[...]ng)

='lgc'>[(who/why does that='qstn'>? ='lgc'>='lgc'>-->) ="trms">translation of='lgc'>] a familiar topography ='lgc'>--into='lgc'>='lgc'>--> an ="trms">ontological modality

state of non-temporality (='lgc'><='lgc'>--='qstn'>?='lgc'>-- majaz ='at'>@="frds scrmbld">Hoda) ='lgc'>='lgc'>==> no more locked in the imperishable antagonism of='lgc'>: ="trms">interiority ='and'>& exteriority, ="trms">presence ='and'>& absence ='lgc'>}='lgc'>--(="frds scrmbld">Hoda's)='lgc'>='lgc'>--> extravagant paradox of ='strcls'>*proximity ='and'>& distance='strcls'>*
='lgc'>==='not'>✕='lgc'>='lgc'>==> derivative subjectivity

="large lg2" stl="font-size:111%">
architects of the law (that ="frds scrmbld">Elen is against)


(="trms">fable of the) “despotism of the oriental way-of-life”


="large lg10" stl="font-size:112%"> existential homogenization

traumatic ="trms">obligation

disjointed ='lgc'>+ cyclical (mind) ='lgc'>='lgc'>==> ='qstn'>? ...

the (faint) whisper of “no more.”


disarray


artificial becomes set in stone as the ="trms">natural

bankrupt master-discourse

explode text ='and'>& life into...


horizon of textual expression

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

="large lg22" stl="font-size:105%"> ='thdf'>the idea of chaos for the experience of ="trms">writing and thought

='lgc'>[='strcls'>*the ="trms">world as a whole='strcls'>*, inexhaustible ='lgc'>+ urgent ='lgc'>+ unmastered (abundance of self-creation/destruction) ='lgc'>='lgc'>--> totalitarian stimulus ='lgc'>='lgc'>==>='lgc'>] chaos='lgc'>: ='lgc'>[='lgc'>='lgc'>~=='qstn'>?! hegemonic will to mastery='lgc'>]
="lsts lst1">•="trms">poetic ="trms">imagination (='lgc'>='lgc'>--> an art that ventures and wins chaos)
="lsts lst1">•insurgent mind-set (='lgc'>='lgc'>--> that every man is surrounded, oppressed, and penetrated by chaos ='lgc'>='lgc'>--> ="ppl">Heidegger wants to live ='lgc'>=/= insurgent's reflex in middle eastern anticontext, ='strcls'>*eastern revolutionary ethos='strcls'>*, “thinking of struggle='lgc'> = dialectical”, no revolutionary ="trms">intersubjectivity ='lgc'>[='lgc'>='lgc'>~= otherless subjectivity='lgc'>])

Apollonian hyper-rational retreat from the void
Ascetic immensified retreat from the ="trms">world

self-willed experience of the ="trms"nttrm="knowledge,Knowledge">edge allowed to guide forward

(="ppl">Nietzsche's Zarathustra's chaotic temperament='lgc'>:) “one must still have chaos in oneself to be able to give birth to a dancing star.”

“chaos"='lgc'> = what (western) ="trms">modernity has left (in east)
(='thdf'>that is why terminologies of “nomadism” can hardly be appropriated in middle east='lgc'>--they are chaotic, not nomadic)


='lgc'>[idioms of resistance='lgc'>] ='lgc'>='lgc'>='lgc'>~='lgc'>~='lgc'>='lgc'>--> intoxicating sense of power

(anti-,) “being-against”='lgc'>:
="lsts lst1">•in ="trms">modernity='lgc'>: a direct/dialectical op="trms">position of forces
="lsts lst1">•in post="trms">modernity='lgc'>: an oblique/diagonal stance
="lsts lst1">•today='lgc'>: “alternatives within"='lgc'> = an imperial device that works well ‘in itself’ but not ‘for itself’ ='lgc'>='lgc'>--> trans-="trms">systemic reality

...to believe in an outsider subjectivity capable of a="trms">historical ="trms">imagination

(inflated dis="trms">positions of) triumphalism and alarmist nightmare


="trms">communist (="ppl">Marxist silhouette) and liberatory combatants of the 20th century, intellectuals persecuted and exiled in the course of anti-fascist struggles, freedom-fighters of the anti-colonial/anti-imperia="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list wars ='lgc'>='lgc'>--> nostalgic portrait of the contemporary militant
(="ppl">Nietzsche, ="ppl">Kafka, ="ppl">Bataille, ="ppl">="ppl">Foucault, ="ppl">Artaud, ="ppl">Baudrillard, ="ppl">Serres, D='lgc'>+G, etc.) continental thinkers architects of masks='lgc'>:
="lsts lst1">•the overhuman (='lgc'>='lgc'>--> ="ppl">Nietzsche)
="lsts lst1">•the supplicant
="lsts lst1">•the deviant (or barbarian ='lgc'>='lgc'>--> ="ppl">="ppl">Foucault)
="lsts lst1">•the body-without-organs (='lgc'>='lgc'>--> D='lgc'>+G)
="lsts lst1">•the criminal
="lsts lst1">•the ="trms">schizoid
="lsts lst1">•the headless ="trms">monstrosity (='lgc'>='lgc'>--> ="ppl">Bataille)
='lgc'>[(an exilic) postcolonial intelligentsia='lgc'>]


='lgc'>='lgc'>---='lgc'>{="ppl">Nietzsche and ="ppl">Artaud's familiar persuasive ="trms">authority, similar exuberant phraseology, and motifs in extremis ='lgc'>='lgc'>--> ‘cruelty,’ ="ppl">Artaud wanted to “reject form and in="trms">cite chaos.” antipsychological violent physical determination (a cruel yet necessary act upon the ="trms">spectator) to shatter the false reality (theatre/art as a place where the ="trms">spectator/actor is ='strcls'>*exposed='strcls'>* ='lgc'>[='lgc'>=/= “protected"='lgc'>]) ='lgc'>=/= (="trms">aesthetic) distance (='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ‘distance ="trms">matters’); this is the paradigm in ="nms">iran's theatre and performance s="trms">cene, where the audience are to be engulfed and physically ="trms">affected by the show, ‘to be ="trms">trapped and powerless’ as a theatrical value is an ="ppl">Artaudian tradition.
="prgrph">-delirium='lgc'>: he wanted to deliberately become/stay mad ='lgc'>[='lgc'>='lgc'>--> ="frds scrmbld">Jassem, ="frds scrmbld">Sana's ="trms">methodology, the state of horrible energy='lgc'>] in order to heal/strengthened
="prgrph">-ecstatic loss of the self, hermetic elements in his works, and ='thdf'>the idea of the “complete actor,” whirlpool of feelings and lunatic expressions, counter-force from the act of ="trms">gesture, (and from his teacher Dullin) emphasis on ="trms">mime, gymnastics, improvisation, voice production, and various exercises intended to heighten sensory perception, all reminds me of my own theatre training with Reza in jome class.='lgc'>}


(demonizing) the vital concept of the outside(r)


untrustworthy ="trms">epistemic climate ='lgc'>='lgc'>--> patterns of smoothness/coarseness

militant negotiations of desire

(Dabashi's vertical-horizontal colonialism='lgc'>:)
the third ="trms">world subject='lgc'>:
="lstsrd">1- marginalized by enlightenment discourse
="lstsrd">2- ="trms">materialy exploited under global division of labor
='lgc'>}='lgc'>='lgc'>-->='lgc'>{
alienated by='lgc'>:
="lstsrd">1- (horizontally) the ="trms">epistemic violence of colonialism
="lstsrd">2- (vertically) foreign colonial state ='lgc'>+ indigenous comprador elite (واسطه‌ها و دلالان سرمایه‌داران خارجی در کشورهای آسیا و آفریقا و آمریکای لاتین)
="lstsrd">2- (vertically) subsequent oppression and exploitation of anti-colonial regime
="lstsrd">3- (horizontally) global division of labor


navigation of identity



the reward of the victim جایزه قربانی (='lgc'>='lgc'>--> to be beaten)
the reward of the survivor (='lgc'>='lgc'>--> the self-conscious affirmation of having endured and gone beyond)

slave moralities

the ='strcls'>*self-with-no-other='strcls'>* (too far gone)

="ppl">Hegel's master-slave dialectic (an insight into the skeleton of domination)='lgc'>: the basic way in which it is always the master (self) who requires recognition from an external entity (the othered slave) ='lgc'>[='lgc'>='lgc'>--> West="trms">world TV series base='lgc'>: master remains in a state of complete dependency for his own self-de="trms">finition on the slave, whereas the slave can gradually ascend toward an independent consciousness by virtue of his subjection ='lgc'>='lgc'>--> “its own being-for-self” (='lgc'>=/= multi="trms">species companionship)='lgc'>]
or
Spikvak's dissolution of the master-slave dialectic='lgc'>: pro="trms">position for individuals to ="trms">imagine themselves as both “receivers and givers” (distinction between ‘="trms">agency'='lgc'>[as rationally legislated and institutionally validated='lgc'>] and ‘subjectivity'='lgc'>[as unre="trms">presentability='lgc'>])
='lgc'>='lgc'>--> this ="trms">intervention is successful in ="trms">greeting ="trms">modernity as a global ="trms">responsibility


