[...]being possess a soul is only then capable of recognizing humans
---then let's give everyone souls!

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

(Massumi > Deleuze's) critique ~= modulation --> actively modulated from within the situation, immanent to it {
-augmenting* (taking a certain tendency to the limit)
-diverting* (deflecting it into a different tendency)
-transmutational* (interacting with other tendencies in a way that invents a whole new direction as a kind of surplus value of interaction)
-or, it can lead to a clash that stops the process

asking people “to be true to what they represent” ==> having them “encapsulated in already arrived-at opinion and judgment” ==> blockage

war of “disqualification” ~ Stengersian non-event
being (represented and) legitimated in proxy war

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

@Zoumana; “decadent gardener” that connot keep distinction between kin and pest, nature and culture
what is a garden full of indirections, snakes?

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

#my trope-findings, (bilingual nonsystematic comparative thinking for storytelling) (work with Avital?):
•پیر Pir / sujet supposé savoir (--✕-->? پیر فلک Pir-e falak in Hafez)
•غر Ghor / complaint (--> shekayat شکایت, and then, khamush خموش in Hafez)
•تعارف Tarof / greeting
•transcend <--> darajat درجات‌ (-> Attar)
•super-ego <--> Div-mardom دیو مردم (-> Nezami)
•NatureZolmat (ظلمت --> ajayeb)
•آبرو Aberu / economy of value
•طی‌الارض tey-ol-arz / body scale, intensity and excess
•نگرانی negarani <--> practices of care




on Aberu, I became interested due to my lack of Aberu in presentationl quality and its abundance in other area's of my psychosomatic becoming.
Aberu traverses, calls itself in, animates, and exists for later visits.
-when you are devalued by the marked of bi-aberu, you are less tied to the strictures of shame, and ‘your behaviour’ becomes performance material


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

agency =? boresh برش, jahd جهد (in Farsi), “agential cut enacts a local causal structure” (Barad)

agency of ‘hemat’ همّت
hemate shahi همّت شاهی, lavazeme hemat لوازم همّت --> apparatus
sufi's hemat ~= magic

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

@Seba after accelerate manifesto reading: (what is and how can we not pivot on our work) the measure of the meaningfulness of action. (Seba's notion of losing hope is because he put himself unconsciously in a cost-benefit analysis? “what is the effect of my actions?”) [in practice it is difficult to embody speculative thinking. we are still in the space of thinking in terms of the probable.]
to do hope-work is about ‘not talking (too much) ab[...]

[...]ch the poem cannot be wrested by our acquired habits of mastery.” (Avital on Heidegger's Holderlin's Andenken)
***Mastery is not a content but a habit.***
disposition from knowing is required if we are to let the word of ajayeb speak to us (in the form of greeting)
[as Holderlin announces that the “remains” for which poets are responsible.]----> memory (don't let engineers build you archives! (making it about grounding and historicity, instead:) let the poet be responsible for whatever has “remained.”) [this would be Holderlinian advice]
-inappropriable remainder(s)

memory/remember is sojourn
memory and its (peculiar) temporal climate
-how can we not situate remembrance as mourning? (as Holderlin teaches everyone)
remembrance =/=? joyous festivity [----the issue and point in project Persische Abend PARS VIDEO 2014]

the minute you see in a text (@Hoda, Sana, Ali having even) one memory that is clear and guaranteed --> your signals should go on: there is one unrevised (in an original form), no secondary revision, *pure memory* <-- this is a memory that is unnegotiable for them

*on Wind
wind, is a coming that arrives from the future
(compare “going” [staying behind] in Attar, Hafez, and Holderlin) [in San'an nobody is greeting, there is no greet-event. Attar misses: Greeting as pure letting go**]
(Avital on Holderlin:) “[...] in going, comes. Parting is not a mere leave-taking and empty staying behind. Parting is also not a mere going away and disappearing. The poet remains in the rustling wind. to the extent that he goes with its going. [...] Nonetheless. the poet stays with the wind. Accompaniment now shapes the Greeting. As the gusting wind is alternately a coming and a going. so is the Greeting a staying behind that nonetheless flutters away. becoming a going with. [...] The poet's staying behind is crucial. Staying behind is not meant to mark the isolation or even desolation of the poetic act. [...] Neither passive nor active, remaining behind indicates a way of going back, a returning to the source.”
-traveling to the impossible place of the other
-(wind) come and go without touching down or dropping anchor
-the agency, animacy and sentience of the wind is described by ajayeb's sensuous subjects within the wind. one feels enwrapped, enveloped in a sentient being that moves across vast distances, it comes and goes --> the materially textured poetics of description in the ajayeb-e bad باد

the poesy (~ fictional =/= truth, real) (Wahrheit und Dichtung) of ajayeb (are no longer distinguished from each other)

