[...]ess 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 lg2" stl="font-size:111%">
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
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'><== ='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'>==> 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'>==> 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
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'>==> find itself invariably en="trms">trapped by the artificial ="trms">presentations and camouflages of the obscenity it challenges ='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'>==> 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'>==> artwork attests to a ='strcls'>*="trms">fictive template of freedom='strcls'>* clinging to the ='strcls'>*delusion of its ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">righteous self-determination='strcls'>* ='lgc'>==> ='strcls'>***a ="trms">mimetic ="trms">intercourse between art and ="trms">historical life='strcls'>*** ='lgc'>[='lgc'><='lgc'>-- this is most desired from artists today='lgc'>]
="ppl">Adorno's premises (='lgc'>='lgc'>--> “progress”)='lgc'>:
="lsts lst1">•unabashed use of the universalizing abstraction of “humanity”
="lsts lst1">•detrimental reconfirmation of a ="trms">world-="trms">historical process inagurated by the alliance of enlightenment ="trms">epistemology and the commodity form
='lgc'>}='lgc'>==> ="ppl">Adorno's ="trms">paranoiac tone (of infection, contamination, threat) ='lgc'>==> ="trms">rhetoric of false and true consciousness ='lgc'>==> proclivity (تمايل طبيعى به چيز بد) for perpetual judgment and truth-seeking
='lgc'>--(enlightenment pathology)='lgc'>='lgc'>--> grand theories of degradation and decline about whenever ="ppl">Adorno delves into critique of the ="trms">world ='lgc'>[='lgc'>='lgc'>--> habit of most of my friends and artists...='lgc'>] ='lgc'>==> (purist theology of negation) ='strcls'>***reverse-messianicism='strcls'>*** (='lgc'>='lgc'>~= “he can do nothing” هیچ کاری نمیشه کرد، همیشه همینجوری بوده)
='lgc'>}='lgc'>=/= chaotic engagement (with the ="trms">questions of art, ="trms">history, self)
="ppl">Adorno's dedication to the ="ppl">Marxian perception of ="trms">historical Being as an intrinsically teleological functioning ='lgc'>==> his intense cynicism
='lgc'>=/= ="ppl">Schopenhauer's pessimism
='lgc'>=/= ="ppl">Nietzschean ="trms">intervention of ='strcls'>*treating ="trms">history as ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphorical illusion='strcls'>*, ='lgc'>[='strcls'>*='lgc'>]="trms">history='lgc'>: a hallow significatory edifice that nevertheless manufactures meaning, directionality, and ="trms">causality (for an otherwise anarchic ="trms">world) ='lgc'>='lgc'>--> ="nms">iranian chaoticism ='lgc'>[and why ="ppl">Nietzsche is so widely ="trms"nttrm="already,spread">read in ="nms">Iran='lgc'>], for ="ppl">Nietzschean='lgc'>: “art ='lgc'>[='lgc'>='lgc'>--> eruptive potentiality of the will to truth='lgc'>] ='lgc'>=/= ="trms">history ='lgc'>[='lgc'>='lgc'>--> desolation of the will to power='lgc'>]” ='lgc'>='lgc'>--> the disparity between art and ="trms">historical reality becomes the very source of chaos-consciousness saliency
ferocious risk of greatness ='and'>& the asphyxiating decadence of mediocrity
(="frds scrmbld"nttrm="Alice,Shariati">Ali's) peotic-becoming ="trms">aestheticized existence
irresolute ='lgc'>=/= reactive ='lgc'>=/= dismissive
continental philosophy's approach to the as="trms">sociations of three spheres='lgc'>: ="trms">history='lgc'>[='lgc'>==>='lgc'>], art, subjectivity ='lgc'>--='not'>✕='lgc'>='lgc'>--> chaotic nonstate='lgc'>: clash between a hypersubjectivized ="trms">aesthetic ='and'>& the barriers of ="trms">historical Being (='lgc'>='lgc'>--> annihilation of both “I” and the ="trms">historical)
="ppl">Benjamin's subjectivity must defend itself against the profane rotations of the ="trms">historical (='lgc'>='lgc'>--> apocalyptic battle)
="ppl">Benjaminian “angel of ="trms">history” ravaged of its innocence at the hands of progress and then restored by overriding strength of the ="trms">historical ="trms">materia="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list='lgc'>:
demonization of the ="trms">monstrosity of the ="trms">historical ='lgc'>+ celebratory ="trms">poeticization of the subject
='lgc'>=/= ="ppl">Nietzsche and Hedayat's subjectivity ='lgc'>[should='lgc'>] not to be held in a “derivative placement ='lgc'>=/= the here and now” (one must ="trms">imagine beyond طالع بینی ='lgc'><='lgc'>-- شخصیت فراسو نگر) ='lgc'>='lgc'>--> (card ="trms"nttrm="already,spread">reading) one must place under scrutiny the commensurate manner in which the ="trms">historical is navigated, orchestrated, and then overcome ='lgc'>[='lgc'>=/= alibi for some alternative discourse of ="trms">literary-philosophical humanism or ="trms">aesthetic transcendence='lgc'>]
='lgc'>[='qstn'>?what is ="frds scrmbld">Adrijana's card ="trms"nttrm="already,spread">reading ="trms">relation to='lgc'>] the desire to divorce ="trms">history from any potential taxonomy of meaning or intelligibility ='lgc'>--Hedayat='lgc'>='lgc'>--> “one is confined in a proud, deceptive consciousness... that rests upon the merciless, the insatiable, the murderous, in the in="trms">difference of his ignorance='lgc'>--hanging in dreams”
the ="trms">poem i wrote in 2010 “our ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor” https://archive.org/details/our="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor is an ='thdf'>example of (my ="ppl">Nietzschean and Hedayatian influence, to address) the indeterminacy and illogic necessarily as="trms">sociated with a chaotic ="trms">world
(for ="ppl">Nietzsche='lgc'>:) ="trms">positivism='lgc'> = ="trms">historical subjectivity's ="trms">fictive ="trms">interiority ='lgc'>--leads='lgc'>='lgc'>--> decadence of a will to truth, attributing to events a rational look by fixing them within universalizing patterns of signification
="ppl">Nietzsche='lgc'>: “it is precisely facts that do not exist, only ="trms">interpretations” ='lgc'>=/= fraud of the ="trms">historical ='lgc'>==>
="lsts lst1">•="ppl">Platonic idealism
="lsts lst1">•messianic grandiosity of the ="ppl">Hegelian ="trms">world-="trms">historical process
="lsts lst1">•
="lsts lst1">•='strcls'>*rational ="trms">historicism='lgc'>: a discursive ="trms">phenomenon indispensably linked to enlightenment ="trms">epistemology and its overriding drive for ="trms">world-mastery='strcls'>*
='lgc'>}='lgc'>=/= explosiveness of a chaotic universe ='lgc'>+ experiential immediacy of this creative-destructive effusion نشد
="ppl">Nietzsche's The Birth of Tragedy (seemingly) a study of the pre-Socratic culture of Dionysian ecstasy ='lgc'>--but='lgc'>='lgc'>--> a self-projected ="trms">hallucination of antiquity ='lgc'>==> ='strcls'>*theme of ="trms">history as subjective dreamscape='strcls'>* (='lgc'>='lgc'>--> my way of working ="trms">historical ="nms">ajayeb is ="ppl">Nietzschean='lgc'>[='qstn'>?='lgc'>])
="prgrph">-in Human, All Too Human, ="ppl">Nietzsche wages an archaeological assault against the com="trms">position and enforcement of moral and ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical (from ="trms">religion to law, discussion of the ascetic ideal and the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of ressentiment and slave morality)
misunderstanding of “the will”
="ppl">Nietzsche's skepticism (is his a ="trms">priori) ='lgc'>='lgc'>--> the link between chaos and a certain ="trms">poetic evocation
='strcls'>*monumental='strcls'>*='lgc'>: seeking out heroic episodes from the the ="trms">past as examples of imminent قريب الوقوع greatness within the ="trms">present and future (resurrecting examples of nobility) ='lgc'><='lgc'>-- an ethos behind which large-scale causes are mobilized (='lgc'>+ antiquarian ='lgc'>='lgc'>~=) ='lgc'>[='strcls'>*='lgc'>]archive='lgc'>: a harmless reverence for that which has elapsed, leading largely to a compulsive preservation of faded events for no other purpose than that of ensuring their permanence in ="trms">memory
='lgc'>=/= ='lgc'>[='strcls'>*='lgc'>]critical='lgc'>: the courage for insurgency and disavowal of ="trms">historical legacy='strcls'>*** ='lgc'>==> realization of an alternative counterfuture in the ="trms">present