='strcls'>***decolonization as a popu="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list mode of resistance

otherless individuation='lgc'>:
="lsts lst1">•the hermit
="lsts lst1">•the mercenary
="lsts lst1">•the maniac


the lowest common denominator turned into a ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics

authentic malevolence


='strcls'>*objective cruelty='strcls'>* (of the ="trms">modern epoch and its dialectic s="trms">trap) can only be undone by (a non-matching iteration of) ='strcls'>*subjective cruelty='strcls'>*
='strcls'>*!!!


local='lgc'>: a forced site of radical alterity
(be careful with ='thdf'>the notion of pre="trms">modern local ='lgc'>[='lgc'>='lgc'>~= anti-="trms">modern='lgc'>] ='lgc'>='lgc'>--> retrieved moment of pre="trms">modernity. ='lgc'>='lgc'>--> ="trms">rhetoric of retrieve and retrieving / re="trms">membering / )


(detachment is a genre)

justice='lgc'>: a sacrosanct universal
to protect one concept above all others, (justice)
undeconstructible call to planetary justive='strcls'>**

o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal philosopher being called='lgc'>:
="prgrph">-="ppl">Heidegger support Nazism
="prgrph">-="ppl">Adorno turned his back on postwar German student movement
="prgrph">-="ppl">="ppl">Foucault endorsed Islomic front in the ="nms">Iranian revolution and Zionism at ="trms">different times

Spikvak's project='lgc'>:
to ="trms">articulate an escape from the border ="trms">position of otherness
to make indivuality the culprit متهم beneath the heels of packed generalities
='lgc'>='lgc'>==> a negational subjectivity='lgc'>: preluding any form of existential action that is not politically oriented

(="ppl">Mohaghegh='lgc'>:) otherness cannot be the best point of departure for resistance ='lgc'>='lgc'>--> one walks over the ="trms">abyss; one does not stay within it

belligerence ='lgc'>='lgc'>--> resentment

“an Eastern post="trms">modernity cannot therefore come about through the constitution of aplanetary subjectivity, which fearfully resembles the libera="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list ="trms">rhetoric of universalism and in the wrong hands could even potentially serve as an underhanded discursive alibi for globalization, but must arise from the emergence of a supra-planetary subject within the third ="trms">world that refuses to recognize the very existence of that which calls itself ="trms">modernity”
='lgc'>='lgc'>--> insurgent='lgc'>: is an elitist ='lgc'>='lgc'>--> he pushes ="trms">difference to its extremity (='lgc'><='lgc'>-- i do that!)


='strcls'>*the postcolonial arguments continue ti operate within a domain of critical theory that is always ="trms">articulated from the space of dorment self='strcls'>* ='lgc'>='lgc'>==>
="lstsrd">1- absolute annihilation of the other (<='lgc'>=='lgc'>~ my kind of ="trms">paranoia='qstn'>?)
="lstsrd">2- acceptance/="trms">internalization of the other ='lgc'>='lgc'>--> being for-itself to behold the existence of the other but “not to make use of it”


“a freedom fighter traces his name in fire, and in the frozen throats
He dies”
(-Adonis)


="ppl">Mohaghegh's ="trms">methodological sug="trms">gestion for how masks are forged='lgc'>:
a man or woman sits kneeling in a bare nondescript room, at which point various concepts are then ="trms">intermittently released through the ventilation shafts and into the room's atmosphere, one after another, in slow vaporous bombardments that compel their own trans="trms">figurations for whoever breathes them. The ="trms">question of what happens for the immediate circulation/navigation of the self at the center of that room, the imprint or re="trms">verberation that a lone concept holds on this hanging form, the way it inscribes and inflects an inescapable existential spasm (like a serum), is of the highest order for our project.


='strcls'>*on ="ppl">Levinas
="ppl">Levinas's concept of otherness ='lgc'>='lgc'>--> its theoretical production is ="trms">articulated from the ditch of the ="trms">historical self in ="trms">modernity (part of the Western philosophical tradition) ='lgc'>[...='lgc'>] entrenched within an enlightenment discourse that cannot conceive of a self without mediation through a ="trms">formulated other ='lgc'>=/= ='strcls'>*otherless subjectivity='strcls'>*
="prgrph">-="ppl">Levinas's principle goal is to repair the totalitarian self and not to explore the other="trms">worldly powers of the other ='lgc'>--proving='lgc'>='lgc'>--> ='strcls'>***something that might fix the master='strcls'>***
='lgc'>='lgc'>==> self is to be redeemed by otherness, made well by otherness, made sane by otherness ='lgc'>==="ppl">Mohaghegh='lgc'>='lgc'>==> the other is never entitled to just walk away and seek its own external dominion
the other possesses (the talent of) in="trms">finity ='lgc'>='lgc'>==> ther other's ="trms">responsibility is to dispense that in="trms">finity ='lgc'>='lgc'>==> ethics (not permitting the other leaving the ="trms">situation)
='strcls'>***why is the other never allowed the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right to isolation, solitude, hermeticism, anti="trms">communalism, or mis="trms">anthropy='qstn'>?='strcls'>***


it has become frustrating for me to chase these ="trms">sublime phantoms (of the impossible, the unthinkable, the unknowable) drifting into incessant negative theologies... ='lgc'>--='qstn'>?='lgc'>='lgc'>--> self always sees itself as that which it is not ='lgc'>=/= (="trms">ontological ="trms">differential of) the earthly dehumanized Eastern subject, the one with a staunch existential verifiability, the one whose trachea or fingertips might be severed by five bullets around the corner, the one who plays with mortal stakes and states of emergency on daily basis, the one of famine, war, or occupation


rapid evacuation
agility
velocity
dexterity
third ="trms">world subjectivity must transmit itself through the ="trms">affective matrix of radical coldness

="ppl">Nietzsche and ="ppl">Sartre locating their own becoming-f="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigid within the realm of otherless individuation, neither hesitate to look at Eastern corridors


insurgent becomes the ="trms">writer of (Manning's) impersonal event


touchstone of a rare immunity and a weapon

to evoke the ="trms">anxiety of the audience (-="frds scrmbld">Hoda='qstn'>?)


“kill him” ='lgc'>='lgc'>--> shortening of ="trms">language to mirror the contra="trms">diction of being ='lgc'>: most horrifying manifestation of formalized coldness. not just the license to kill, but the mechanistic invocation of the license


the ‘what has always been’
eternal war
همیشه اینجوری بوده ='lgc'>='lgc'>--> pro="trms">position of the insurgent stoicism یاغی رواقى ='lgc'>[='lgc'>~ a self-without-other='lgc'>: has experienced firsthand the detriment of othering, ='at'>@="frds scrmbld">Foad='lgc'>]

(the rant, the taunt متلک, the insult فحش, the battle cry)

axis of eternity, middle eastern recourse to an o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal circularity of things
a concept of time as pure circle (from medieval mysticism)
='lgc'>=/=
deconstruction's uncanny
psychoanalysis's trauma

='lgc'>[a ="trms">technique i use in my ="trms">lecture-performances, i work reverentially='lgc'> = reverie ='lgc'>+ reference='lgc'>] ='lgc'>='lgc'>--> could be helpful for ="frds scrmbld">Eszter

='strcls'>*(colorfulness ='lgc'>='lgc'>==> entanglement)='strcls'>*


the ligature (خط پيوند)
the outliner
un="trms">imagined destiny


(little freedom called) curiosity ='lgc'>=/= alertness (='lgc'><='lgc'>-- freedom of nerves)


(my problem with the) discourse of the trace (='lgc'>=/= ="trms">heritage, tradition studies)
“let's leave a trace” ='lgc'>='lgc'>--> you create your own kind of starting from yourself. you have no ="trms">ancestors and your roots are in your footsteps
(it is never my concern how to leave a trace. rather, ="trms"nttrm="already,spread">reading the fubar that is left by others for me to ="trms"nttrm="already,spread">read)


(contemporary colonialism is tentacular)

contemporary colonialism with its ='strcls'>*clash of civilizations ="trms">rhetoric='strcls'>* ='lgc'>[='lgc'>='lgc'>='lgc'>~=>='qstn'>? multiculturalism='lgc'>] ='lgc'>=/= ancient warlords and dynasties (='lgc'>--="ppl">="ppl">Foucault showing the ="trms">difference between a medieval monarch’s beheading of a subject and the self-regulating disciplinary ="trms">apparatus of the ="trms">modern state) ='lgc'>}='lgc'><='lgc'>-- they don't get it='lgc'>: Middle Eastern ="trms">response of Adonis, Darwish, ="ppl">Shamlu, Hedayat, and others. that is, to perceive ="trms">modernity as the mani="trms">fold extension of an eternal atrocity

the problem is those who have no patience for either concepts of “the ="trms">world” or “the ="trms">historical”