(greeting is the poet/artist's most essential mode of being)

a designed closure or reappropriation that locks the Other into a schema of subjectivity ---- at once promoted and subjected
*(re)fastened to the Greek origin
promoting the ousider to insider [...]

[...]e. And disappointment. Larger than life. Grotesque. Alluring. Captivating. Calling. Their juxtaposition in this contradictory scape of sea, desert, and mountains--surreal”

(the mer-creature) a living condensation and displacement of what people imagined as real

...how little is needed to prompt the imagination: paint, wheels, and wood.

(US/Mexico or land/ocean borders...) a space about who and what cannot move, of who and what falls apart, or of who and what is lost

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

(the inter- and trans-action of) learning, playing and thought



in ajayeb what are the:
•animacy hierarchies (--Chen)
•exposed and transparent conditions of possibility (--Hayward) ==> becomings and assemblages
•ontological fixities
•enactment of large-scale fantasies (--Chen)
•


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

(Mehran Rad) on description of spring
kofr کفر <--> “nature” (tabi'at طبيعت) <---> bahar بهار <--> bot-khane بت خانه
Manuchehri: نوبهار آمد و آورد گل و یاسمنا باغ همچون تبت و راغ بسان عدنا http://ganjoor.net/manoochehri/divanm/ghaside-ghete/sh1/
Hafez: کنون که در چمن آمد گل از عدم به وجود بنفشه در قدم او نهاد سر به سجود http://ganjoor.net/hafez/ghazal/sh219/
=/= durdastha دوردستها, beyonds

donya دنیا <--> gozar گذر
-->? materialist

Nezami:
بهاری داری ازوی بر خور امروز که هر فصلی نخواهد بود نوروز
گلی کو را نبوید آدمی زاد چو هنگام خزان آید برد باد


(ruse, san'at صنعت -->) hile حیله =/= sho'bade شعبده (shab-bazi شب بازی, neyrang نیرنگ,)


lahn-haye jahan
لحنهای جهان

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

(feral?) table of contents
how we know that contents are tabled at all? --> inheritances of taxonomy, natural philosophies aesthetics: tamed facts
#Rigs, my ajayeb diagrams

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

ajayeb's histories (~ ajayeb's historically situated relational worldings) =/= societies of individuals in human-only histories (~ Euclidean figures and stories of Man)

(which network is?) a netbag for collecting up what is crucial for ongoing

ajayeb's technotheocratic geoengineering [, it “fixes” some common imaginations the “affairs of life,” and not specifically the “afterlife,” (within the {terminology ~} figural-conceptual powers of syms and material-semiotic time-space of the Indo-Greco-Arab-Turko-Persian terra taxa)]
•periods of time
•“known” life
•abode (budgah بودگاه, Wohnplatz)
•donya دنيا

[...]

[...] the copyright symbol © should be a sign not of the right to copy but, if anything, of the responsibilities entailed in producing differential materialization (for whom and at what costs?)*
Barad ♥


(brittlestar, the plant in my room, ajayeb's creatures,) ...their being is a flexible distributed growing and regenerating multi-oriented shape-shifting topologically variant dynamical system of diffraction gratings

(rhetoric of) re-veiling, which provokes the seeming need for a revealing of nature


entanglement --> inseparability --> spatially separated particles in an entangled state do not have separate identities

there is no epmirical evidence of such a disjunction ontologies at a particular scale, “micro-world” and “macro-world”

who insists on “quarantining quantum queerness”?
quarantining scale and time
quarantining Sadra to “his” time, or ajayeb to an older another temporality, and therefore irrelevant for us “today”

[*]scale: intra-actively (re)configured in the ongoing intra-active becoming on space-time-mattering

