[...]i 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 permanence in memory
=/= [*]critical: the courage for insurgency and disavowal of historical legacy*** ==> realization of an alternative counterfuture in the 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 past, blind to danger, deaf to warnings, a small living eddy in a dead sea of night and forgetfulness. And yet this condition, unhistorical and antihistorical throughout, is the cradle not only of unjust action, but of every just and justifiable action in the world.” --> sounds like one of my masks “the sleep-walker”

in Hedayat
nihilistic absurdist approach to both metaphysics and society
distancing himself from the symbolics of divine authority
forsaking empty promises of metaphysical longing
consciousness rushes to disguise and camouflage its own lack of purpose
حاجی آقا Haji Agha: “my existence is useless [...] hence the greatest and most noble poem in my life will mark the destruction of you and your kind”
--> streamsof betrayal, defilement, seclusion, degradation, anonymous deaths
(subversively, through a series of hallucinogenic contraptions) 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 world-as-illusion
chaos in حکایت باخه و دو بط in Kelile Demne --> history: the myriad series of spectral constructs by which subjectivity comes to be constituted as an ordered entity

chaotic desire --> a temporary pact with radical aloneness --> Hoda
=/= homogenizing abstraction of “human”
(Foad, Hoda, Sartre's) exilic disposition, always alone, always apart

tranjective frenzy
to come down from the mountain and infest the back-alleys --> wtf!

deterritorialization one's owb footprints --> identitatian technologies

@Shervin commission the wanderer: a nameless eyeless character sitting on the outskirts of a wasteland in conversation with his own shadow --> (beyond time and space) as a gesture toward discarded worlds without clocks or maps --> *the will to aimlessness*
(Hedayat in The Blind Owl) “I had no idea in what direction I was going [...] I did not care whether or not I ever arrived at any palce”

Mikhail Bakhtin --> art for iranian artists = (carnivalesque) a site that grants the right to understand, the right to confuse, to tease, to hyperbolize life; the right to parody others while talking; *the right to not be taken literally*, not ‘to be oneself’ [...] the right to rip off masks, the right to rage at others with a primeval (almost cultic) rage--and finally, the right to betray to the public a personal life, down to its most private and prurient little secrets

Baudrillard: the real is no longer possible ==> illusion is no longer possible ==>{impossibility of rediscovering an absolute level = impossibility of staging illusion}--> hollows the inability of existence to escape its own fictive composition (=/= epistemologies of repair, reading, weaving, etc.)

(Hedayat's) techniques of stealing from the reader the most basic hermeneutic device of distinguishing between imaginary and the actual --> Hoda, Ali

***annihilation: ontological death ==> death of ontology***

زنده به گور buried alive, an unmediated experiential sensitivity to the randomness of existence

***chaotic imaginary =/= tyranny of historicity***
--> ahistorical figure, having traversed the borders of language, humanity, time, space, and reality --> Foad's poem (--> world as endless becoming or nightmaze) =/= historicized existential experience (folloing only two distinct path, of subject and object)

*philosophy = learnign how to kill* (=/= Socratic-Platonic versoin of “philosophy = learning how to die”)

Hedayat straying beyond signification, mortality, and ontological or phenomenological framing =/= my work with ajayeb

([why?] many artists do that) ***to make oneself unrecognizable***

consciousness: only a host of many someones

Nietzsche's transvaluation of historical limitations --> experience would no longer find itself entrapped by apparitions of objectivity and cohesion and could theretofore invite chance, risk, and endless experimentation
will to power --> a premediated calculable claim to mastery

Nietzsche: art as an active competitive exchange =/= Schopenhauer's mystical retreat: art to 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--a little intoxication and madness (--> a view that many artists today hold)

Nietzsche + Hedayat + Aslani + Hoda's immediate acknowledgement of the world-as-unreal =/= obstacle of historicity =/= Sina: I am following a very different critique of historicity in ajayeb
بادیه نشین فلسفی Nietzsche + Hedayat (elicit repercussions for) subordination of history to a kind of literary-philosophical piracy or bedouinism =/= citadel (of geography, civilization, culture)--> many fabricatoins of art happens in citadels in Europe


Pierre has always been busy with the question of synthesis


entitlement: way of intrusion in homogenous axes of existence


xxxxx 164

...................................

xxxxx 213

most of Mohaghegh's attacks are rhetorical

the (sacred?) boundaries of mysticism
(the boundaries of cities became mystic/sacred)

mystical channels

presenting worlds immersed in a kind of constructed a priori (arising from an amorphous collection of sound and image. @Hoda)

Mohaghegh working to isolate the rare technical and conceptual arsenal behind an ethnographically immagined space

initiatives toward the horizons of a mystical inquest

...................................

[...]