(eastern insurgent has been='lgc'>:)
="lsts lst1">•="trms">technically innovative
="lsts lst1">•="trms">epistemologically and ideologically distinctive
="lsts lst1">•existentially grounded in the waters of ‘what has always been’

="ppl">Mohaghegh making a link between Hassan Sabbah and Ahmad ="ppl">Shamlu='lgc'>:
="lsts lst1">•Sabbah='lgc'>: leader of the Ismaili assassins and keeper of their Nizari fortress at Alamut='lgc'>: that he was said to have never left his inner quarters ='lgc'>[the library, courtyard, or bedchamber='lgc'>] for thirty-five years except twice to stand on the rooftop and look out beyond the mountain ='lgc'>='lgc'>--> this is the ="trms">worldview of the eterna="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list at work. He participated in ‘change,’ manipulated them toward fatally constructive ends even, but did not honor these developments as a journey of any substantial kind.
='lgc'>[flash forward a thousand years...='lgc'>]
="lsts lst1">•="ppl">Shamlu='lgc'>: same attitude='lgc'>: when he was asked to comment on his country's most recent uprisings offered the following ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor='lgc'>: he said to think of the event as when a man who is sleeping on one side of his body for most of the night begins to ache and so rolls over to his other side and continues sleeping ='lgc'>='lgc'>--> the movement is not sufficient as to prove impressive


(="ppl">Mohaghegh stresses in post="trms">modern Middle Eastern thought='lgc'>:) the prominence, variability, and magnification of the willing subject


="prgrph">-="ppl">="ppl">Foucault's early out="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right support for the ="nms">Iranian Revolution of 1979
="prgrph">-="ppl">Baudrillard's theoretical flirtation with Islamic terrorism
="prgrph">-="ppl">Badiou and Zizek's dazzled looks toward the Arab Spring
='lgc'>}='lgc'>='lgc'>--> they mistake fireworks for explosions, and ill-="trms">="trms">equipped for such far-off archaeological digs


="trms">internal saboteur

="trms">heritage of deconstruction='lgc'>:
="lsts lst1">•parody
="lsts lst1">•parasitism
="lsts lst1">•mimicry

="ppl">Rumi points to those madmen who would wash their wounds in blood
... we are no longer ="trms">interested in the face of the other but only the other's defacement

the destruction that cleanses
the rabidness that is a precipice

(what i am learning from Shahrzad, i wish and ='mywrk'>my work has been always about the ways of learning='lgc'>: ='strcls'>****to buy my people time to think and breathe in other directions='strcls'>****)


an eastern step='lgc'>: to make ="trms">language peripatetic (salek سالک wandering from place to place on foot ='lgc'>[why not make it to the ="trms">Wonderland's ="frds scrmbld"nttrm="Alice,Shariati">Alice='qstn'>?='lgc'>]) ='lgc'>='lgc'>==> (a non-regimented) textuality within a body that charges ='lgc'>='lgc'>--> ='strcls'>*uncivil incarnation='strcls'>*


='strcls'>*killer's freedom='strcls'>*

freedom
="prgrph">-="ppl">Heidegger='lgc'>: (massive ="trms">difference between) a self-automating freedom that one attains via a borrowed sacred (handed-over, Frankenstein) and a hard-won-freedom attained through the rending-apart of a closed ="trms">world (through the ="trms">intractable سرپيچی)
="prgrph">-="ppl">Sartre='lgc'>: a self-conscious ="trms">authorship of the ="trms">world, condemned to a certain ="trms">responsibility before the event of one's own existence ='lgc'>[='lgc'>='lgc'>--> the problem occurs when someone made it their task, duty, or entertainment to compel the other to experience such freedom='lgc'>]
="prgrph">-="ppl">Nietzsche='lgc'>: ‘freedom='lgc'> = ex="trms">="trms"nttrm="cluster,club">clusive gift of the enemy’ ='lgc'>~ ‘respect-for-life='lgc'> = euphemism for death’ ='lgc'>[life (if it has worth) is meant to be disrespected, contested, and hounded='lgc'>] ='lgc'>='lgc'>--> ‘insurgent='lgc'> = warrior’(='lgc'><='lgc'>-- the substance remains the same)


Adonis='lgc'>: “don't come closer, the wound is nearer than you / don't come closer, the wound is more beautiful than you” (='at'>@="frds scrmbld">Hoda, ="frds scrmbld"nttrm="Alice,Shariati">Ali )

ancillary فرعى کمکى, تابع, مستخدم بومى ='lgc'>='lgc'>--> کلفت
avarice حرص


="trms">affective overreaction <='lgc'>='lgc'>~=='lgc'>-> radical coldness

="large lg22" stl="font-size:109%">
='strcls'>**="trms">literal='strcls'>**
western inability to understand the turbulant reaction abroad ='lgc'>='lgc'>--> loss of the power of the ="trms">literal (='lgc'>='lgc'>--> ='strcls'>*democracy depends and works with the ="trms">literal='strcls'>*='lgc'>:)
="trms">literal has given way in the west to the ="trms">transference of image, ="trms">language, and thought to a purely re="trms">presentational or ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphoric domain (to talk about things, but not speak the event itself)
“one cannot grow ="trms"nttrm="danger,stranger">angered over a film, sculpture, treatise, or drawing (or a dance), then one also cannot experience captivation with a film, sculpture, treatise, or drawing” (="ppl">Mohaghegh)
='lgc'>[yet the ="trms">literal is sneaky in that is always decontextualizes, it vibrates and swings so conspicuously from its point of o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin='lgc'>]

(old ="ppl">Marxist, anarchist, and post="trms">modern critique='lgc'>: ‘hyper-mediation ='lgc'>+ ="trms">technological diffusion ='lgc'>='lgc'>==> ob="trms">literation of the sharpness of the senses in ="trms">modernity’) ='lgc'>=/= loss of the radioactive potential of the ="trms">world of appearances ='lgc'>='lgc'>--> ='strcls'>*rabbit chaser='strcls'>* ='lgc'>[a mask that i am invested in,='lgc'>] a middle eastern existential cost at stake ='lgc'>: the myriad and t="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riggers that alone make possible the descent into ="frds scrmbld"nttrm="Alice,Shariati">Alice's ="trms">Wonderland='lgc'>--the ="trms">child chases the the white rabbit(='lgc'>~a partial flashing image) without real thought to its enigmatic reasons or destinations (“why and where is he going='qstn'>?”) ="frds scrmbld"nttrm="Alice,Shariati">Alice (like ="frds scrmbld">Janina) is only ="trms">consumed by his color, speed, movement, and nervous incantation افسون of lateness='strcls'>*** (='lgc'>='lgc'>--> ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphorology of “depth” in east)

="trms">code of urgency='lgc'>: “mean what you say and say what you mean”

a (monumental problem or) discord in the West between='lgc'>: saying (or showing in terms of images) and meaning () ='lgc'>}='lgc'>='lgc'>--> problem for the propensity of acting, running, hungering, wanting, and living itself ='lgc'>--this-is-why='lgc'>='lgc'>--> most groundbreaking ideational products in the West often fail to penetrate enough to ex="trms">cite or instigate (the avant-garde can not longer shock ='lgc'>[='lgc'>='lgc'>--> bankruptcy of the contemporary artists in europe='lgc'>]) ='lgc'>=/= in the East='lgc'>: 1400 year mythologies can still provoke hysteria and radical fever ='lgc'>}='lgc'><='lgc'>-- a scary ="trms">difference='strcls'>***!!
='strcls'>*the visual, the auditory, the spiritual, the philosophical are still fulminating currencies of animation in the context (in the East ='lgc'>='lgc'>--> ='thdf'>that is why most art theory and conceptions don't apply to everywhere at the same time. values of European contemporary art s="trms">cene don't fully dig ='thdf'>the notion of art in middle east)