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

Khezr and San'an, the most repeated points of reference in tasavof
like you, Hafez, full of struggle, sensation, love,

our resistance and breakdance

(Mehran Rad:) Hafez preferences on Farsi over Arabic:
Deir دیر / Some'e صومعه
Pir پیر / Sheikh شیخ
Parsa پارسا / Zahed زاهد
Parishan پریشان / Tafraghe تفرقه


moshtaghe bandegi مشتاق بندگی
(~? the advanced level of) ‘wannabe slave’

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

the dangerous suffixial worlders, prehensile adjective-builder, natural-inhabitant-makers of “-ian” or “-i” or “-isch” to the name of a nation/country ==> Iranian, Afgani, etc. --> makes subjects
in the case of the podcast https://soundcloud.com/norient/afghanistan-sucht-seine-musikalische-identitat-podcast listen to the way the story of the Afgani music is told by norient (“music in the globe”, “multi-modally”) --> articulation of western human rights & disarticulation of other ecology of stories
=/= Charles Amirkhanian radio programm Ode to Gravity

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

the protector of spiders who dies by the bite of a spider
-susceptible bodies entagled in networks of care, life and death, that are not always harmonious to popular narratives of nonviolence


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

ajayeb: mythoepic literature in translation from a Middle Persian corpus
-when i say ‘Middle Persian corpus’ what i actually mean is a shared world of ritual, religion, and mythology between Iranian, Urdu, Turkish, Zoroastrianism in Iran and Vedic Hinduism in India, Indo-European inheritance in ancient Iranian culture, South-Southeast Asian literatures, tran[...]

[...]

attitudes
actual behaviour

[*]cooperation: an exchange in which the participants benefit from the encounter
can be informal as well as formal: experience of mutual pleasure in a bar exchange gossip
difficult kind of cooperation: join people who:
•have separate or conflicting interests
•do not feel good about each other
•are unequal
•do not understand one another
•(different faith communities)
}==> responsiveness as an ethical disposition

rituals of civility
as small as ‘please’ and ‘thank you,’ put abstract notions of mutual respect into practice

in the spirit of generosity, let's not write off the banker (or the Mullah) as a human being --> instead of “fuck you” how do we respond to our differences in a difficult social environment such as contemporary Iran --> what skills are needed for this hard cooperation? --Sennett--> dialogic




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

what remains from christianity after its self-deconstruction? (Nancy)

(what theology doesn't know about itself?) recovered from the repressive power of religion

Nancy's “shattered love” is the stuff of Hafez

#love (and greeting?) doesn't belong to the realm of giveable things
Lacan's definition of love consists in giving what one does not have, (filling emptiness with emptiness) --> to give something i ‘would’ have? --> (giving that which is not a property, not even one's self,) to give behind or beyond any subject, any self? --> *the giving of the fact that i cannot possess myself* ==> ‘to give' = 'to give up’
***love: to share the impossibility of being a self***
----> (Nancy's) ‘body’ (of political thought): not as an organicity, but of community as the living to share precisely an impossibility of being-in-common (=/= ontologize the community, after the death oeath of God, Rousseau: community of mankind as the foundation of politics --> “man” comes from the “contract” and not reverse)
----> “giving” the (Derridean) ‘gift’ cannot succeed if the giver knows about his/her gift; *unpresentable*
--✕--> politics and the political always implies fulfillment, law, closed space, *closure*

(Pir's) heaven of value

(Bergson's) supplementary soul

there is a nihilistic way in which we destroy

“everything is political” =/= everything is directly ontologically political ==> totalitarianism: everything belongs to law --> make law about anything (--> Plato's political theology: thought is founded on something; - @Varinia, “management of justice”)

national aestheticism

over-educated ~=? brainwashed

[in my lectures i am trying to teach something (Heidegger, Sa'di, etc.) in ‘a certain way,’ and that ‘certain way’ touches me and i hope touches my[...]

[...]>


Hayula has no resistance to different apparitions/surat/صورت

surathaye jesmani صورتهای جسمانی

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

[...]



pandora’s complexity

purely (?) material objective agent (evolving?)