“He is blind to everything behind him, new sounds are muffled and meaningless though his perceptions were never so intimately felt in all their color, light and music, and he seems to grasp them with his five senses together . . . His whole case is most indefensible; it is narrow, ungrateful to the ="trms">past, blind to d="trms"nttrm="danger,stranger">anger, deaf to warnings, a small living eddy in a dead sea of night and forgetfulness. And yet this condition, un="trms">historical and anti="trms">historical throughout, is the cradle not only of unjust action, but of every just and justifiable action in the ="trms">world.” ='lgc'>='lgc'>--> sounds like one of my masks “the sleep-walker”
in Hedayat
nihi="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic absurdist approach to both ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics and ="trms">society
distancing himself from the ="trms">symbolics of divine ="trms">authority
forsaking empty promises of ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical longing
consciousness rushes to disguise and camouflage its own lack of purpose
حاجی آقا Haji Agha='lgc'>: “my existence is useless ='lgc'>[...='lgc'>] hence the greatest and most noble ="trms">poem in my life will mark the destruction of you and your kind”
='lgc'>='lgc'>--> streamsof betrayal, defilement, se="trms">="trms"nttrm="cluster,club">clusion, degradation, anonymous deaths
(subversively, through a series of ="trms">hallucinogenic con="trms">traptions) crash the unchained terrain of neo-fantasia into the claustrophobic region of socalled reality
این همه سودا است to return with fascinated sockets to the ="trms">world-as-illusion
chaos in حکایت باخه و دو بط in Kelile Demne ='lgc'>='lgc'>--> ="trms">history='lgc'>: the myriad series of spectral constructs by which subjectivity comes to be constituted as an ordered entity
chaotic desire ='lgc'>='lgc'>--> a temporary pact with radical aloneness ='lgc'>='lgc'>--> ="frds scrmbld">Hoda
='lgc'>=/= homogenizing abstraction of “human”
(="frds scrmbld">Foad, ="frds scrmbld">Hoda, ="ppl">Sartre's) exilic dis="trms">position, always alone, always apart
tranjective frenzy
to come down from the mountain and infest the back-alleys ='lgc'>='lgc'>--> wtf!
deterritorialization one's owb footprints ='lgc'>='lgc'>--> identitatian ="trms">technologies
='at'>@="frds scrmbld">Shervin com="trms">mission the wanderer='lgc'>: a nameless eyeless character sitting on the outskirts of a wasteland in conversation with his own shadow ='lgc'>='lgc'>--> (beyond time and space) as a ="trms">gesture toward discarded ="trms">worlds without clocks or maps ='lgc'>='lgc'>--> ='strcls'>*the will to aimlessness='strcls'>*
(Hedayat in The Blind Owl) “I had no idea in what direction I was going ='lgc'>[...='lgc'>] I did not care whether or not I ever arrived at any palce”
Mikhail ="ppl">Bakhtin ='lgc'>='lgc'>--> art for ="nms">iranian artists='lgc'> = (carnivalesque) a site that grants the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right to understand, the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right to confuse, to tease, to hyperbolize life; the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right to parody others while talking; ='strcls'>*the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right to not be taken ="trms">literally='strcls'>*, not ‘to be oneself’ ='lgc'>[...='lgc'>] the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right to rip off masks, the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right to rage at others with a primeval (almost cultic) rage='lgc'>--and finally, the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right to betray to the public a personal life, down to its most private and prurient little secrets
="ppl">Baudrillard='lgc'>: the real is no longer possible ='lgc'>==> illusion is no longer possible ='lgc'>==>='lgc'>{impossibility of rediscovering an absolute level='lgc'> = impossibility of ="trms">staging illusion='lgc'>}='lgc'>='lgc'>--> hollows the inability of existence to escape its own ="trms">fictive com="trms">position (='lgc'>=/= ="trms">epistemologies of repair, ="trms"nttrm="already,spread">reading, weaving, etc.)
