[...]lashing diamonds
with what a soft sweet light every star glowed
no ="trms">matter what its magnitude, the stream that flowed from it looked calm and holy
not twinkling
no scintillation
no nictitation
disturbed their pure and lambent gleam

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night dreams (after WIELS's exhibition)
starting with the ="trms">story of the jinn studying o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of ="trms">species ='lgc'>='lgc'>--> ="trms">bestiaries
mix of reports from Hedayat'neyran="trms">gestan ='lgc'>+ ="ppl">Shamlu's ketab kuche ='lgc'>+ Marzolph's topology of persian folklore ="nms">iranian ="trms">stories ='lgc'>+ ="nms">ajayeb ="trms">stories ='lgc'>--to='lgc'>='lgc'>--> ='qstn'>?

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="large lg2" stl="font-size:112%"> jin lamp
tree
scared face

="trms">book Skala='lgc'>:
royal fairy tales
baba jaga kostliva noha / bony legs


the first worm

death skeleton afraid of itself, of its own image
self-reflective

you are following, while being followed, and the one who follows you is being followed...

pop-up ="trms">book
="lsts lst1">•endless doors (on top of each other)
="lsts lst1">•rotation='lgc'>: https://vm.tiktok.com/ZMR4VTo8s/
="lsts lst1">•rotation='lgc'>: https://vm.tiktok.com/ZMR4Vp8Yb/
="lsts lst1">•https://vm.tiktok.com/ZMR4Vw7qk/
="lsts lst1">•https://vm.tiktok.com/ZMR4VttgH/
="lsts lst1">•moon https://vm.tiktok.com/ZMR4VV2CC/


="lsts lst1">•Philippines ='lgc'>='lgc'>--> ="trms">aesthetics of poverty ='lgc'>[culture of ="trms">material poverty ='lgc'>='lgc'>--> poverty as scenic design and working philosophy='lgc'>] (='lgc'>='lgc'>==> the imperative to eliminate nonessentials ='lgc'>=/= my philosophy)
="lsts lst1">•="nms">Iran ='lgc'>='lgc'>--> ="trms">aesthetics of ='qstn'>?
="lsts lst1">•(='qstn'>?what is) In="trms">stagram or TikTok people's appreciation of beauty ='lgc'>=/= ="trms">aesthetics of poverty's coupling expression with survival and change

='thdf'>the idea that becoming sensitive to the ="trms">aesthetic qualities of local ="trms">materials ='lgc'>='lgc'>==> increasing one's power of expression

="large lg1" stl="font-size:135%"> theater director='lgc'> = ="trms">aesthetic coordinator='lgc'> = sensitivity ='lgc'>+ selectivity

scenography in artistic research
my early ="trms">interest in ="trms">stage design ='lgc'>{='lgc'>~ use of backdrops in capturing the essence of a play or ="trms">story ='lgc'>='lgc'>--> a way to ='strcls'>*establish setting='strcls'>* ='lgc'>[='lgc'>=/= s="trms">cene='lgc'>] ='lgc'>='lgc'>--> sense of (not necessarily authentic) ="trms">history, calling for the patina of ="trms">history='lgc'>} ='lgc'>='lgc'>==> my recent scenic paintings ='lgc'>--="trms">present='lgc'>='lgc'>--> ='strcls'>*visual stream of consciousness='strcls'>* ='lgc'>='lgc'>~= diorama ='lgc'>='lgc'>~= to capture the essence of a practice ="trms">interest optic ="trms">episteme (='lgc'>='lgc'>--> establish a setting to get caught ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lured)

(in ='mywrk'>my work='lgc'>: ='thdf'>assumption of)
="trms">symbolic use of visual elements ='lgc'>='lgc'>--> collective consciousness ='lgc'>+ revitalized forms ='lgc'>='lgc'>==> vision of a larger culture ='lgc'>: capturing a ="trms">gestalt='lgc'> = everyone can understand



Shake, Rattle and Roll
romance, light sex, and comedy segments='lgc'>='lgc'>---laced in ="trms">horror
(Tolentino)

="trms">horror genre
='lgc'>='lgc'>==> big young stars performing non-iconic roles
='lgc'>='lgc'>~= (analogue of ='lgc'>[collective='lgc'>]) ="trms">anxiety (of nation='qstn'>?) ='lgc'>: making-do processes and mechanisms of ordinary people ='lgc'>+ imperative of profit and state formation
='lgc'>='lgc'>--> how (mis)governance get to be re="trms">presented ='lgc'>+ how citizenry is enforced and ="trms">embodied (at the ground level)