Hayula--the first principle of everything material

bi-surat بی صورت

اشکال تن ashkal-e tan***
virtual proto-humanity (to different corporalities) --> pre-organic / anthropo*morphic* --> inter-corporal predation --> (sets post-mythic relations between species) --> trans-ontological intentionalities

hayula is a state of latency or potentiality --> possibility of metamorphosis in interpersonal relations...

every apparition demands a recipient

(مولوی‌) Rumi wants to be able to read the return-state to the hayula:
تبدیل شدن به tabdil shodan:
...be arkan (ارکان instrument)
...be heyvan (حیوان animal)
...be jan (جان aliveness? liveliness of artifacts? --?--> agency)
...be hilat (حيله, tech---means & ways) [tech? #ruse]

(in Rumi:) ruse ==> قید صید gheid-e seyd
Hafez is all about farib (فریب ruse)

material agents: {//complex forms of movement //affiliation into space}

stones, a substance indigenous to every place. (those who give up or try to stop or turn back become stones.)



the meta-fall of the material (in hayula هیولا)


apparition/surat/صورت (essence/mahiyat/ماهیت)?
matter/madeh/ماده (hast/هست/being/is-there)?

 --(surat)-->--(surat)-->
animal---flora---inanimate---hayula
 <--(madeh)--<--(madeh)--

in Sohrevardi, he removes the light as projection and ray-tracing, and proposes a theory of light (of theory of being) as “Filter” (veril?, hejab حجاب). (there is no filter between the sphere of the eye and the sphere of the planet Mars.)

apparition is essential or part of the essence or itself the essence

Hayula: mojude mobham o bi-ta'ayon, joz ghove-e mahz va este'dad-e serf nist. (jesme basit)
هیولا: موجود مبهم و بی تعین, جز قوه محض و استعداد صرف نیست
(جسم بسط)



[...]

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

(Delanda)

we are taking “real history” as starting-point

-to capture the dynamics of human historical processes, we must allow the nonhuman physics to infiltrate the human society---complex materials that form human culture. --> (for example) water in its several distinct states (solid, liquid, gas) in phase transition (intensity of temperature)---that which human society “see” as material-change

example o[...]

[...]nce)

civilizational taxonomies (--> versus animist taxonomies, in Attar's animal-birds)



the (sacred boundaries of mysticism) and mystic boundaries of the civilized city
the peripheries of the city became mystic/sacred


mystical channels*


they present worlds immersed in a kind of constructed a priori

two irrational analytical strands:
(1) to isolate the rare technical and conceptual arsenal behind an ethnographically imagined space (San'an's biography missing in Attar's Tazkirat al-Awliya--Attar's obsession with biographies, he is drugged by bios, totally high---he can't let go of them, he cannot detach from the absents, the paternals? his master-complex? has he forgotten to mention his teacher, San'an, in Tazkirat al-Awliya? --Attar is himself San'an? drugged and doped by tastes and spices of his shop, his establishment. OR San'an is Ibn-Sagha (ابن ساقا)? (Ibn-Sagha was a Islamist jurist who lived in Baghdad 11th century, lived Muslim and died christian.) Attar's engagement with remembrance and bios --> is the San'an's narrative also about forgetting? Tazkirat (تذکره) --> Tazakor (تذکر) --> remember! --we are now on how Attar's San'an influences Hafez--(حافظ) The Memorizer. Hafez loves the story of San'an the non-memorizer, San'an loses his ‘hafeze’ (حافظه). (according to Hafez and San'an, the best student is the one who doesn't remember. precisely because they are trying so hard to remind San'an of what they thing ‘he’ is) --> [Indian MATSYENDRANATH amnesia tale, tells the story of a yogi who falls in love with the woman kind--one of his students puts makeup and dances his memory back to him. he must become the woman. there is a queer moment in the origin story of the San'an, which Attar censures(?). he erased his name from the black-list of death-‘the forgottens’, then danced for him as a woman-story-teller. (muse is the mother of memory.) the class struggle has obviously a Bollywood touch to it]-->Attar's source and storage?)
regarding Hafez and San'an, the poet must leave the home, the poet must travel foreign zones, and stay in the foreign. (this is, by the way, Heidegger's reading of the poet.) and that is also one Heideggerian poetic demand that Hafez is failing to reconcile with, when he is turned back, not having the balls to cross the Indian ocean.
(2) importance of an elite rhetorical plane

initiatives towards the horizons of a mystical inquest


(cinematic) mystical landscapes
(what kind of mystical landscapes I am exploring in San'an's story?)


the dominion of the partially unseen


guarding its inner workings and trajectories
(the cinematic openness also is) guarantor of its constant mutability(?)



the exoteric logic of interiority (reigning since centuries in [...]