="ppl">Mohaghegh asking='lgc'>: how can the sentence, picture, musical note, ="trms">poetic, stanza, ideological or theological concoction, genrate so much energy in certain atmospheres, unleashing irregular storms while reviving millennia-old ones='qstn'>? ='lgc'>[='lgc'>='lgc'>--> ="ppl">="ppl">Stewart's ="trms">affect theory and atmospheric attunement could be helpful='lgc'>]

a ="trms">fable of ="trms">difference (between W&E)='lgc'>:
a tension between an agoraphobic West (with its endless barricades, shelters, and ="trms">technocracies of dilution رقيق سازى raghigh-sazi) ='and'>& an overexhilarated East (with its endless throngs, zealotries, dogmatic caresses, and emergencies)


dys="trms">morphic labor

emetic estefraghi استفراغ اور


='lgc'>[='strcls'>*='lgc'>]insurgent='lgc'> = revolutionary of the unreal (='lgc'>=/= ='lgc'>[="frds scrmbld">Nasser's kind of='lgc'>] the traditional freedom-fighter who picks up a weapon and takes to the mountains, singing anthems of liberation or reveling in the simple ="trms"nttrm="metaph,metamorph,metabol,metal">meta="trms">narrative of some diorama شهر فرنگ of good and evil)
the insurgent does not fall victim to='lgc'>:
="lsts lst1">•collective mythologies of nation, ="trms">language, and culture
="lsts lst1">•elusive ="trms">rhetoric of ethics and justice ='lgc'>='lgc'>==> provide power with a convincing smokescreen
the third ="trms">world insurgents are anarchists of a higher order of ='strcls'>*aneurysmal consciousness and ="trms">affect='strcls'>*
(gaze of the aneurysmal='lgc'>:) an uncompromising gaze that sees what power tries so hard to mask='lgc'>--that there is nothing there to see


='strcls'>*practice of irregular warfare ='lgc'>='lgc'>==> irregular subject of war='strcls'>*

(weeds of) ="trms">modernity='lgc'>:
="lsts lst1">•as ideology ='lgc'>='lgc'>--> power
="lsts lst1">•as institutional mechanism ='lgc'>='lgc'>--> ="trms">society
="lsts lst1">•as ="trms">phenomenology ='lgc'>='lgc'>--> perception
="lsts lst1">•as ="trms">ontology ='lgc'>='lgc'>--> being/death
="lsts lst1">•as cultural emergence ='lgc'>='lgc'>--> ="trms">spectacle
="lsts lst1">•as temporal orchestration ='lgc'>='lgc'>--> time
="lsts lst1">•as con="trms">figuration ='lgc'>='lgc'>--> body/space
="lsts lst1">•as political economy ='lgc'>='lgc'>--> capital
="lsts lst1">•as ="trms">epistemological framework ='lgc'>='lgc'>--> knowl="trms"nttrm="knowledge,Knowledge">edge
="lsts lst1">•as discursive ="trms">apparatus ='lgc'>='lgc'>--> ="trms">language/meaning
="lsts lst1">•as epoch ='lgc'>='lgc'>--> ="trms">history

immediacy ='lgc'>=/=='qstn'>? alienation
brutal ='lgc'>=/=='qstn'>? idea="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic
retrograde ='lgc'>=/=='qstn'>? futuristic
esoteric ='lgc'>=/=='qstn'>? banal
="trms">technological ='lgc'>=/=='qstn'>? carnal
genesis ='lgc'>=/=='qstn'>? apocalypse
="trms">system ='lgc'>=/=='qstn'>? chaos

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

="nms">iran='lgc'>: ="trms">transition from a semi-colonial to postcolonial space ='lgc'>='lgc'>--> anticolonial islamic front

the self-other construct

="large lg6" stl="font-size:116%"> ='strcls'>***islamic revolutionary thought borrows heavily from ="ppl">Marxist theory (at the same time equating them with colonial mastery)
='lgc'>}='lgc'>='lgc'>==> forge a ="trms">specific revolutionary mind-set out of its own ="trms">historical realities/myths (='lgc'>=/= “ill-trafficked remedies of an outsider ideology”, a ='strcls'>*second-hand personality='strcls'>* ='lgc'>[='lgc'><='lgc'>-- this is OK!='lgc'>])

cartographies of en="trms">trapment

Al Ahmad binary reasoning in his Westoxification
="prgrph">-the “eternal” struggle of east and west ='lgc'>='lgc'>--> a ="trms">rhetoric of transcendental struggle
="prgrph">-to perceive the “west” as merely an ='strcls'>*="trms">epistemic fabrication='strcls'>* and not a civilizational reality ='lgc'><='lgc'>-- the enemy is authenticated
(-he makes a very bad move='lgc'>: relocate the structural site of resistance to somewhere outside the walls of the university)
='strcls'>*Al Ahmad's orchestration of degrees of cultural estrangement ='lgc'>--into='lgc'>='lgc'>--> a tone of nationa="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list triumphalism ='lgc'>='lgc'>==> ='strcls'>***vanished pre="trms">modern subjectivity to be restored='strcls'>*** (='lgc'><='lgc'>-- i have to be careful with this)
="prgrph">-='lgc'>[that='lgc'>] the colonized intellectuals and political officials participate together in the eradication of third ="trms">world ="trms">heritage
="prgrph">-="trms">agents of foreign ministries='lgc'>: orienta="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists, ambassadors, advisors, who ="trms">write hideous scrolls when they have finished their assignments that say “yes, you have the head of a lion and the tail of an elephant” (='lgc'>='lgc'>--> is this also close to my account of ="ppl">Olearius='qstn'>?!) ='lgc'>='lgc'>==> ='strcls'>*devitalization='strcls'>* ='lgc'>='lgc'>==> ='strcls'>*damaged subjectivity='strcls'>* ='lgc'>+ an ='strcls'>*alternative ="trms">historic consciousness='strcls'>* ='lgc'>}='lgc'>='lgc'>==> hostile tenant of the before-this ='lgc'>[='lgc'>=/= i work on an alternative queer='lgc'>]
(cyclopean view) Al Ahmad's dismissal of media='lgc'>: he is unable to see it as anything but a promoter of in="trms">finite pacification ='lgc'>='lgc'>--> media ='lgc'>=/= local
(a civilizational dichotomy ='lgc'>='lgc'>==>) portray media as abusive of islamic tradition
='strcls'>**="trms">rhetoric of end="trms"nttrm="danger,stranger">angered cultural subjectivity='strcls'>**
disappearance or extinction of one's own ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rightful place within the ="trms">world (='lgc'><='lgc'>--='lgc'>='lgc'>~='lgc'>~ will to hegemonic mastery)
='strcls'>*(Al Ahmad deduces Chomsky on a global-imperial scale ='lgc'>='lgc'>-->) the operation of the media can not be divorced from objective ="trms">systemic violence ='lgc'>: media='lgc'> = ="trms">instrument of bourgeois valuation

Shariati='lgc'>: existentialism ='lgc'>+ leftism ='lgc'>+ islamism
='lgc'>[islamic anticolonialism ='lgc'>+ neomarxist critical theory (of Frankfurt School)='lgc'>]
(presumed) deterioration of global consciousness ='lgc'>+ industrialization ="trms">onto the ="trms">stage of ="trms">world ="trms">history
="prgrph">-homogenized mass ='lgc'>='lgc'>--> emergence of automation ='lgc'>: an objectified and self-activating process wherein the subject becomes an ="trms">instrument
“impersonation of the machine” ='lgc'><='lgc'>--="ppl">Adorno='lgc'>--='lgc'>{totalitarian seizure of consciousness ='lgc'>+ devastating effects of ="trms">instrumental reason='lgc'>}
Shariati's ="trms">writing='lgc'>:
="lsts lst1">•the third ="trms">world subject embraces the false consciousness
="lsts lst1">•self-inflicted cultural betrayal
="lsts lst1">•predatory-parasitic operation of the colonized ="trms">imagination ='lgc'>}='lgc'>='lgc'>-->
='strcls'>*defilement of the “what once was”
='strcls'>*the elevation of the indigenous as re="trms">presentative of an authentic return
='lgc'>='lgc'>==> ='strcls'>***="trms">past as antithesis to the ="trms">present='strcls'>*** ='lgc'><='lgc'>-- transcendental signified of a precolonial subjectivity ='lgc'>[='lgc'><='lgc'>-- how not to do that while visiting ="trms">heritage sites such as ="nms">ajayeb='qstn'>?='lgc'>]
Shariati's defense of the non-western ="trms">world ='lgc'>='lgc'>--> manufacturing an exaggerated imagery of its ='strcls'>*now lost grandeur='strcls'>* ='lgc'>='lgc'>==> (its former) essential identity-status
='lgc'>='lgc'>-->='lgc'>{what would ="ppl">Lacan's mirror ="trms">stage say about this='qstn'>? ='lgc'>[='lgc'>='lgc'>--> ‘sudden realization of a complete (specular) image of self ='lgc'>=/= infant's primordial sense of her fragmented body’ before it is objectified in the dialectic of identification with the other
='lgc'>[='strcls'>*='lgc'>]subjectivity='lgc'>: spatial ="trms">relations (='lgc'>='lgc'>--> self-other construct)
='lgc'>[='strcls'>*='lgc'>]the ="trms">imaginary='lgc'>: the space in which the ="trms">relation between the ego and its images is developed='lgc'>]
(="ppl">Mohaghegh='lgc'>:) ='lgc'>[eastern='lgc'>] undo the moment of assimilation into a repressive ='lgc'>[western='lgc'>] ‘="trms">symbolic order'='lgc'>[= the way the subject is organized ='and'>& how the psyche becomes accessible='lgc'>]
='lgc'>[='strcls'>*='lgc'>]The Real='lgc'>: what cannot be ="trms">symbolized – what loses it's “reality” once it is ="trms">symbolized (made conscious) through ="trms">language ='lgc'>='lgc'>==> the real is traumatic (& ="trms">sublime='qstn'>?, ='lgc'>=/=='qstn'>? media,,) ='at'>@="frds scrmbld">Hoda='lgc'>}

