[...]/> 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'>?

="large lg2" stl="font-size:112%"> 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.”


="large lg1" stl="font-size:149%"> ='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<[...]