[...]an'an, in Tazkirat al-Awliya? --Attar is himself San'an? drugged and doped by tastes and spices of his shop, his establishment. OR San'an is Ibn-Sagha (ابن ساقا)? (Ibn-Sagha was a Islamist jurist who lived in Baghdad 11th century, lived Muslim and died christian.) Attar's engagement with remembrance and bios --> is the San'an's narrative also about forgetting? Tazkirat (تذکره) --> Tazakor (تذکر) --> remember! --we are now on how Attar's San'an influences Hafez--(حافظ) The Memorizer. Hafez loves the story of San'an the non-memorizer, San'an loses his ‘hafeze’ (حافظه). (according to Hafez and San'an, the best student is the one who doesn't remember. precisely because they are trying so hard to remind San'an of what they thing ‘he’ is) --> [Indian MATSYENDRANATH amnesia tale, tells the story of a yogi who falls in love with the woman kind--one of his students puts makeup and dances his memory back to him. he must become the woman. there is a queer moment in the origin story of the San'an, which Attar censures(?). he erased his name from the black-list of death-‘the forgottens’, then danced for him as a woman-story-teller. (muse is the mother of memory.) the class struggle has obviously a Bollywood touch to it]-->Attar's source and storage?)
regarding Hafez and San'an, the poet must leave the home, the poet must travel foreign zones, and stay in the foreign. (this is, by the way, Heidegger's reading of the poet.) and that is also one Heideggerian poetic demand that Hafez is failing to reconcile with, when he is turned back, not having the balls to cross the Indian ocean.
(2) importance of an elite rhetorical plane

initiatives towards the horizons of a mystical inquest


(cinematic) mystical landscapes
(what kind of mystical landscapes I am exploring in San'an's story?)


the dominion of the partially unseen


guarding its inner workings and trajectories
(the cinematic openness also is) guarantor of its constant mutability(?)



the exoteric logic of interiority (reigning since centuries in Iran)


for only the buried dimension is sovereign

secrecy =/= lie
(I am a fan of lie and against secrecy)
talk about a theory of lie
(a talk about a theory of violence)



[the issue of: opposite, omen, and alarm (in art)]
omen =/=? artwork
(omen is a phenomenon that is buried to foretell the future, isn't that an attractive trap for artist's self grandiosity?!)
omen has a binary answer
omen =~ ‘audire’ (Latin root, to listen)
omens come in the artistic and poetic production--in the poiesis--when the artist is young: the fabulous age of self-assertion, and he or she starts way to big and later is abandoned or abused by it.


(enforcement of an elusive stance from within) the[...]

[...]we speak from, what kind of other sonic layers are somehow offering themselves, or coughing in (‘sorfe’ سرفه)
to point out the static, dormant, inert, ambient

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

and I like to hand myself over




how flowers make sense
(in Iranian metaphysics)


(---> go to Baudelaire's Fleurs du mal)



the rhetoric of desire in San'an, how is it (technologically{?}) determined?

how are things turned on or turned off in San'an? etc.
right at the moment that he is allegedly at an emission of a dream/call, we are dealing (or working) with (the essence of) technology, there is a mitten, trans-mitten, transmitting, emission, etc.
[he is welcoming a call---it was Heidegger who linked thinking with welcoming---to arrive] --- [to San'an, ‘what (the hell) was he thinking!!!?’ both in the sense of the ‘blame’ and the ontology -and epistemology of it]
(how is he revealed to experience the call of a more primal truth? the girl)
[if San'an was medium-reflective he would pose himself with the call/dream and never set foot out or act or take an ego-suicidal mission---but that is also a problem;

*footnote: Hafez trying to travel (to India, invited kindly with Reisef?rderung (travel grants) from Sultan Ghias al-din himself, singing شکرشکن شوند همه طوطیان هند زین قند پارسی که به بنگاله می‌رود, he is going to shake India and so on.) but returning by -and because of a language-turn, when he is standing in front of the stormed sea, he turns back to Shiraz via a trope: چه آسان می‌نمود اول غم دریا به بوی سود غلط کردم که این طوفان به صد گوهر نمی‌ارزد it is so interesting how scholars and other poets are trying to map out his itineraries and travel-logs from his poesies/poiesis. the nagging and complaining Hafez, always annoyed by weather or something, and can't stop saying how much he misses his friends in Shiraz and so on]