='strcls'>*cultural extinction='strcls'>*

urgency is (always='qstn'>?) ="trms">neurotic

(='qstn'>?who and when sends) ="trms">neurotic ="trms">demand for an unmediated cognitive intimation


(Khomeini's) omat امت diesenfranchised populace

عناصر گول خورده perceptual ="trms">perversion


="lsts lst1">•Khomeini ='lgc'><='lgc'>-- ="ppl">Marcuse (one-dimensional ="trms">society, that promote a false consciousness which is immune against its falsehood)
="lsts lst1">•Khomeini ='lgc'><='lgc'>-- Chomsky (how superficial happiness can function as a detraction from the adverse effects of an alienated condition) ='lgc'>[='lgc'><='lgc'>-- ="ppl">Marxist tradition of the “="trms">serious” (='lgc'>=/= unreflective state) ='at'>@="frds scrmbld">Foad, “let everybody be crazed about professional sports or sex scandals or the personalities and their problems ='lgc'>='lgc'>--> ='strcls'>*="trms">consumption becomes ritualized='strcls'>*='lgc'>]
="lsts lst1">•Shariati ='lgc'><='lgc'>-- Jameson (theory of the “ever-new but always-the-same” within the theatrical operation of political economy)
="lsts lst1">•Al Ahmad ='lgc'><='lgc'>-- ="ppl">Adorno (skeptical prophecy)
="lsts lst1">•
='lgc'>}='lgc'>='lgc'>==> principle of utopian potentiality

centers of corruption
pleasure-houses
makeup
games
alcoholic beverages
luxury goods

="ppl">Marxist tradition='lgc'>:
the underground ="trms">aesthetic is quickly transfigured into a mainstream ="trms">aesthetic ='lgc'>--always='lgc'>='lgc'>--> in the hands of an ="trms">authoritarian elite (='lgc'><='lgc'>-- in ="nms">apass with ="frds scrmbld"nttrm="Leonardo">Leo we were talking about this)

جنبش mass ="trms">aesthetic fears becoming official سازمانی

...based on exposing the damage of the global-becoming-local

Al Ahmad traces this “transnational hypnosis” to economic o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin (='lgc'><='lgc'>-- ="frds scrmbld"nttrm="Alice,Shariati">Ali )

(="ppl">Mohaghegh's judgment on ="nms">iranian anticolonial ideology='lgc'>:) its ineptitude Ungeeignetheit in realizing the myriad variances that render any medium riddled with paradoxes='lgc'>--derives itself from its concurrent inability to observe the possibility for ="trms">different subject-="trms">positions within the third ="trms">world

omni="trms">present deception of ="trms">modernity

(="trms">aesthetic radicalism ='lgc'>[ X ) political resistance='lgc'>]
“X” ='lgc'>='lgc'>--> limited anticolonialism


(="ppl">Mohaghegh on)
="prgrph">-Mehrjui's The Cow, offers a moving allegorical journey into the psychic turbulence of a peasant confronted with the ob="trms">literation of his pre="trms">modern ="trms">world (and thus becomes his lost ="trms">animal)
="prgrph">-Naderi's Man with a Gun, depicts the ="trms">material avarice that has overtaken local con="trms">figurations in the wake of nascent capita="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list formations to such a drastic extent that it gives rise to a well-digger's being cheated of his life savings
="prgrph">-Kimiai's The Deers, ...
='lgc'>}='lgc'>='lgc'>--> strong consonance with the anticolonial ideologues (examined thus far)


...caught up in your prose


on Sa'edi’ short ="trms">story “Dandil” ='lgc'>[='lgc'>='lgc'>--> grotesque cultural dis="trms">affection of the masses within Sa'edi's Dandil='lgc'>]
="prgrph">-depicting the ="trms">horrors of daily life within a semicolonized atmosphere of a red-light district of a northern ="nms">Iranian city
="prgrph">-there is an imagery of closure and suffocation
(Sa'edi revealing='lgc'>:) the ="trms">material despair of a colonial condition leading (in high speed) to the entropy of cultural-individual ethics
under the overwhelming weight of tangible misery
='lgc'>--cognize='lgc'>='lgc'>--> the immediate ="trms">material urgency of the third ="trms">world subject
(Dandilian gathering around to watch the taking of the picture ='lgc'>='lgc'>-->) the third ="trms">world subject has assumed the ="trms">schizophrenic role of a voyeur himself, ="trms">spectating his own ="trms">literal-="trms">symbolic rape but not fully understanding it as such, while the real ="trms">agent of power remains camouflaged in semi-invisibility
(="ppl">Mohaghegh='lgc'>:) the ideological content of Dandil stands ='thdf'>the notion that the ="trms">technological advancement of the western ="trms">world has turned the peripheral individual into its unknowing accomplice همدست, a vital participant in the abuse and mutilation of his own locality
(a Dandilian policemen remarking='lgc'>:) “They ='lgc'>[westerns='lgc'>] are not beggers like us. they all have private cars. their whores spend four or five hours a day just playing around in the beauty shops.” ='lgc'>='lgc'>--> for Sa'edi that is the pathological fantasy endemic to the inner workings of a colonized mind. the third ="trms">world subject perceiving itself as the negational instantiation of occidental greatness ='lgc'>='lgc'>==> swallowing down the civilizational hierarchies of its oppressor's self-projecting image

(preparing for the coming of rapist colonizer) the Dandilians rush to make the Madame's house clean and tidy='lgc'>: “='lgc'>[...='lgc'>]the curtains had been drawn aside. Pots of geranium had been placed on the wall and beside the steps='lgc'>[...='lgc'>]” ='lgc'>='lgc'>~='lgc'>-> ="ppl">Baudrillard's theory of simulation ='lgc'>: the Dandilian ="trms">presenting to the colonizer a Disneyland, ='strcls'>*a play of illusions and phantasms='strcls'>* ='lgc'>[='lgc'>='lgc'>~='lgc'>->='qstn'>? Dubai='lgc'>: self-affirmation via the domination of the constructed other='lgc'>]

(the american officer leaves the next morning with a mocking ="trms">laughter and he refuses to play and the Dandilians can't do anything)='lgc'>='lgc'>--> the civilizational dichotomy remains intact in spite of the horrifying events that have transpired, with the trafficked deflowered ="trms">child serving as a ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor for the cultural-political mistreatment of the third ="trms">world under colonial rule



on Akhavan's “Adamak” (“Stick-Figure”) ='lgc'>[='lgc'>='lgc'>--> ="trms">historical treachery committed within Akhavan's nostalgic Stick-Figure='lgc'>]
demonization of the television's arrival
="prgrph">-television as a “magical box” an artificial ="trms">phenomenon that “entrances” its audience
again ='thdf'>the idea of authenticity is largely emphasized here, as the television is perceived as a “foreign” entity and therefore an enemy to the millennial ="trms">history of the province
new medium ='lgc'>=/= indigenous modes of ="trms">communication/expression (of which the roving ="trms">storyteller is the ultimate instantiation)
(poignancy of the) ="trms">poet's ="trms">anthropo="trms">morphic profile of the new ="trms">technologically oriented media
="prgrph">-Akhavan's re="trms">presentation ="trms">symbolizes the ="trms">storyteller himself, lamenting his own erasure from the moment of the now (or it is his prophecy for the imminent destruction of the new media in the coming islamic regime='qstn'>?)
='lgc'>='lgc'>--> ="trms">aesthetic testament to the possibility for a third ="trms">world revolutionary ="trms">imagination to emerge from the ruins of the colonial era ='lgc'>[, ='strcls'>*from the ruins of the empire='strcls'>*='lgc'>]
='lgc'>='lgc'>--> re="trms">presenting the third ="trms">world as in a state of complete existential-cultural atrophy (tahlil تحليل رفتن) ='at'>@="frds scrmbld">Hoda

='strcls'>**anticolonial ="trms">literature reaffirms the all-encompassing grasp of ="trms">modernity over peripheral subjectivity ='lgc'>[='lgc'>='lgc'>--> marginal leader (Mamitua Saber's Marginal Leadership in a Culture Contact ="trms">Situation)='lgc'>]

