
نوچه
زاهد


='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 prototypes and subjectivity constellations of eastern post="trms">modernism, as collaborative sites of encounter with four (or less and not necessarily individual) artists/participants.

="large lg4" stl="font-size:111%"> ="lsts lst1">•collaborators’ masks='lgc'>: chaos, violence, illusion, silence / (yaghi یاغی, sha'er شاعر, noche نوچه, zahed زاهد)='lgc'>--each endeavoring to discern the ="trms">ontological possibilities and ="trms">aesthetic ="trms">imaginations of four theoretically-worked dis="trms">positions that ="ppl">Jason Bahbak ="ppl">Mohaghegh puts forward='lgc'>: insurgent, ="trms">poetic, mystical, sectarian modes of consciousness, operating within multiple terrains of human and inhuman experiences of the middle east.
='lgc'>='lgc'>--> masks (the above mentioned four masks are accompanied by four “performative epitomes”)='lgc'>: the exile, the ="trms">animal, the shadow, the machine, (the ="trms">monster, the thing, the contagion, the mirror image)

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installation='lgc'>:
speculative objects (='lgc'>~/= ="trms">anthropological objects) ='lgc'>--to='lgc'>='lgc'>--> quasi objects
between research, ="trms">social critique, speculative theory, and artistic production ='lgc'>='lgc'>--> politics of re="trms">presentation

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='lgc'>[='strcls'>*='lgc'>]insurgent='lgc'>:
resistance to ="trms">modernism, and revolutionary ="trms">agency
='lgc'><== exhaustive dis="trms">integration of belief-structures in ="trms">modernity
otherless individuation
eternal war
killer's freedom
(="trms">affective) overreaction


='lgc'>[='strcls'>*='lgc'>]="trms">poet='lgc'>:
will to chaos (='lgc'>--a type of consciousness that perceive the catastrophic-apocalyptic hint at each turn)
='lgc'><== cataclysmic time of ="trms">modernism (='lgc'><='lgc'>-- great ="trms">social disorder='lgc'>: prison, exile, censorship, etc. ='lgc'>[='lgc'>==> Hedayat, ="ppl">Shamlu, Forough, Nima'[...]