[...]f historical consciousness in order to modify its stance within the world
•Marx: the intention of restoring humanity to its actual historicity, positivism + humanism, epochal advancement, *dialectical materialism*: placing subjectivity in a state of subservience to a larger “historical reality”
•Althusser --> *interpellation: power first manifactures a conception of the self that it can later subjugate through the surveillance techniques of the institution
*subjectivity exists solely within the revolutionary progression of the prevailing modes of production*
•Adorno: the discourse of individuality within modernity operates as an accomplice to techniques of reification and the overall obfuscation of the culture industry ~= *assimilation/execution of myth by instrumental reason* -->{ art can be understood only by its laws of movement, not according to any set of invariants ~ antinomy: art is defined by relation to what it is not (separating itself from what it has developed out of)
(Adorno + Frankfurt School:) **subjectivity thrives in the decisive act of interpretation, one through which the ideological saturation of society finds itself unmasked and history is restored to its contestatory complexitoes**
•Sartre: existential liberation + historical “engagement” + artistic subjectivity --> writing = a praxis-based motioning toward futurity [~=? accelerationism]

Adorno/Sartre --> ***واجب indispensable search for a writing act tied to revolutionary desire, negational change, futural hope, pseudosalvatinoal intentionality*** [=/= Hedayat, Nietzsche]

==> invalidating mimesis as a legitimate conceptual category (!?*)

through an account of self and world as *mythopoetic entities* (~= willed immateriality) --> *chaos-consciousness* (interlacing experience + thought + desire) effectively disbands the Marxian hierarchy of true and false consciousness by virtue of its dissolution of all paradigms of historical “reality”

nowhere-zone between desolation and the everything --> experiential anarchy ==> the poet/artist (~= X-Men: Apocalypse film supervillain character watching the news of last millennia on TV) stands as the incarnation of history's redemption, saving it from itself, and therein bringing into perfect totality the fusion of the self, the aesthetic, and historical Being

historicity of the object
historicity of the subject

critical reason =/= instrumental reason

‘aesthetic depiction of reality =/= objective truth of its operation’ --> journalism
(“[*]artist: a creativity independent and existentially self-sufficient entity standing somewhere beyond the matrices of historical circumstance” =/=) Adorno:
1. artwork can struggle to engage directly with the moment ==> find itself invariably entrapped by the artificial presentations and camouflages of the obscenity it challenges ==> “permit the monstrosity of modern society to emerge in full clarity from the phenomena masking it” [--> an epic ==> freezing the dialectic in a rigid back-and-forth of monolithic polarizations and exaggerated narratives of good and evil]
2. delusion of art's distance from the everyday [--> to resurrect the archaic phantom of sovereignty amid a world of unavoidable mechanistic interconnections]
}==> artwork attests to a *fictive template of freedom* clinging to the *delusion of its righteous self-determination* ==> ***a mimetic intercourse between art and historical life*** [<-- this is most desired from artists today]

Adorno's premises (--> “progress”):
•unabashed use of the universalizing abstraction of “humanity”
•detrimental reconfirmation of a world-historical process inagurated by the alliance of enlightenment epistemology and the commodity form
}==> Adorno's paranoiac tone (of infection, contamination, threat) ==> rhetoric of false and true consciousness ==> proclivity (تمايل طبيعى به چيز بد) for perpetual judgment and truth-seeking
--(enlightenment pathology)--> grand theories of degradation and decline about whenever Adorno delves into critique of the world [--> habit of most of my friends and artists...] ==> (purist theology of negation) ***reverse-messianicism*** (~= “he can do nothing” هیچ کاری نمیشه کرد، همیشه همینجوری بوده)
}=/= chaotic engagement (with the questions of art, history, self)

Adorno's dedication to the Marxian perception of historical Being as an intrinsically teleological functioning ==> his intense cynicism
=/= Schopenhauer's pessimism
=/= Nietzschean intervention of *treating history as metaphorical illusion*, [*]history: a hallow significatory edifice that nevertheless manufactures meaning, directionality, and causality (for an otherwise anarchic world) --> iranian chaoticism [and why Nietzsche is so widely read in Iran], for Nietzschean: “art [--> eruptive potentiality of the will to truth] =/= history [--> desolation of the will to power]” --> the disparity between art and historical reality becomes the very source of chaos-consciousness saliency

ferocious risk of greatness & the asphyxiating decadence of mediocrity

(Ali's) peotic-becoming aestheticized existence
irresolute =/= reactive =/= dismissive


continental philosophy's approach to the associations of three spheres: history[==>], art, subjectivity --✕--> chaotic nonstate: clash between a hypersubjectivized aesthetic & the barriers of historical Being (--> annihilation of both “I” and the historical)

Benjamin's subjectivity must defend itself against the profane rotations of the historical (--> apocalyptic battle)
Benjaminian “angel of history” ravaged of its innocence at the hands of progress and then restored by overriding strength of the historical materialist:
demonization of the monstrosity of the historical + celebratory poeticization of the subject
=/= Nietzsche and Hedayat's subjectivity [should] not to be held in a “derivative placement =/= the here and now” (one must imagine beyond طالع بینی <-- شخصیت فراسو نگر) --> (card reading) one must place under scrutiny the commensurate manner in which the historical is navigated, orchestrated, and then overcome [=/= alibi for some alternative discourse of literary-philosophical humanism or aesthetic transcendence]
[?what is Adrijana's card reading relation to] the desire to divorce history from any potential taxonomy of meaning or intelligibility --Hedayat--> “one is confined in a proud, deceptive consciousness... that rests upon the merciless, the insatiable, the murderous, in the indifference of his ignorance--hanging in dreams”


the poem i wrote in 2010 “our metaphor” https://archive.org/details/ourmetaphor is an example of (my Nietzschean and Hedayatian influence, to address) the indeterminacy and illogic necessarily associated with a chaotic world
(for Nietzsche:) positivism = historical subjectivity's fictive interiority --leads--> decadence of a will to truth, attributing to events a rational look by fixing them within universalizing patterns of signification
Nietzsche: “it is precisely facts that do not exist, only interpretations” =/= fraud of the historical ==>
•Platonic idealism
•messianic grandiosity of the Hegelian world-historical process
•
•*rational historicism: a discursive phenomenon indispensably linked to enlightenment epistemology and its overriding drive for world-mastery*
}=/= explosiveness of a chaotic universe + experiential immediacy of this creative-destructive effusion نشد

Nietzsche's The Birth of Tragedy (seemingly) a study of the pre-Socratic culture of Dionysian ecstasy --but--> a self-projected hallucination of antiquity ==> *theme of history as subjective dreamscape* (--> my way of working historical ajayeb is Nietzschean[?])
-in Human, All Too Human, Nietzsche wages an archaeological assault against the composition and enforcement of moral and metaphysical (from religion to law, discussion of the ascetic ideal and the origin of ressentiment and slave morality)

misunderstanding of “the will”
Nietzsche's skepticism (is his a priori) --> the link between chaos and a certain poetic evocation

*monumental*: seeking out heroic episodes from the the past as examples of imminent قريب الوقوع greatness within the present and future (resurrecting examples of nobility) <-- an ethos behind which large-scale causes are mobilized (+ antiquarian ~=) [*]archive: 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 permane[...]