(Hafez takes on San'an because he also fucks up the travel, he falls with face down in the mud. for him also travel is traumatic, disruptive, and unpleasant; so they both demand another kind of trans-portation system)

This essence of technology, however, has nothing to do with technology. [this is Heideggerian] --> technology is a means of revealing the truth

[it is not the machines that we are at the age of technology]

technology is always sent to us
in the story we are shifting to ‘send’, this doesn't mean that there is a sovereign subject or some sort of powerful ‘self’ responsible or at the origin of the productive behavior (or accomplishment) of San'an.

(Heidegger collects:)
destiny, destination, schicken, Schicksal, etc.
[ungeschickt =? destinal failure,[...]

[...]nology, there is a mitten, trans-mitten, transmitting, emission, etc.
[he is welcoming a call---it was Heidegger who linked thinking with welcoming---to arrive] --- [to San'an, ‘what (the hell) was he thinking!!!?’ both in the sense of the ‘blame’ and the ontology -and epistemology of it]
(how is he revealed to experience the call of a more primal truth? the girl)
[if San'an was medium-reflective he would pose himself with the call/dream and never set foot out or act or take an ego-suicidal mission---but that is also a problem;

*footnote: Hafez trying to travel (to India, invited kindly with Reisef?rderung (travel grants) from Sultan Ghias al-din himself, singing شکرشکن شوند همه طوطیان هند زین قند پارسی که به بنگاله می‌رود, he is going to shake India and so on.) but returning by -and because of a language-turn, when he is standing in front of the stormed sea, he turns back to Shiraz via a trope: چه آسان می‌نمود اول غم دریا به بوی سود غلط کردم که این طوفان به صد گوهر نمی‌ارزد it is so interesting how scholars and other poets are trying to map out his itineraries and travel-logs from his poesies/poiesis. the nagging and complaining Hafez, always annoyed by weather or something, and can't stop saying how much he misses his friends in Shiraz and so on]

(Hafez takes on San'an because he also fucks up the travel, he falls with face down in the mud. for him also travel is traumatic, disruptive, and unpleasant; so they both demand another kind of trans-portation system)

This essence of technology, however, has nothing to do with technology. [this is Heideggerian] --> technology is a means of revealing the truth

[it is not the machines that we are at the age of technology]

technology is always sent to us
in the story we are shifting to ‘send’, this doesn't mean that there is a sovereign st there is a sovereign subject or some sort of powerful ‘self’ responsible or at the origin of the productive behavior (or accomplishment) of San'an.

(Heidegger collects:)
destiny, destination, schicken, Schicksal, etc.
[ungeschickt =? destinal failure, existential clumsiness]
[~= technical error in destiny. what is the future of error?]
•according to Heidegger, nobody (that also means everybody) can take at the wheel and make certain determinations and destinations
[this is his notion of ‘techne']
•Tarsaa's technical intervention in San'an's destiny

that is another kind of relatedness
you can no longer talk about the subject or object
is one in full possession of oneself? one doesn't belong to oneself or anybody else---that would be a post-Lacanian critique, which is the self-sabotage of the mystic is not necessarily attached to a inevitable devouring authority, “I don't belong to myself or anybody[...]

[...]he divine order.
and San'an is also against the notion that Sufi man is without the need of a feminine principle.
we are presented with will of the Tarsaa, the destination of San'an, and the poetic representation is feminine. the female image is strong. although at the end it has to give up -- she converts to his style. the will of the disciple is not replaced by the will of the guide, the master himself doesn't have a will.