(Hedayat's) ="trms">techniques of stealing from the ="trms"nttrm="already,spread">reader the most basic hermeneutic device of distinguishing between ="trms">imaginary and the actual ='lgc'>='lgc'>--> ="frds scrmbld">Hoda, ="frds scrmbld"nttrm="Alice,Shariati">Ali
='strcls'>***annihilation='lgc'>: ="trms">ontological death ='lgc'>==> death of ="trms">ontology='strcls'>***
زنده به گور buried alive, an unmediated experiential sensitivity to the randomness of existence
='strcls'>***chaotic ="trms">imaginary ='lgc'>=/= tyranny of ="trms">historicity='strcls'>***
='lgc'>='lgc'>--> a="trms">historical figure, having ="trms">traversed the borders of ="trms">language, humanity, time, space, and reality ='lgc'>='lgc'>--> ="frds scrmbld">Foad's ="trms">poem (='lgc'>='lgc'>--> ="trms">world as endless becoming or nightmaze) ='lgc'>=/= ="trms">historicized existential experience (folloing only two distinct path, of subject and object)
='strcls'>*philosophy='lgc'> = learnign how to kill='strcls'>* (='lgc'>=/= Socratic-="ppl">Platonic versoin of “philosophy='lgc'> = learning how to die”)
Hedayat straying beyond signification, mortality, and ="trms">ontological or ="trms">phenomenological framing ='lgc'>=/= ='mywrk'>my work with ="nms">ajayeb
(='lgc'>[why='qstn'>?='lgc'>] many artists do that) ='strcls'>***to make oneself unrecognizable='strcls'>***
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consciousness='lgc'>: only a host of many someones
="ppl">Nietzsche's transvaluation of ="trms">historical limitations ='lgc'>='lgc'>--> experience would no longer find itself en="trms">trapped by apparitions of objectivity and cohesion and could theretofore invite chance, risk, and endless experimentation
will to power ='lgc'>='lgc'>--> a premediated calculable claim to mastery
="ppl">Nietzsche='lgc'>: art as an active competitive exchange ='lgc'>=/= ="ppl">Schopenhauer's mystical retreat='lgc'>: art to ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure aside from the great road of suffering of humanity those who are wretched, exhausted, and sick, and to offer them a brief lustful moment='lgc'>--a little intoxication and madness (='lgc'>='lgc'>--> a view that many artists today hold)
="ppl">Nietzsche ='lgc'>+ Hedayat ='lgc'>+ Aslani ='lgc'>+ ="frds scrmbld">Hoda's immediate acknowl="trms"nttrm="knowledge,Knowledge">edgement of the ="trms">world-as-unreal ='lgc'>=/= obstacle of ="trms">historicity ='lgc'>=/= ="frds">Sina='lgc'>: I am following a very ="trms">different critique of ="trms">historicity in ="nms">ajayeb
بادیه نشین فلسفی ="ppl">Nietzsche ='lgc'>+ Hedayat (elicit repercussions for) subordination of ="trms">history to a kind of ="trms">literary-philosophical piracy or bedouinism ='lgc'>=/= ="trms">citadel (of geography, civilization, culture)='lgc'>='lgc'>--> many fabricatoins of art happens in ="trms">citadels in Europe
="frds scrmbld">Pierre has always been busy with the ="trms">question of synthesis
entitlement='lgc'>: way of intrusion in homogenous axes of existence
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most of ="ppl">Mohaghegh's attacks are ="trms">rhetorical
the (sacred='qstn'>?) boundaries of mysticism
(the boundaries of cities became mystic/sacred)
mystical channels
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="trms">presenting ="trms">worlds immersed in a kind of constructed a ="trms">priori (arising from an a="trms">morphous collection of sound and image. ='at'>@="frds scrmbld">Hoda)
="ppl">Mohaghegh working to isolate the rare ="trms">technical and conceptual arsenal behind an ethnographically immagined space
initiatives toward the horizons of a mystical inquest
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sect's threat
breakaway modality of a sectarian consciousness
hermeneutic arsenals
organic theoretical ="trms">apparatuses
(its own) effective radars and tactics of attunement, detection, and ="trms">narration