Philippines='lgc'>: from Marcos ="trms">dictatorship ='lgc'>--to='lgc'>='lgc'>--> neoliberalism='lgc'>: privatized, deregulated, commercialized, ="trms">marketized public services

="lsts lst1">•Crane using psychoanalytical ="trms">tropes ='lgc'>='lgc'>--> ="trms">horror='lgc'> = everyday terror
='lgc'>[='strcls'>*='lgc'>]="trms">horror='lgc'>: ="trms">excessive ="trms">communication
="lsts lst1">•Creed using ="trms">trope of ="trms">monstrous-feminine ='lgc'>='lgc'>--> ="trms">horror='lgc'> = ="trms">gestalten deeds in adjection and castration
="lsts lst1">•Lim ='lgc'>='lgc'>--> ='strcls'>*="trms">horror='lgc'> = temporal critique='strcls'>* ='lgc'>{fantastic local ="trms">horror ='lgc'>=/= ="trms">historical time, super="trms">naturalism, occult modes of thinking en="trms">coded in fantastic ="trms">narratives='lgc'>}
='lgc'>[="ppl">Bergson > Lim > Tolentino:='lgc'>] ="trms">horror ='lgc'>='lgc'>--> heterogeneous temporality, heteroglossia='lgc'>: multiple tongues, to disengage in certain (nation) formations

horrific real
="trms">translation of ="trms">historical terror in filmic ="trms">horror

="trms">historical real ='lgc'>+ filmic mobilization ='lgc'>--render='lgc'>='lgc'>--> real as porous ='and'>& artificial

="trms">horror ='lgc'>--Tolentino='lgc'>='lgc'>--> trans="trms">historical (transgressional) continuity of the project of desire ='and'>& pleasure
='lgc'>='lgc'>--> masochistic viewing experience ='lgc'>+ ="trms">trajectory of critique

(during Marcos order in Philippines ='lgc'>='lgc'>-->) ="trms">horror genre talks about the popular dialectics of the known ='and'>& unknown, moral ='and'>& immoral, in="trms">="trms"nttrm="cluster,club">clusion ='and'>& ex="trms">="trms"nttrm="cluster,club">clusion, defeat ='and'>& triumph, struggle ='and'>& redemption, normal ='and'>& abnormal, reality ='and'>& alternative realities, ="trms">religious ='and'>& secular
="lsts lst1">•="trms">horror provides a cultural ="trms">trope for the ="trms">imagination of the nation

="trms">anxious state in ="trms">horror films ='lgc'>--re="trms">present='lgc'>='lgc'>--> ="trms">anxious state in ... (nation-formation, citizenship, etc.) ='lgc'>='lgc'>--> irony='lgc'>: (the ="trms">anxious state) it is not what it is
='lgc'>='lgc'>--='lgc'>='lgc'>--> ='lgc'>[='strcls'>*='lgc'>]viewing='lgc'>: a sadomasochistic act ='lgc'>[you know it is f="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rightful (or garbage) yet enjoy viewing (in KHM we called it hate-watching)='lgc'>] ='lgc'>='lgc'>--> ="trms">pervers pleasure ='lgc'>='lgc'>==> individual and ="trms">social ="trms">categories to remain constantly in a flux

intensification of ="trms">anxiety ='lgc'>='lgc'>='lgc'>~=> carnavalesque moment of drawing pleasure

(in the film) ="trms">history of a chosen local
logic of absence ='lgc'>='lgc'>--> prohibitive ="trms">history of violence ='lgc'>+ ="trms">excess
ritual of horrific foregrounding

s="trms">cene ='lgc'>+ coherence of meaning
='strcls'>*="trms">horror is performative ='lgc'>: it needs to be re="trms">staged in order to be evocative of meaning='strcls'>*

sexualization of women ="trms">integral to the genre of ="trms">horror ='lgc'>[aimed at its male audience, similar to Charmed='lgc'>]='lgc'>:
="lsts lst1">•sexy female leading role (in ="trms">love triangle)
="lsts lst1">•man ='lgc'>='lgc'>--> re="trms">presenting evil and under="trms">world
="lsts lst1">•man ='lgc'>='lgc'>--> re="trms">presenting true ="trms">love (engaged in a battle for ="trms">love ='lgc'>+ choice of the young woman, sexualized in the male contest)
="lsts lst1">•female viacera sucker ='lgc'>='lgc'>--> female creatures need to show hidden skin ='lgc'>[popular sex-oriented star ='lgc'>--to='lgc'>='lgc'>--> female ="trms">monstrous figure ='lgc'>--allow='lgc'>='lgc'>--> display of prohibited body parts ='lgc'>+ heteronormative desire='lgc'>]