The Tarsaa is supervising San'an's diet, sleep, and speech


[I have become more interested in the term ‘tradition'---and more suspicious of preoccupations such as ‘invention’ as modernized and capitalist terms.]
tradition: an act of memory based on a salience-effect of shared knowledge
(ein Akt der Erinnerung basiert auf einer Hervorspringen-Effekt der gemeinsamen Kenntnisse)
-there is a sequence (where is the individual terms within it?)
-my storytelling is about: describing relations of inversion, extension, inclusion, analogy, etc. between mythical, lyrical, or even scientific ‘beings’ that are (1) *conventional* (recognizable repertoire), and (2) *closed* (refer to certain predefined situations and symbols)
==> I work-with and bypass with these aspects in Attar, Hafez, Ajā'ib al-makhlūqāt, etc.


the performance of ‘stop’ in San'an
sign-functions that cannot be stopped

the master-pupil lock
‘locken’ is also to lure, seduce, etc.


thank you for becoming my students, temporarily
we are not locked, and not necessarily unlocked



what is concealed behind the special effects of the awesome signifier in San'an's story?


concealed =/= canceled



in Rumi every word is pass-word. you don't translate a password! (fallacy of the literal)


•all same-sex relationships are hierarchical and dyadic (of two, ‘paarweise’ in German)?
and are based on the cultural diagram of the master-disciple relationship in Sufi orders?

Sufi order =/=? flirtation


mystic, is one mode of subjectivity emerged in the middle eastern thought--- a prototype of closeness and removal.



in Rumi--Masnavi's third book--the un-concentrated Sheikh (- story of Daghughi - شیخ دقوقی) is scandalously abandoned by his devotees. they broke his heart.
[Plot: Daghughi and his disciples are in deep trance beside a beach. a ship comes and sink in a sudden theatrical storm right in front of them, but miraculously the passengers survive. the students check with each other if any of them have prayed for the God's help's redirect to the sinking ship. no, they deduce it must have been their sheikh who saved those people: “he is distracted by the world.” finally when sheikh comes out of his Namaz he turns his head to greet his[...]

[...]at has been rotating throughout the past century in the Middle East. the performance of a knowledge-zoom in the hypnotic effects, nondialogue, nonnarrative, and radical exile spaces that have emerged in eastern postmodernism to reverse and supersede the question of modernity.

by traversing the domains of revolutionary ideology, avant-garde literature, new-wave cinema, extremist thought, and protests from the limitless imaginative reservoir of their political, poetic, spiritual, and aesthetic predecessors--this projects examines a Middle Eastern navigation of identity (via the concept of the ‘mask’) and its particular modest/hostile modes of resistance (via the concept of the ‘text’). visiting sites such as: subversive epitomes of charismatic authority undertaking a poetic articulation, when chaotic imagination makes contact with nothingness, the will to chaos, and inscription of fatality in literature-as-moral-transaction.


[pressure points:]

mobile within a speculative/suggestive milieu, this project is interested in examining literary sites such as Kelile-o Demne's communal forms of fragile human cohabitation (11th century political/bestial fable), Rumi's simulation of nonexistence (13th century production of schizo-darvish), Hafez's engineering metaphor-factory (14th century imaginal faculty of extreme presence), Hedayat's Buf Koor the Shelley's Frankenstein's monster favorate book (20th century forms of renunciation), Amir Naderi and Forough Farrokhzad films (20th century strategies of withdrawal), Jala Al Ahmad and Ali Shariati writings (20th century fatal concepts of the outside), [list to be modified]


[background:]

this form of half-digestive omnivorous work is situated in a larger trajectory of creative investigations, which i have been busy with under “storytelling,” are dealing with the questions of conditions in which non-antagonistic critical encounters between ordered conventions of knowing and chaotic textuality/imagination is possible. to take the mind where it does not belong. to the rogue arsenals of middle eastern reservoir of imagination and its locatable mimicries. to its repetitive scaffoldings, fugitive trajectories, its performances of fatal experience of the text. to unload its corrosive textualities and let them run their acids across one another. this project is interested in both the unleashing and the pleasure of watching the text die.

part of the disposition of this proposal is also the suggestion that the two collaborators of this project, Jassem and Foad, are invested in those notions in their practice. Foad Farahani's poem “farar” enacting contemporary artistic formations and past-compound-mask, and Jassem Hindi transnational poetic agency, are both artists with acute appetite for chaotic imagination. Their instinct for the fusion of nothingness and excess, appearance and disappearance, creation and destructi[...]

