[...]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

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

="large lg1" stl="font-size:120%"> (="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)

="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'>==> ="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'>==> 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'>]="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


="large lg3" stl="font-size:110%"> 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


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

="large lg5" stl="font-size:119%"> towards a harmful eloquence شيوايى ='lgc'>='lgc'>--> ="ppl">Shamlu


pay attention to the hyper-subjective ="trms">positioning (='lgc'>=/= hospitality, ="trms">cosmopolitanism, transindivual[...]