[...] (by the reports of our senses) --> a seamless weft of ‘information’(=/= the data the senses offer)

dark, suggestive blur of shapes and colors

what we can take in is a partial rendering of the world

[dog's nose reading] ...a universe of scents--historical, multifaceted--presents itself to the canine “reader”

(Doty) ...deer cannot see red or orange, a biologist writes, but apparently can see blue much better that we can. who can even imagine what that would mean, for blue to be--well, more? ♥

“All accounts, it seems, are partial; thus all perception might be said to be tentative (versuchsweise), an opportunity for interpretation, a guessing game.”

Doty putting it into a single sentence in order to suggest, as Proust did, the simultaneity of perception. he [Proust] wanted to dilate the sentence toward its outer limit, so that one would feel the blu of space and time that the unit of syntax held all at once

*finding the words* --> the nature of my attention, the signature of my selfhood

...terms commensurate with the clamoring world

(recognize your acts of naming --> for example naming the sonic outruch of a bird “singing”) --> what birds are actually up to when they sing isn't clear **

Whitman describing the sea itself as a “fierce old mother” whose constant iteration is the whispered word death


(in Iran we have) the problem of speechlessness (~->? Mehdi and Kourosh's talkativeness) ~= a state without agency --> unable to push back at things that impress upon them

***life not having been realy lived until it is narrated (@Ehsan)
(we need) to experience the satisfaction of matching words to the world --> **to feel, at least for a moment, language clicking into place, into a relation with the world that feels seamless and inevitable** -- when language seems to match experience, a kind of fusion between the word and the world : some tift is healed --> “the silken skilled *transremembrance* of a song” -[trans- : exchange of parts, one being fusing with another] --> “floating instant"--a part of the other, grown indistinguishable

the pleasure of recognizing a described world [****] --> work on ajayeb


festidious sense of accuracy


(Doty on) Elizabeth Bishop's poem “The Fish” (concerned with the experience of observing, aiming to track the pathways of scrutiny, *carefully rendered model of an engaged mind ar work*, looking into the fish's shifting eyes that can't be comfortably anthropomorphized. we can only guess if the poet is concerned with defeat, vitory, or survival) =/= Ferdosi's Rostam, or Div
Bishop's examination of the fish happening in the composition of the poem =/= straightforward record of perception

a tradition of seeking, in the vast book of difference (tha American continent offers)

(the poem) interprets a wordless, creaturely presence

baroque: attempt to dramatize the mind in action rather than in repose (Sa'di's baroque tendencies in Golestan)

fusing impressions synesthetically in a startling phrase
peeling scales provoke simile

...mind moving swiftly from observation to reverie

a compelling replica of inquiry ==> enlist the reader's participation in a version of the work of consciousness


descriptive acts --> attempt to render the world (and it is subject to revision)


*examplars of strangeness” (for my ajayeb, #writing Div descriptions)
-let's rewrite Div Sefid and give it more *wealth of detail*==> keeps the Div from becoming a symbol and allows it to *remain creaturely*
#Div poetry, to get close to a lived texture of creature, to allow the senses their complexity synthetic life

**every achieved poem inscribes a perceptual signature in the world**

the work of seeing ==> who is doing the looking, a specific, idiosyncratic sensibility

*detail ==> subjectivity* : we are brought into intimate proximity to the slipstream of (her) sensations --> *subjectivity* is made of such detail (of all the ways in which the world impresses itself upon us --> knowing through our scaffoldings of concerns, the tones and shadings of our moods) ~~--> we are in a sort of *readerly alliance*


[time]
#practice: try to describe what subjective time feels like --> to find variety of verbs to describe less readily chartable motions
(the time of interiority) pools, cibstricts, tunbles, speeds
-we live in a felt narrative progression, through which experience is transformed into memory
*memory edits*
what is memory but a story about how we have lived?
-timelessness: the interior landscape of reverie


lyric state of mind : seized by a moment that suddenly seems edgeless, unbounded
-wholly giving oneself over to experiencing an object
-unpointed awareness
-perfectly useless concentration
-entirely occupied
lyric moment is isolate =/= (parts of a) narrative are contiguous
(according to the lyric -->) consciousness or immortality is without date(?)

moment dilates as it is described
creating an alternate sense of duration


the surface of language
the complexity and interest of the surface

thickness means we have to *labor to enunciate* them -- is a way of mirroring the physicality of the world

seamlessness ==> our attention is suspended

(a poem/writing) shift time ==> put us inside a scene

...slip the confines of the body

poem's leap toward transcendence

people slip out of the story they are living all the time (@iranians)
(daily life is full of small moments of:)
•rupture
•disappearance
•interiority

because of her [Bishop's poem The Fish] act of description ==> her encounter with otherness restructures her sense of the world ***
(for Bishop) animal presence engenders an experience of joy
(the animal presence provokes, engenders what in Attar?)


-our speech rushes in where there are no words

ajayebnameh --> our acts of description --> bridges to animal life and evidence of our distance from them


descriptions (actually?) describe the consciousness
various and lusterous enough (to reflect back the complexities of the) self that is doing the looking

description: a mode of thinking
=/= that would make a claim about what reality is }--> that is why i can't read theoretical philosophy about the “real” or “being” anymore (of Simondon for instance), the lack of *description of the speaker's world* in his work [--✕--> every leaf is made up of a complex interaction of shades] --> (is this because i studied drawing?): people who have studied drawing know that *you have little idea what is in front of you* (in the visual landscape)
***what philosophy does to your mode of perception?

‘chain of definitions,’ a catalog of names --?--> a mode of *litany* [مناجات وعبادت تهليل دار (تحلیل دار), colloquy with God (--> #prayer, modes of consciousness and rhetorics used to commune with the divine =/=? “building a tower in order to thunder back at the old thunderer” -Doty)] (--> this has been my mode of consciousness in my lectures)--> a way of accumulating terms of praise (can also easily grow numbing)
*accumulation of descriptive phrases*: a dynamic, forward-moving thing, one that includes evidence of struggle -->[*connection lies behind the “catalog of inadequate terms”*]
(one effect of my quirky talks is as if we have) climbed a ladder of phrases
...struggle to reconcile the delights of earth with the demands of heaven* [_i am keeping in touch with a way of talking (doubling phrases,,,) in performances which intensifies the audience's sense of the speaker's character, his enthusiasm, his giddy متزلزل pleasure in being overcome by what is (for him) the *sensory evidence* (of the divine, or an excessive described world)]
(in my performances) through description, twining strands of meaning, braiding together elements of [my] thinking and perception to make an image both elusive and unforgettable, unparaphrasable نقل بيان نشدنی
*density* ==> melds perception with thinking and feeling ==> making a new generative reality
(the speed of my talking has to do with the quick and compressed that) operates on us before we have even had time to think about what is happening ~=> a world that is both immediate an[...]