[...]n reversal (at bottom is unmistakably Christian)
•provokes love

according to Dostoevsky: *idiot ==provoke==> love*

Faust had reported that two souls inhabit his body [==> switching body types] {--> two sick bodies} (hallucinated + internalized)
1. the ailing body --> you can get rid off with drugs (dealt with Mephistopheles)
2. the abandoned body --> inglorious corpse

body doubles reflecting one another (---> go to mirror)

Avital --✕--> movements [such] as Positive Action, Positive Choices, and the marks of similar tags of empowerment that issue from the hope that we know what we’re doing, that we can take charge and act up and affirm our bodies, our selves, that we can now stop being victims and relinquish passivity.

torturer <--> healer

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

شطح shath: literary technique (san'at adabi صنعت ادبی)
(jCzF0RD-a_M)
shath: contradictory speech (kofr + iman)

del-bari (dressing up and going out[?]) =/= gush be harf kasi dadan (listening)
گوش به حرف کسی دادن =/= دلبری

خجسته khojaste: thinking all the time that everyone is saying hello to you

Hafez = connected pockets of meaning =/= Ferdosi's organized pockets of meaning =/= bestiary's listed pockets of meaning

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

indian ocean diaspora
indian ocean slave trade ==> atlantic slave trade and the new-world diaspora

Lee --> influence of African and afro-iranian people on other iranians and on persian society and culture

Ziba Khanum (d. 1932 Yazd)
the life of one enslaved African woman who lived in iran
(recovering what can be recovered of their industrial lives)

iranian history --> issues of:
•race
•gender
•religion
•elite social and economic networks
•nature of slavery
•value of subaltern history


the idea of (academioc study of) history: study of structures, institutions, abstractions ==> generalizing categories (such as slavery, freedom, modernization, etc.) =/= (biographical turn) towards biography of one woman

****(biography ~~>) *personal experience* =/= (category of) slavery: an abstraction that bunches together and confuses historical instances of displacement, isolation, dependence, unfree labor****
(--Cinderella-->)
personal experience =/= displacement
personal experience =/= isolation
personal experience =/= dependence
personal experience =/= unfree labor


19th century iran (--> estimations:)
•one/two million slaves exported into persian gulf (to Bandar Abbas in iran) from east-african/indian-ocean trade
•two-thirds of the slaves were african woman and girls, almost always[...]

[...]om from ossification استخوانى شدن (#Rigs), the ability to dynamically assume any form (Gunning) --> change occurring واقع from within + propelled سوق from without

Sadra's matter: place of nonexistence and absence (=? hayula)
hayula: form of the natural, elemental body

in Sadra:
•the plant(‘s form) (= vegetal soul) is animal
•the animal(‘s form =? surat صورت) (= sensate substance) is human
•the human...


physical acts of perception

(a typical account:) the stronger the imaginal soul, the less distracted it is by the body, the more manifestly imaginal images will appear

fotuhat فتوحات  or tazkirat تذکره is the stories of the intensity of their being, actualization, and certainty of effect
(Attar's stuff, articulate Sadra)

saryan-e vojud سریان وجود, *flow of being* (across the perceptible entities we encounter:) [the imaginal power working through them:]
•hear a person's say
•notice a weed growing
•smelling a...
•cognizing an image...
•touching a pig's nose [San'anian]
•

bodily senses can contact the divine presence, make contact, make a call (in Hafez, San'an's miscall)


•the imaginal realm is populated by singularities, every changing and infinite
•the imaginal faculty is of extreme presence, of intensification
(in this case ‘realm’ and ‘faculty’ bleed into each other's categories)


(let's get) creatively imaginal

accurate and attractive

***imagination is (definitely) not closing your eyes and dreaming, but being completely present to the world, committed to it and affected by it*** (to perceive something in its intense singularity)


مشاهده moshahede = contemplation

the infinate flux of visible phenomena (Kracauer)

قلمکار calico-world
چلوار

kaleidoscopic mountains

what was Sadra looking (moshahede) at?

•linear modeling of time --> clock time
•intensive model of time ==> movement across the “real” axis


effectively panpsychist: every entity is conscious, has a soul, and potential to intensify; minds in a world of minds


Whitehead's concept of transformative togetherness
ontological vitalism: exist ==> consciousness


reality precedes abstraction -->
for Sadra “point of view” is a distraction (for vojud وجود)
•perspectives
•names
•quiddity
--> because the positing of names and description is in correspondence to concepts and universal meanings, not in correspondence to existential identities and external/concrete forms (Sadra)
=/= Avital and Kohn --> but they do in amazonian forest se[...]