A reflective inquiry into existence—مُحاورةٌ بين عَابرَين لم يتلطّف الزّمان لهمَا| Written By Zad, Voiced By AI
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A reflective inquiry into existence—between the intellects of two passengers whose lifelong journey was neither gentle nor lenient.

They speak not as philosophers, but as ones who have lived through questions—Not for answers, not for clarity, but for exposure.

If there is wisdom in grief, then this, perhaps, is its monologue.
==

[Person A] 1.1

Loneliness has taught me that I can no longer Love. Were it not for Love, this silence, this solitude, would have been akin to a long-awaited feast after endless hunger, a sweet aroma for someone who can not smell but endlessly misses the fragrance, or a healing balm for a body ravaged by affliction—comforting, nourishing, and reviving after a long famine.

But because of Love, I am condemned to sleepless nights, gnawing grief, and lingering sorrow. Like a discarded Love letter, my body has become delicately fragile, ready to break with the lightest touch, but fades in batches with the ache of yearning and the lurking hope. Had it not been for Love, I would have found peace in my solitude, but instead, I am engulfed by remorseful fervors.

My spiritual sustenance has lost its luster in the timely erosions and every remembrance. Politely nestled beneath the wreckage of what was once a sacred shelter—now hollowed and clustered like a jilted lover hugging their knees for desperate comfort.

==


(silence)

==
 
Full text => https://bit.ly/42R6dVv

A reflective inquiry into existence—بين عابرَين لم يتلطّف الزمان لهما| Written By Zad, Voiced By AI

“Pera Lounge” 
The word Pera comes from the old name for Istanbul’s Beyoğlu district (a historic, cosmopolitan quarter “across” the Golden Horn), and Lounge refers to the laid-back, late-night bar-style jazz/electro‐acoustic aesthetic.

On the Violin Version of “Why” by Hasan Işakkut (Pera Lounge, 2013), you can hear a fairly spare chamber‐/lounge arrangement built around a few core voices:

Solo Violin
Hasan Işakkut’s violin carries the main melody throughout—occasionally doubled or harmonized by a small string section.

Qānūn (Middle Eastern Zither)
That bright, plucked zither sound is the qānūn—an Arab/Turkish zither with a distinctive, shimmering attack.

Acoustic Piano / Electric Keyboard
Underneath the violin and qānūn there’s a soft bed of keys—probably an acoustic piano miked very closely, or a Rhodes‐style electric keyboard patch.

Double Bass
A warm, bowed or pizzicato bass anchors the low end, providing both melodic counterpoint and rhythmic pulse.

Hand Percussion
Darbuka (Goblet Drum): crisp, mid-range “tek” and “doum” tones drive the groove.
Frame Drum or Riqq: lighter jingles and softer strokes fill out the texture, especially in the quieter sections.

Subtle Additional Strings
You’ll occasionally hear sustained viola/cello pads—likely overdubbed or sampled—to give the arrangement a bit more warmth and depth.

Together, these six elements—solo violin, qānūn, piano/keys, double bass, darbuka/frame drum, and supporting strings—create that intimate Pera Lounge soundscape you’re hearing.

East-meets-West across the Golden Horn [Violin-Qānūn-Keys-Bass-Darbuka/Riqq-Viola/Cello]

القول بأن القرآن معجز لغويا يلزم منه بالضرورة القول بأن اللغة العربية تحمل تركيباتها اللغوية احتمالية إنتاج كلام معجز.. دون اشتراط متكلم معجز.. وإلا لم يكن للتحدي معنى.. ولكن بواقع الحال فاللغة تتفاوت أساليبها التعبيرية وطبيعتها الصوتية ومستوياتها البلاغية باختلاف المكان والزمان وموضوع الحديث..

وانظر إلى ما بين.. فيا لك من ليل كأن نجومَه.. بكل مُغارِ الفتلِ شُدّت بيَذبُلِ.. وبين.. أَبُدّلَ الليلُ لا تسري كواكبهُ.. أم طال حتى حسبت النجم حيرانا..

كذلك القرآن تتفاوت طبقاته في خطاب القصص والتشريع والترهيب والترغيب والأمر والحكاية والقَسَم والتقرير.. وانظر إلى ما بين اقرا باسم ربك.. إنا عرضنا الامانة.. والصبح إذا تنفس.. ورحمتي وسعت كل شيء.. ذلك الكتاب لا ريب..

فلو كان الإعجاز منحصرا في الأساليب اللغوية لتعددت درجات الإعجاز لأن الأساليب نفسها تتدرج.. ولكن الحاصل هو أن طبيعة التحدي تنفي التدرج.. فالتحدي يطلب الإتيان بالمثل وليس جزء المثل أو بعضه.. 

