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delve
delvi
delphi

="large lg2" stl="font-size:111%"> 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'>]

="large lg1" stl="font-size:119%"> 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


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 lg3" stl="font-size:112%"> ="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's tone of aggression ='lgc'>='lgc'>--> a proto-sectarian space='lgc'>: secret ="trms">societies, iconoclastic ="trms">trajectories, ='strcls'>*the compartmentalized and esoteric ="nms">iranian avant-garde with ="trms">aesthetic devices of='lgc'>: unity, isolation, subversion='lgc'>])
fugitive post="trms">modern map of escape from the grasp of the experience of the ="trms">modernist ="trms">phenomenon
|
="trms">responses to ="trms">historical events of atrocity and ="trms">transition
mystical, criminal, mercenary, revolutionary edifice
a="trms">morphous, obscure, versatile (thinker/="trms">writers)
conceptual axes/="trms"nttrm="search">archetypes of='lgc'>: power, hostility, banishment, solitude, desire, sacrifice

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='lgc'>[='strcls'>*='lgc'>]mystic='lgc'>:
sunken tranquility, relaxed self-annihilation, ascetic r="trms">enunciation of ="trms">material (='lgc'>=/= post="trms">modernism's obsession with speed, with ="trms">narcissistic ="trms">technologies, hyper-="trms">materialism)
neomystial ="trms">trajectories of new-wave ="nms">iranian cinema filmic style ='lgc'>='lgc'>--> hypnotic effect ='lgc'>=/= audition, dialogue, ="trms">narrative
& exile space


='lgc'>[='strcls'>*='lgc'>]sectarian='lgc'>:
will to extremity
(apocalyptic ="trms">writing)
breakaway modality
نوچه پروری noche-parvary's effective radars and tactics of attunement, detection, ="trms">narration
(annihilatic temptation to) convert the text into a closed circle
(sect's threats of) forbidden power, moral ambiguity, coll[...]