(female star rendered both strong and weak)
="lstsrd">1. exposing and defying the ="trms">horror figure (first)
="lstsrd">2. ="trms">embodying the horrific abject subject (second)

in the ="trms">narrative of ="trms">horror
="lsts lst1">•the moral forth="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rightness that makes the female subject survive, endure, move on
="lsts lst1">•they are punished but never totally ob="trms">literated into the ="trms">horror s="trms">cene


="trms">internalization of fear ='lgc'>='lgc'>==>='qstn'>? domestication ='lgc'>=='qstn'>? maintaining the status quo in ="trms">community fronts ='lgc'>--="ppl">="ppl">Foucault='lgc'>='lgc'>--> docile ='lgc'>='lgc'>==> productive for state formation

(the survivor never fully survives and triumphs over the adversaries of the) ="trms">horror s="trms">cene ='lgc'>='lgc'>--> open-endedness of the closure='lgc'> = of knowing ='lgc'>+ of being abjected

(libidinal drive in) citizenship claims in nation-formations ='lgc'>='lgc'>~= (libidinal drive in) continuing performative of the ="trms">horror subject
='lgc'>}='lgc'>='lgc'>--> one is constitutes through but never thoroughly in power ="trms">relations


white sexy female star ='lgc'>+ ="trms">horror ='lgc'>+ ="trms">social melodrama (= Charmed)

orally told tales of female violence
miscegenation
desire for liminal female sexuality
necrophilia
female haunting
heterosexual desire
nostalgia for truth
='lgc'>==provide='lgc'>='lgc'>==> template for cultural idiomatic ="trms">imagination

="trms">historical experience ='lgc'>='lgc'>--> futile ='and'>& ="trms">enunciated through the orality of retelling (='lgc'>+ being capable of retelling)


="trms">historical justice has not been served in actual ="trms">social reality ='lgc'>='lgc'>==> the ="trms">horror s="trms">cene bears the constant threat and possibility of repeating itself on the future

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

='at'>#idea
namaz ="trms">gestures as alchemical ruse to open portals, kill enemies, transmute objects, and other specs

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="large lg3" stl="font-size:110%">
="ppl">Naveeda chapter 1 mosque

mosque ='lgc'>=/= shell for prayers
="lsts lst1">•monumental structures built by the state

old mosque='lgc'>: part of complex devoted to
="lsts lst1">•learning
="lsts lst1">•dispensing justice
="lsts lst1">•channeling charity

="large lg4" stl="font-size:112%"> oft repeated statement='lgc'>: Pakistan is a mosque ='lgc'>[='lgc'>='lgc'>~= one has to learn to inhabit this place, aquire the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right etiquette in sharing it='lgc'>]  (='lgc'>='lgc'>--> what it means to be Muslim in Pakistan)
="lsts lst1">•a place of assembly='qstn'>?
="lsts lst1">•a sacred place='qstn'>?

qabza, ghabze قبضه, violent seizure, forcible  possession
(depending on who you ask ='lgc'>='lgc'>-->) Pakistan under ghabze by='lgc'>:
="lsts lst1">•the state
="lsts lst1">•venal ="trms">religious figures
="lsts lst1">•unscrupulous lay muslims
="lsts lst1">•sectarian groups
="lsts lst1">•

“="trms">narratives of loss ='lgc'>='lgc'>--> investment on self-betterment='strcls'>* (='lgc'>+ bettering of one's ="trms">community) ='lgc'>='lgc'>~= striving

emergence of new independent mosques ='lgc'>='lgc'>--> new property arrangements (='lgc'>+ admin ='lgc'>+ funding) ='lgc'>='lgc'>--> growth of civil institutions

city bureaucracy of Islamabad ='lgc'>==Hull='lgc'>='lgc'>==> ='strcls'>*uncivil politics='strcls'>* (سیاست غیرمدنی ='lgc'>=/= civil ="trms">society)

="large lg5" stl="font-size:150%">
(like ="nms">Tehran) Lahore='lgc'> = ="trms"nttrm="disturban">urban fabric ="trms">palimpsest of='lgc'>:
="lsts lst1">•="trms">different eras of ="trms">history
="lsts lst1">•political lead[...]