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Adonis, Samih al-Qasim, Ghada Samman, Nazim Hikmat, Ahmad ="ppl">Shamlu, Farrokhzad ='lgc'>='lgc'>--> all tempted to (antihumanist) convert the text into a closed circle
forbidden power
moral ambiguity
collective destiny
will to extremity
shadow nears and targets
itself presumed source of all tension and unhappiness
while also sp="trms"nttrm="already,spread">reading its influence over others
many are susceptible to its whisperings
thus he develops a perpetual alertness to its approach
schemes are everywhere
it seeks
to slip into (the sectarian's own) camp under disguise
penetrating the inner circles in dissimulated form and thus unspotted
no mediation
revenge in closeness
and even more than this,
shadow will attempt to escape accusation if possible
the ="trms">spectacle
enemy's overhanging ="trms">presence
='lgc'>='lgc'>--> continual motion
='lgc'>='lgc'>--> time is restless
tower, bastion, ="trms">citadel, stronghold
operational apparitional center
phantasmatic points of references
a spiritual geoscape of concentration
it must appear formidable, immutable, and impenetrable
as a tangible headquarters encased amid far-flung mountains.
it drifts mainly as a figment in the nomadic mind
of the one who lives most of the nights as a marauder in enemy camps
roaming through its courtyards
speaking with the tower's white and black keepers
before receiving the next command
with it the facticity of another harsh assignment.
from tower's security standpoint
the ="trms">world looks ripe for the taking.
the fortress holds, and with it, the dream of the fortress.
the earth
closing on us
a deteriorating prism
tightness, en="trms">trapment
this cylinder
to a ="trms">mutual ob="trms">literation
all inhabitants are squeezed together
to make another planet
another dream of the enemy='lgc'>:
="lstsrd">1. ex="trms">traplanetary construction
="lstsrd">2. confinement of the unwanted
="lstsrd">3. momentary infiltration of the lair
="lstsrd">4. ="trms">consumption of the planet
|
conceptual twists='lgc'>: (quadrangulation='lgc'>:)
='lgc'>[four desires - four attributes - four cor="trms">responding identify-formation='lgc'>]
="lstsrd">1. the most accountable ='lgc'>='lgc'>--> creation ='lgc'>='lgc'>~='lgc'>~> ='strcls'>*labor='strcls'>* (to build it) ='lgc'>='lgc'>--> carpenter خلق
="lstsrd">2. the most disconnected ='lgc'>='lgc'>--> banishment ='lgc'>='lgc'>~='lgc'>~> ='strcls'>*r="trms">enunciation='strcls'>* (to disown it) ='lgc'>='lgc'>--> judge خلع
="lstsrd">3. the most invested ='lgc'>='lgc'>--> possession ='lgc'>='lgc'>~='lgc'>~> ='strcls'>*stealth='strcls'>* (to invade it) ='lgc'>='lgc'>--> trespasser خفيه
="lstsrd">4. the most around/above/upon ='lgc'>='lgc'>--> engulfing ='lgc'>='lgc'>~='lgc'>~> ='strcls'>*hunger='strcls'>* (to eat it) ='lgc'>='lgc'>--> glutton دله
the entire ="trms">worlds are disponsable
to salivate and gorge on what is most detested
the torment of overlapping, of absolute possession and absolute dispossession
unreal
surrealism
anti-realism
hyper-realism
irrealism
inaccurate, misleading signs around each corner of the cityscape
deceptive and insidious facades
taken astray and stranded amid false omens
the misinformation of the ="trms">world's existence
the minor syndicate versus the drone
stretching between the ="trms">memorandum and the dispatch
always in a dual hermeneutics of suspicion and discovery
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drinking from the fool's gold of confusion ill-advising ="trms">codes
the sectarian's remedy='lgc'>:
vulgarization requires vulgarity
="trms">response to disgrace is to enter the disgrace
to inflict the profane occurence and encourage the contamination of ="trms">language and sign
into the stint of atrocity
to go barefoot and dis="trms">membered
sectarian appears before the [...]