[...]ere 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!\


='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'>]

="large lg2" stl="font-size:111%"> 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 lg1" stl="font-size:123%">

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'>*


="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

(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 lg3" 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 lg4" stl="font-size:112%">
="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 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)

="large lg5" stl="font-size:124%"> ='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'>==> 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'>==>
="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'>]Sha[...]