(="ppl">Mohaghegh > Huyssen on ="ppl">Baudrillard='lgc'>:)
="ppl">Baudrillard's notion of the ='strcls'>*silent mass='strcls'>* of the ="trms">spectators disables any analysis of ='strcls'>*heterogeneous subject ="trms">position in the act of reception='strcls'>* ='at'>@="frds scrmbld">Laura
any economic or institutional analysis of ="trms">apparatuses of image production is rendered obsolete by ="ppl">Baudrillard's notion of an almost self-generating and monolithic machinary of image production ='lgc'>[...='lgc'>] (='lgc'><='lgc'>-- ="frds scrmbld">Laura should be very aware of this)
="ppl">Baudrillard's ="trms">society of simulation does not allow for such distinctions ... simulation, after all, may simply be the latest version of the ideology of the end of ideology
='lgc'>}='lgc'>='lgc'>--> part of the theoretical ="trms">apparatus of ='strcls'>*anticolonial ideology='strcls'>*
one immediate d="trms"nttrm="danger,stranger">anger of this approach is that it recklessly dismisses anything as="trms">sociated with the other side of the binary (of West/East, self/other, first-="trms">world/third-="trms">world, ="trms">modern/pre="trms">modern, etc.) ='lgc'>='lgc'>==> overlook the subversive utility and democratic accessibility of certain ="trms">technological innovation ='lgc'>='lgc'>--> evident in Shariati's ultra-atavistic endorsement for an ="trms">aesthetic tradition='lgc'>: “intrusion of the machine into the humna-half may go so far as to paralyze man; it destroys creativity. ="trms">imagine a type-="trms">written page that can be imposed upon millions of people, while before the advent of the type="trms">writer everyone was free to use his creativity to the utmost in calligraphy” ='lgc'>--="ppl">Mohaghegh='lgc'>='lgc'>--> it is not reflecting on the ="trms">historical reality that the exercise of calligraphy was always linked to a feuda="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list class structure, and often ex="trms">="trms"nttrm="cluster,club">clusively to the confines of the palace court, whereas the printed word open to a more widesp="trms"nttrm="already,spread">read audience independent of ="trms">material status
='lgc'>='lgc'>--> anticolonial ideology ='lgc'>='lgc'>==>
="lsts lst1">•carries out the pre="trms">supposed will of ="trms">modernity by homogenizing its very own constituency, diminishing any possibility for individual initiative or insubordination
="lsts lst1">•pre="trms"nttrm="cluster,club">cludes the advent of outsider radicalism independent of some ="trms">religio-civilizational confrontation with ="trms">modernity
='lgc'>='lgc'>--> “there can be only one diagnosis ='lgc'>='lgc'>==> only one elixir” ='lgc'>='lgc'>==> produce an antidote that is equally colossal in scope, shape, and execution

='lgc'>}='lgc'>='lgc'>==> ='strcls'>***the local is no longer accepted by anticolonial ideology as a worthwhile site of contestation='strcls'>***

='lgc'>}='lgc'>='lgc'>--> (Sa'edi ='lgc'>+ Akhavan ='lgc'>+ ...) ='lgc'>='lgc'>='lgc'>~=> ='strcls'>*messianic defender='strcls'>* of the national ="trms">history ='lgc'>: the sole harbinger جلودار of a ='strcls'>*return to the real='strcls'>* ☠ ='lgc'>[='lgc'>=/= cheerleader='lgc'>]

            _,-='lgc'>+-._
         .-’       ‘’-._
        /               \
       ‘        ='lgc'>~.       \
      /    ='lgc'>~`’    ) .=” , )
     |           I (   ='lgc'>~ (
     \        ‘"”   `='  ='lgc'>+
      `.,_   `”;:L0Ve’   ='strcls'>*’
          `='lgc'>~'='lgc'>~.’  )_Y_0_U!\


='strcls'>*disease becomes temporary cure='strcls'>* (='lgc'>='lgc'>--> practiced by Al Ahmad, Shariati, artists ='lgc'>[as irony and with the always problematic conception of the “masses” توده مردم mardom='lgc'>]='lgc'>:)
“='lgc'>[let's='lgc'>] re-employ the same reactionary elements in order to stir the masses, to restore awareness, and to fight superstition”
='lgc'>[still very common within critically-minded humanist ="trms">social ="trms">science schollar artists is the tendency to use critical theory (as diverse as it is) ='strcls'>*to ="trms">interrogate reality='strcls'>*
for us (='lgc'>[left in="trms">heritance='lgc'>] as postcolonia="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list, feminist, or biopolitician) the modus operandi of critical theory is to derealize, is to say='lgc'>: “this is an expression of paar.” “this is discursive formation.” “this is ="trms">material assembly of objects.” ='lgc'>='lgc'>~= (an attempt to say) “this isn't real.” ='lgc'><='lgc'>-- this has been essentially a really powerful force and set of political strategies of the left ='at'>@="nms">apass; this modus operandi is a killer blow for climate change from a leftist perspective (because the climate change is very real) (='lgc'>=/= speculative realism)='lgc'>]

Khomeini's cassette-tape revolution (radio medium infused with anticolonial propaganda) de="trms">monstrates the insufficiency of ="ppl">Benjamin's stance that “mechanical reproduction of art changes the reaction of the masses toward art...”
the ="trms">symbolic fury of Khomeini's voice is only magnified in its cult-value through its trans="trms">mission over the air waves, testifying more to MacLuhan's ="trms">interpretation of the persuasive impact of radio
='lgc'>='lgc'>--> ="trms">technological media in ="nms">iranian anticolonialism does not elicit the democratizing effect anticipated by ="ppl">Benjamin


from='lgc'>='lgc'>--> ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical awe ='lgc'>--to='lgc'>='lgc'>--> banalized ="trms">horror

each year the islamic republic itself reenacts the arrival of the Khomeini in ="nms">tehran airport through a procession of myriad cardboard ="trms">interact and converse with these mock-images of the imam in a kind of makeshift, state-run passion play


="large lg34" stl="font-size:125%">
post 1979 ="nms">iranian cinematic renaissance
="lsts lst1">•medium of film achieved in the decolonized space
="lsts lst1">•hooked into the contemporaneity of the localized apocalyptic (in="trms">finitesimal becomings)
="lsts lst1">•="trms">present as close an ="trms">interpretation of the unthinkable strangeness of reality as possible
="lsts lst1">•on an ongoing desertion of the real

="ppl">Adorno='lgc'>: “works that make ="trms">socially univocal discursive judgments thereby negate art as well as themselves” ='at'>@="frds scrmbld">Laura's judgment on the fascist body (='lgc'>='lgc'>--> can ="trms">consumption be resistance='qstn'>? ='at'>@="frds scrmbld">Laura='lgc'>: becoming fascist body ='lgc'>='lgc'>==> ='qstn'>? )

="large lg14" stl="font-size:127%"> the medium of film-making in ="trms">present-day ="nms">iran attempts solely to bring the crypto-vantage of the everyday into obscurity-ridden view (to leave less clear ='lgc'>='lgc'>--> my pre-2012 videos ‘Vagabond,’ ‘Constant Prince,’ and ‘city of domes’), allowing for a critical distance on the part of the ="trms">spectator to examine one's own being-in-the-="trms">world in raw, b="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurred form (the truth is haze itself ='lgc'>='lgc'>--> ="frds scrmbld">Hoda)

exoticization of the local ='lgc'>='lgc'>--> reduce it to a nativist enterprise

(="ppl">Mohaghegh > Tomlinson='lgc'>:) the everyday culture has in="trms">gested foreign elements from exogenous sources, with the various elementss gradually brcoming “="trms">naturalized” within it ='lgc'>=/= image of pure, ="trms">internally homogenous, authentic, indigenous culture


Sharjah art foundation of the Emirate's ='strcls'>*postcultural ="trms">imagination='strcls'>*


="trms">literary front
Hedayat, Yushij, ="ppl">Shamlu, Forough

Hedayat's The Blind Owl variants of a “will to chaos”

middle eastern avant-garde's vision of the ="trms">writing-act ='lgc'>--sketching='lgc'>='lgc'>--> a fugitive post="trms">modern map of escape from its grasp

='lgc'>[in='lgc'>] moments of great ="trms">social disorder
='lgc'>='lgc'>==> secret ="trms">societies, iconoclastic ="trms">trajectories, a type of consciousness that perceives the catastrophic-apocalyptic hint at each turn

(how an eastern or third ="trms">world vanguard characterize itself in the heart of major ="trms">historical tremors='lgc'>:) ='lgc'>[="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listen to their ='strcls'>*tone of aggression='strcls'>*:='lgc'>]
Nima='lgc'>: “with my ="trms">poetry i have driven people into a great conflict; good or bad, they have fallen in confusion; i myself am sitting in a corner, watching them='lgc'>: i have flooded the nest of ants”
Forough='lgc'>: “all those who are involved in creative work have as their motive ... a ="trms">sort of need to confront and struggle with annihilation”
="ppl">Shamlu='lgc'>: “the ="trms">children of the depths,” “the ="trms">children of the storm,” “the horsemen,” “the bold ones,”

