[...]c 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'>*)
="large lg2" stl="font-size:111%">
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 enforcemen[...]