ويشفع لهذا أنه إذا كان التحدي مستمرا عبر كل عصر.. للزم أن يرتبط بمحل يشترك فيه البشر عبر كل عصر.. وهو ما تعجز عنه اللغة والمعرفة كذلك.. لأن اللغة رهينة الوضع والاستعمال.. والمعرفة سليلة التاريخ والحضارة.. فهما قيد الزمان والمكان.. لا يشتركان تمامًا عبر العصور.. ولكن المشترك المتكرر بين الإنسان المعاصر وبين من عاصر الوحي هو النفس البشرية.. 

وعلى ذلك؛ فالإعجاز الملازم لا يحصره التعبير اللغوي وحسب.. بل ما يحدثه هذا التعبير في النفس من رجفة او سكينة أو انكشاف.. وما ينشئه في الواقع والتاريخ من قانون ومعيار أخلاقي تتحرك به مجتمعات البشر وتستكن.. وتنهض به حضارات الأمم وتندثر.. 

وهذا بحد ذاته تأكيد على أن "الظاهرة القرآنية المعجزة" ليست مجرد بيان لفظي أو شكل بلاغي.. بل تفاعلٌ حيّ بين النص والقارئ والزمان والمجتمع.. فالمعجزة لا تكون بما يَعجز الناس عن صناعته فنيًّا فحسب.. بل بما يعجزهم عن ابتداعه أثرا.. وتحريكه وجدانيا.. وتأسيسه حضاريا.. 

وهكذا؛ فإن التحدي الإلهي لم يكن تحديًا لغويًا فحسب.. بل كان نداءً وجوديًا، يخاطب في كل نفس قابليتها للدهشة، واستعدادها للتسليم، وقدرتها على التلقي.. لا بالحس والعقل فقط، بل بالحضور..

هَل لا يَزال القُرآن مُعجزًا؟ | زَادْ

On the tension between individuality, glory, and the hidden cost of recognition

—

There is a quiet wisdom in being special—but not too special.

To live well, one must learn to hover in that fragile space between obscurity and spectacle. The world celebrates exceptionality, but it rarely speaks of its price. Glory, after all, is not a summit—it is a burden disguised as light. It demands entry through excellence, and payment through permanence. What begins as the pursuit of greatness to enrich one’s life slowly mutates into the need to protect that greatness at the cost of life itself.

The problem is not with being seen. It is with being seen too much, too clearly, too singularly. For the more one becomes a symbol in the eyes of others, the more they must amputate parts of themselves to maintain the silhouette. No longer do you live in pursuit of meaning—now you live in defense of an image.

To be “too special” is to live under the pressure of performance: every gesture must match the myth, every word must echo the expectation. You become both the actor and the audience, the keeper and the prisoner of your own reputation. Living itself is subordinated to the optics of living well. Joy becomes something to perform. Rest becomes a betrayal of momentum. Vulnerability becomes dangerous. Silence becomes suspicious.

So subtle is this shift, that one hardly notices when they cross the threshold: from desiring glory as a means to enrich life, to treating life as the medium through which glory must be preserved. The inversion is tragic. Life loses its intimacy, its gentleness, its mystery—because everything must now be legible, curated, worthy of being remembered.

The truth is, a meaningful life does not need to be spectacular. A quietly dignified life, rooted in presence and suffused with love, may be more sustainable—and perhaps more noble—than a glorious one strained by applause.  And what could be more pitiful than a life lived merely to keep up the illusion of having lived gloriously?

There is strength in invisibility, in being unknown enough to rest, to falter, to be human.

Do not be too special. Be deeply alive.

—
ZaD

Do not be too special | Written By Zad, Voiced By AI

هَل لا تَزال الفَلْسَفة مُهِمّة في زَمن العِلم؟ [Old Record]

ملخّصْ رحلتي الفِكريّة مع الدّين والتّدينْ | زَادْ

كيف يعمل الاقتصاد بلغة أهل الشارع؟ [Old Record]

إنّ صمت السماء لا يُقصي الإنسان، بل يزكّيه. 
هو ليس نهاية القصة، بل أبلغ فصولها. إنه ليس فراغًا، بل حُكما. حكمٌ بأن الإنسان، وإن ظل ظلومًا، فقد حُمّل الأمانة. وأنّ في داخله القدرة على التذكّر، والتفكر، والتوبة.
لماذا لم تُرسل رسالة جديدة في زمننا؟ ليس لأننا لا نستحق، بل لأننا قُدّر لنا أن نُستَأمَن.
فالخَتم ليس نهاية الرحلة، بل بدايتها: رحلة الإنسان الذي أوتي النصَّ، وأُعطي العقل، وتُرك له التاريخ مفتوحاً ليكتب فيه قصته، لا كيتيمٍ مُتروك، بل كخليفةٍ موكّل.
لقد انتهى زمن التلقين، وبدأ زمن الأمانة.