='lgc'>='lgc'>--> de="trms">finition of the ="trms">poetic ="trms">world as a protosectarian space
رابطه مریدی مرادی
دار و دسته
قبيله

(="frds scrmbld"nttrm="Alice,Shariati">Ali, to a subculture of) persecuted and end="trms"nttrm="danger,stranger">angered

='lgc'>='lgc'>==> peripheral narative (marginal leadership) become a force of int="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigue and seduction (among ="nms">iranian youth)

="prgrph">-how did ="trms">poetry ="trms">respond to ="trms">historical events of atrocity and ="trms">transition
="prgrph">-did the ="trms">poets understand themselves as resembling a mystical, criminal, mercenary, or revolutionary edifice='qstn'>?

a="trms">morphous, obscure, versatile (thinkers and ="trms">writers launching an intellectual-existential offensive against the disenchantment of the ="trms">modern age)
along ="trms"nttrm="search">archetypes='lgc'>:
="lsts lst1">•power
="lsts lst1">•hostility
="lsts lst1">•banishment
="lsts lst1">•solitude
="lsts lst1">•desire
="lsts lst1">•sacrifice


contradictory experiences of the ="trms">modern cityscape of the middle east ='lgc'>='lgc'>--> at once a site of='lgc'>:
="lsts lst1">•autocracy and insurgency
="lsts lst1">•concealment and detection
="lsts lst1">•connectivity and alienation
="lsts lst1">•="trms">integration and crumbling
="lsts lst1">•="trms">gesticulation and idleness


="frds scrmbld">Setareh's topics='lgc'>:
experiences of upheaval, hysteria, sabotage, collective suffering
='lgc'>='lgc'>--> ="frds scrmbld">Sana's topics='lgc'>:
existential-spatial understanding of ="trms">questions of cruelty, betrayal, torment, annihilation


(="trms">poets finding themselves ="trms">consumed with) the distinctive emergence of “the martyr”='lgc'>:

='lgc'>[-='lgc'>]Akhavan ="trms">writing/witnessing at the time of reterritorialization of ="trms"nttrm="disturban">urban space during Mossadegh era='lgc'>: the subdivision of streets, districts, and neighborhoods into dueling sectors of power and resistance.
Akhavan's lament in “W="trms">inter”
disenchantment, bitterness, ="trms">semiotic disorientation
touch='lgc'> = final sensory prism
Akhavan's task='lgc'>: to protect the domain of radical individuality (='lgc'>='lgc'>==> ="frds scrmbld"nttrm="Alice,Shariati">Ali's subjectivity)
(="ppl">Mohaghegh asking='lgc'>:) ='strcls'>*is the artist charge a mere diguise of influence and supermacy='qstn'>?='strcls'>* or ='strcls'>**is the firmness of its ="trms">articulation sanctioned by some dominant elsewhere or other="trms">worldliness='qstn'>?='strcls'>**
='strcls'>*does the ="trms">poetic consciousness believe itself of an elite unknown rank (against the monolith)='qstn'>?
="trms">sociopolitical discourses either bore or aggravate Akhavan ='lgc'>--only='lgc'>='lgc'>--> (transient ="trms">historical ="trms">specificity of) ='strcls'>*turmoil ="trms">demands ="trms">poet's greater urgency='strcls'>*
(the ="trms">poet has earned the station to say) “no more of this” (“it's enough”) ='lgc'>~ an ='strcls'>*order='strcls'>*  ='lgc'>[='lgc'>=/= wisdom, sage, diplomatic ="trms">response of an ="trms">interlocutor, truth-telling, equal dialogue, negotiation='lgc'>]
="trms">poet's expertise and sensitivity='lgc'>: the ="trms">storyteller's intimate ="trms">relation to impermanence and destruction (='lgc'>='lgc'>--> ="frds scrmbld"nttrm="Alice,Shariati">Ali, ="frds scrmbld">Sana, ="frds scrmbld">Hoda, ="frds scrmbld">Setareh)

='lgc'>[-='lgc'>]Baraheni's depiction of the spatial domination of the city by Pahlavi regime from 1952 to 1979 ='lgc'>='lgc'>--> SAVAK ="trms">responded to and fueled a striking development in the political consciousness of the ="trms"nttrm="disturban">urban centers ='lgc'>='lgc'>==> labyrinthine evolution of the rebel form
hie ="trms">poem “An Epic in Reverse” (Akhavanian reversal) neighborhoods of stigma, filth, and backwardness ='lgc'>='lgc'>--> hybrid of ="trms">animality and criminality
(="ppl">Mohaghegh asking='lgc'>:) what is the ="trms">author's recourse once stranded behind those iron bars, and now acquainted with the gleaming tools and ="trms">instruments of the guards and royal executioners='qstn'>? for Baraheni, the answer seems to rest within a ="trms">literary turn toward the arsenal of vulgarity, where ="trms">language is forced to howl and curse again, to match the shock treatment and flagellation (شلاق shalagh) ='lgc'>='lgc'>==>
="lstsrd">1. to un="trms">veil the degradation and depravity of power, to show it as unbeautiful and disgusting in its most bude form
="lstsrd">2. to wage some reciprocal hate against power, to maximize the rawness of what is happening

='lgc'>[-='lgc'>]="ppl">Shamlu's (dead-end) sightings of public execution and secret police night-raids of 1979-81
(="ppl">Mohaghegh describing islamic state of ="nms">iran through ="ppl">Shamlu='lgc'>:) a new iteration of revolutionary terror, millenarian clerical establishment that foresees self-congrave a feverish certainty across every corridor of ="trms"nttrm="disturban">urban reality (='lgc'>=/= conservative dis="trms">position of an ordained Shah seeking to keep his domination,) the vengefull return of a long-suppressed counterabsolutism that has been waiting ="trms">anxiously for its chance to unleash and envelop a national identity in its now-seething ideology
="prgrph">-bringing the celestial abstractions of a faith crashing down into tangible existence ='lgc'>='lgc'>--> they must ='strcls'>***sew, lash, and brand their ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">righteous-ecstatic modalities into awesome ="trms">materiality='strcls'>***
the ="trms">vocabulary of='lgc'>: the prophetic, the messianic, the inspired, the sacred
='lgc'>}='lgc'>='lgc'>--> ='strcls'>*="ppl">Shamlu's avant-gardism had always led him to experiment with rotating styles of folkloric ballads, rebel anthems, existential meditations, doomsday rants, elegiac oration, ="trms">children's lullabies ='lgc'>--into='lgc'>='lgc'>--> (a singular blast of an) account of a devastated ="trms"nttrm="disturban">urban space that moves somewhere between legend, omen, song, myth, fairy tale, and war cry ='lgc'>[='lgc'>='lgc'>--> ="ppl">Shamlu ="trms">responding to an islamic revolutionary ideology that had en="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listed its own alchemy of proclamation, lethal con="trms">sortiums of drives that fuse the most savage, the most medieval, the most ="trms">modern, and the most post="trms">modern='lgc'>]
="lsts lst1">•being coming completely seized beneath the ="trms">density of revelatory vision
="lsts lst1">•the ultra-alertness and in="trms">somnia of pure anticipation ='lgc'>: a calculus of assurance that ‘they are coming’ ='lgc'>='lgc'>--> omen


Pasdaran='lgc'>: the unpre="trms">dictable and insatiate arc of extremity of a paramilitart coalition
='lgc'>=/=
SAVAK='lgc'>: ="trms">formulaic ="trms">technocracy of a ="trms">scientific approach to persecution, extraction, and confession

Pahlavi monarchy='lgc'>: the administrator of ="trms"nttrm="disturban">urban violence was part amateur, part pseudo-scholar, part civil servant, part serial killer
='lgc'>=/=
Ayatollah theodracy='lgc'>: the administrator of ="trms"nttrm="disturban">urban violence was part vigilante, part crusader, part cult ="trms">member, part thug

='lgc'>='lgc'>--> ="trms">poet must epitomize the last unequivocal administrator of ="trms"nttrm="disturban">urban violence


does ="trms">writing have a redemptive (='lgc'>=/=='qstn'>? reparative) function='qstn'>?

the ="trms">author would necessarily venture to rescue something profound (from the state of dejection)

="trms">poet's keyword='lgc'>: ='strcls'>*conflagration='strcls'>* حريق, fire ='lgc'>='lgc'>--> a middle eastern ="trms">aesthetics

most ="nms">iranian ="trms">writers of the new ="trms">poetry movement have e="trms">viscerated, melted, flooded, iced over, or burned down a city at some point in their artistic career (='lgc'>='lgc'>--> ="ppl">Shamlu's Yal-o Ejdeha یل و اژدها)

cumulative ="trms"nttrm="danger,stranger">angers

towards a harmful eloquence شيوايى ='lgc'>='lgc'>--> ="ppl">Shamlu


pay attention to the hyper-subjective ="trms">positioning (='lgc'>=/= hospitality, ="trms">cosmopolitanism, transindivualism) of the “I” of the ="nms">iranian ="trms">poet='lgc'>:

='strcls'>*Akhavan='lgc'>: “It is I, your nightly guest, a forlorn gypsy. It is I, an afflicted stone that has been kicked around. It is I, the lowly insult of creation, an untuned melody.”
منم من، میهمان هر شبت، لولی وش مغموم /  منم من، سنگ تیپاخورده ی رنجور /  منم، دشنام پست آفرینش، نغمه ی ناجور

='strcls'>*Baraheni='lgc'>: “I am the rotten well of ="trms">history ... Throw your matches down so that I can set the whole ="trms">world aflame. I am an underground man. My fire alone shall appear on the face of the earth.”

