[...] 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'>==> 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'>==>
="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'>==> only one elixir” ='lgc'>==> produce an antidote that is equally colossal in scope, shape, and execution

='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!\

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



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'>==> ='qstn'>? )

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'>*

="large lg1" stl="font-size:135%">
="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'>==> secret ="trms">societies, iconoclastic ="trms">trajectories, a type of consciousness that perceives the catastrophic-apocalyptic hint at each turn

="large lg3" stl="font-size:112%"> (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'>==> peripheral narative (marginal leadership) become a force of int="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigue and seduction (among ="nms">iranian youth)

="large lg4" stl="font-size:110%"> ="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


="large lg5" stl="font-size:110%"> ="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'>==> ="frds scrmbld"nttrm="Alice,Shariati">Ali's subjectivity)
(="ppl">Mohaghegh asking='lgc'>:) ='strcls'>*is the artist[...]