لِمَاذا تَصْمُت السّمَاء في زَمنٍ يَحتاجُ الوَحي؟ | زَادْ

Why Psychiatry Measures What Medicine Cannot?

Why do we have so many reliable psychometric tools for psychiatric disorders but not so for internal medicine? Perhaps it is not, as we often assume, because psychiatry is less objective or more desperate for structure. Perhaps it is because we differ in our biology much more than we do in our psychology.

In internal medicine, even among people of similar ancestry, two individuals might respond completely differently to the same virus, metabolize the same drug in opposite ways, or exhibit wildly distinct lab values for the same disease. Human biology is both intricate and chaotic—an ever-shifting interplay of genetics, environment, immunity, and chance.

But in psychiatry, a mother in Cairo, a student in Seoul, and a retiree in Buenos Aires might all describe their depression in strikingly similar terms: a darkness, a heaviness, a loss of color and meaning. The vocabulary may differ, but the interior resonance echoes the same patterns. Despite the vast cultural, historical, and linguistic distances that separate them, the core experience of mental suffering seems to converge.

So we begin to suspect: perhaps our thoughts and psychological struggles approximate us more than a shared DNA or ancestral bloodline ever could. Perhaps our subjective experience—our coping, our longing, our confusion, our despair—is more universally human than our biochemistry ever was.

This may explain why psychometric tools are not only abundant but also reliable and generalizable. They tap into fundamental structures of the mind that transcend cultural specificity and biological variation. Not because the mind is simpler, but because it is, in some deep sense, more shared. The architecture of human suffering may be one of the few universals we still inhabit.

And maybe that is why stories, poetry, and dreams travel across civilizations with greater ease than even the most effective medications. They are not constrained by physiology or bounded by genetics. They speak to what endures: the invisible geometry of being human.

In a world increasingly defined by genetic maps and molecular precision, it is worth remembering that the most stable markers of our species may not be found under a microscope but in the echo of another's sorrow, understood without translation. For it is not the sequence of our genes, but the symphony of our shared ache, that most deeply reveals who we are.

-

ZaD

Why Psychiatry Measures What Medicine Cannot? | Written By Zad, Voiced By AI

اِمشَب دَر سَر شُورِی دَارَم --- الليلة يحل العشق بعقلي
اِمشَب دَر دِل نُورِی دَارَم --- الليلة يدور النور بقلبي
بَاز اِمشَب دَر اُوجَ آُسِمُانَم -- والليلة أروح لأوج السماء
رَازِی بُاشَد بَا سِتِارِگُانَم (سيتيريجونام) --- أتقاسم سرّي مع النجوم
اِمشَب یِک سَر شُوقُ (ء)ـوو شُورَم -- الليلة يتحد عقلي وشوقي وعشقي
اَزِ اینْ عُالَم (ءُولام) گوِّیی دُورَم --- فمن هذا العالم أبدو كبعيد
 
اَزْ شَادِی پَرْ گِیرَم (بَرجيرام) کِه رَسَم بِه فَلَک --- لقد امتلئت شدوًا فلامست الفلك
سُرُودِ هَستِی خَوانم دَر بَرِحُور (بريهورحوـ) و مَلَک --- لحن الوجود سأتلو على الحور والمَلك
دَر آِسِمانْهَا غُوغُا فِکَ كنَم --- بالسماوات صخبٌ ينشؤهُ فكري
سَبُو بِرِیزَم سَاغَر شِکَ كنَم --- يهرق الإبريق ويُهشّم الكاس
 
اِمشَب یِکسَر شُوقُ (ء)ـوو شُورَم --- الليلة يتحد عقلي وشوقي وعشقي
اَزِینْ عُالَم (ءُولام) گوِّیی دُورَم --- فمن هذا العالم أبدو كبعيد
 
بُا مَاهُ وُ (ماهوو) پَرویِن سُخَنِی گُویَم --- مع القمر والثّريا يمتد حديثي الطويل
وَز رُویِ مَهِ خُودْ اَثَرِی جُویَم --- ورفيق روحي أتقفّاهُ بين غبار النجوم
جَان یَابَم زِین شَبهَا --- كدر الحياة أتحمّله بزينة هذه الليالي
مُاهُ و (موهوو) زُهرِه رَا بِهْ طَرَب آُرَم --- القمر والزهرة يطّربان بصوتي في طريق الجنة
اَزْ خُودْ بِیخَبَرَم زِ شَغَف دُارَم --- عن ذاتي غفلت منذ أصابني العشق
نَغْمَه اِی بَر لَبهُا --- ولحن بين شفاهي لا أملك كتمانه

اِمشَب یِکسَر شُوقُ (ء)ـوو شُورَم --- الليلة يتحد عقلي وشوقي وعشقي
اَزِینْ عُالَم (ءُولام) گوِّیی دُورَم --- فمن هذا العالم أبدو كبعيد

#زاد

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