='strcls'>*="ppl">Shamlu='lgc'>: “It is time that I spit out the entirety of my damnation in an endless uproar / I am the first and last dawn / I am Abel standing on the platform of contempt / I am the honor of the universe, having lashed myself and endured it / Such that the black fire of my agony / shames even Hell for its insignificant holdings.”


='lgc'>='lgc'>--> with the maladjusted eyes if the ="nms">iranian ="trms">poet... we are at a far distance from western thought, one that seeks a renovated ="trms">cosmopolitanism as remedy to the injustices of the cityscape in ="trms">modernity


="ppl">Mohaghegh's style of ="trms">writing ='lgc'>[when he talks about Hedayat and ="nms">iranian avant-garde chaotic atmosphere ='lgc'>='lgc'>--> (at once) binds and separates the East-West axis='lgc'>] ='lgc'>--he='lgc'>='lgc'>--> abandoning transcendent abstractions and restoring it to the ="trms">language of annihilative venture

='strcls'>*chaos as mask='strcls'>*
chaos='lgc'> = (one of many) eastern ="trms">poetic mask

="large lg30" stl="font-size:126%"> chaotic experience (in the service of a lasting nonstate) ='lgc'>=/= essence, Being, structure, ="trms">historical de="trms">finitions, temporal-spatial ="trms">specificity

="ppl">Mohaghegh puts Hedayat's inventiveness in traction with continental philosophy='lgc'>:
="lsts lst1">•="ppl">Schopenhauer='lgc'>: existence='lgc'> = reckless collision of transience and nonsensibility ='lgc'><='lgc'>== ='strcls'>*dramatic dis="trms">sociation of the ="trms">aesthetic from the ="trms">historical='strcls'>* (='lgc'><='lgc'>-- ="frds scrmbld">Sana's current stance, for ="frds scrmbld">Sana the ="trms">world is will and re="trms">presentation)='lgc'>:
="trms">history='lgc'>: will's vicious reign over existence
art='lgc'>: space of escape (from the profanity of ="trms">history, a rare fleeting opportunity to re="trms">imagine existence as it potentially could have been but never will be (='lgc'>='lgc'>~=='qstn'>? ="trms">fiction ='lgc'>='lgc'>--> is that why ="trms">science ="trms">fiction for ="nms">iranians does not have the same signification='qstn'>?) ='lgc'>[='lgc'>=/= redemptive corrective to the barbarism of the will, ='lgc'>=/= weapon by which one might attempt to overthrew the will='lgc'>]
="lsts lst1">•="ppl">Hegel='lgc'>: (paradigm of a) complete collapse of subjectivity with ="trms">history. reason is sovereign of the ="trms">world
='strcls'>*Dasein='lgc'>: work within the preconceived framework (barriers) of ="trms">historical consciousness in order to modify its stance within the ="trms">world
="lsts lst1">•="ppl">Marx='lgc'>: the intention of restoring humanity to its actual ="trms">historicity, ="trms">positivism ='lgc'>+ humanism, epochal advancement, ='strcls'>*dialectical ="trms">materialism='strcls'>*='lgc'>: placing subjectivity in a state of subservience to a larger “="trms">historical reality”
="lsts lst1">•="ppl">Althusser ='lgc'>='lgc'>--> ='strcls'>*="trms">interpellation='lgc'>: power first manifactures a conception of the self that it can later subjugate through the sur="trms">veillance ="trms">techniques of the institution
='strcls'>*subjectivity exists solely within the revolutionary progression of the prevailing modes of production='strcls'>*
="lsts lst1">•="ppl">Adorno='lgc'>: the discourse of individuality within ="trms">modernity operates as an accomplice to ="trms">techniques of reification and the overall obfuscation of the culture industry ='lgc'>='lgc'>~= ='strcls'>*assimilation/execution of myth by ="trms">instrumental reason='strcls'>* ='lgc'>='lgc'>-->='lgc'>{ art can be understood only by its laws of movement, not ="trms">according to any set of invariants ='lgc'>~ antinomy='lgc'>: art is defined by ="trms">relation to what it is not (separating itself from what it has developed out of)
(="ppl">Adorno ='lgc'>+ Frankfurt School='lgc'>:) ='strcls'>**subjectivity thrives in the decisive act of ="trms">interpretation, one through which the ideological saturation of ="trms">society finds itself unmasked and ="trms">history is restored to its contestatory complexitoes='strcls'>**
="lsts lst1">•="ppl">Sartre='lgc'>: existential liberation ='lgc'>+ ="trms">historical “engagement” ='lgc'>+ artistic subjectivity ='lgc'>='lgc'>--> ="trms">writing='lgc'> = a praxis-based motioning toward futurity ='lgc'>[='lgc'>='lgc'>~=='qstn'>? accelerationism='lgc'>]

="ppl">Adorno/="ppl">Sartre ='lgc'>='lgc'>--> ='strcls'>***واجب indispensable search for a ="trms">writing act tied to revolutionary desire, negational change, futural hope, pseudosalvatinoal intentionality='strcls'>*** ='lgc'>[='lgc'>=/= Hedayat, ="ppl">Nietzsche='lgc'>]

='lgc'>='lgc'>==> invalidating ="trms">mimesis as a legitimate conceptual ="trms">category (!='qstn'>?='strcls'>*)

through an account of self and ="trms">world as ='strcls'>*mytho="trms">poetic entities='strcls'>* (='lgc'>='lgc'>~= willed im="trms">materiality) ='lgc'>='lgc'>--> ='strcls'>*chaos-consciousness='strcls'>* (="trms">interlacing experience ='lgc'>+ thought ='lgc'>+ desire) effectively disbands the ="ppl">Marxian hierarchy of true and false consciousness by virtue of its dissolution of all paradigms of ="trms">historical “reality”

nowhere-zone between desolation and the everything ='lgc'>='lgc'>--> experiential anarchy ='lgc'>='lgc'>==> the ="trms">poet/artist (='lgc'>='lgc'>~= X-Men='lgc'>: Apocalypse film su="trms">pervillain character watching the news of last millennia on TV) stands as the incarnation of ="trms">history's redemption, saving it from itself, and therein bringing into perfect totality the fusion of the self, the ="trms">aesthetic, and ="trms">historical Being

="trms">historicity of the object
="trms">historicity of the subject

="large lg3" stl="font-size:111%"> critical reason ='lgc'>=/= ="trms">instrumental reason

‘="trms">aesthetic depiction of reality ='lgc'>=/= objective truth of its operation’ ='lgc'>='lgc'>--> journalism
(“='lgc'>[='strcls'>*='lgc'>]artist='lgc'>: a creativity independent and existentially self-sufficient entity standing somewhere beyond the matrices of ="trms">historical circumstance” ='lgc'>=/=) ="ppl">Adorno='lgc'>:
="lstsrd">1. artwork can struggle to engage directly with the moment ='lgc'>='lgc'>==> find itself invariably en="trms">trapped by the artificial ="trms">presentations and camouflages of the obscenity it challenges ='lgc'>='lgc'>==> “permit the ="trms">monstrosity of ="trms">modern ="trms">society to emerge in full clarity from the ="trms">phenomena masking it” ='lgc'>[='lgc'>='lgc'>--> an epic ='lgc'>='lgc'>==> freezing the dialectic in a ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigid back-and-forth of monolithic polarizations and exaggerated ="trms">narratives of good and evil='lgc'>]
="lstsrd">2. delusion of art's distance from the everyday ='lgc'>[='lgc'>='lgc'>--> to resurrect the archaic phantom of sovereignty amid a ="trms">world of unavoidable mechanistic ="trms">interconnections='lgc'>]
='lgc'>}='lgc'>='lgc'>==> artwork attests to a ='strcls'>*="trms">fictive template[...]