[...]ty has left (in east)
(that is why terminologies of “nomadism” can hardly be appropriated in middle east--they are chaotic, not nomadic)


[idioms of resistance] ~~--> intoxicating sense of power

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

...to believe in an outsider subjectivity capable of ahistorical imagination

(inflated dispositions of) triumphalism and alarmist nightmare


communist (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-imperialist wars --> nostalgic portrait of the contemporary militant
(Nietzsche, Kafka, Bataille, Foucault, Artaud, Baudrillard, Serres, D+G, etc.) continental thinkers architects of masks:
•the overhuman (--> Nietzsche)
•the supplicant
•the deviant (or barbarian --> Foucault)
•the body-without-organs (--> D+G)
•the criminal
•the schizoid
•the headless monstrosity (--> Bataille)
[(an exilic) postcolonial intelligentsia]


---{Nietzsche and Artaud's familiar persuasive authority, similar exuberant phraseology, and motifs in extremis --> ‘cruelty,’ Artaud wanted to “reject form and incite chaos.” antipsychological violent physical determination (a cruel yet necessary act upon the spectator) to shatter the false reality (theatre/art as a place where the spectator/actor is *exposed* [=/= “protected"]) =/= (aesthetic) distance (---> go to ‘distance matters’); this is the paradigm in iran's theatre and performance scene, where the audience are to be engulfed and physically affected by the show, ‘to be trapped and powerless’ as a theatrical value is an Artaudian tradition.
-delirium: he wanted to deliberately become/stay mad [--> Jassem, Sana's methodology, the state of horrible energy] in order to heal/strengthened
-ecstatic loss of the self, hermetic elements in his works, and the idea of the “complete actor,” whirlpool of feelings and lunatic expressions, counter-force from the act of gesture, (and from his teacher Dullin) emphasis on 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.}


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


untrustworthy epistemic climate --> patterns of smoothness/coarseness

militant negotiations of desire

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


navigation of identity



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

slave moralities

the *self-with-no-other* (too far gone)

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


***decolonization as a populist mode of resistance

otherless individuation:
•the hermit
•the mercenary
•the maniac


the lowest common denominator turned into a metaphysics

authentic malevolence


*objective cruelty* (of the modern epoch and its dialectic strap) can only be undone by (a non-matching iteration of) *subjective cruelty*
*!!!


local: a forced site of radical alterity
(be careful with the notion of premodern local [~= anti-modern] --> retrieved moment of premodernity. --> rhetoric of retrieve and retrieving / remembering / )


(detachment is a genre)

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

original philosopher being called:
-Heidegger support Nazism
-Adorno turned his back on postwar German student movement
-Foucault endorsed Islomic front in the Iranian revolution and Zionism at different times

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

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

belligerence --> resentment

“an Eastern postmodernity cannot therefore come about through the constitution of aplanetary subjectivity, which fearfully resembles the liberalist 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 world that refuses to recognize the very existence of that which calls itself modernity”
--> insurgent: is an elitist --> he pushes difference to its extremity (<-- i do that!)


*the postcolonial arguments continue ti operate within a domain of critical theory that is always articulated from the space of dorment self* ==>
1- absolute annihilation of the other (<=~ my kind of paranoia?)
2- acceptance/internalization of the other --> 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)


Mohaghegh's methodological suggestion for how masks are forged:
a man or woman sits kneeling in a bare nondescript room, at which point various concepts are then intermittently released through the ventilation shafts and into the room's atmosphere, one after another, in slow vaporous bombardments that compel their own transfigurations for whoever breathes them. The question of what happens for the immediate circulation/navigation of the self at the center of that room, the imprint or reverberation 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.


*on Levinas
Levinas's concept of otherness --> its theoretical production is articulated from the ditch of the historical self in modernity (part of the Western philosophical tradition) [...] entrenched within an enlightenment discourse that cannot conceive of a self without mediation through a formulated other =/= *otherless subjectivity*
-Levinas's principle goal is to repair the totalitarian self and not to explore the otherworldly powers of the other --proving--> ***something that might fix the master***
==> self is to be redeemed by otherness, made well by otherness, made sane by otherness ==Mohaghegh==> the other is never entitled to just walk away and seek its own external dominion
the other possesses (the talent of) infinity ==> ther other's responsibility is to dispense that infinity =[...]