[...]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”

="large lg2" stl="font-size:112%"> 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

="large lg1" stl="font-size:114%"> 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 w[...]