[...]"singing”) ='lgc'>='lgc'>--> what ="trms">birds are actually up to when they sing isn't clear ='strcls'>**

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


="large lg2" stl="font-size:110%"> (in ="nms">Iran we have) the problem of speechlessness (='lgc'>='lgc'>~->='qstn'>? ="frds scrmbld">Mehdi and ="frds scrmbld">Kourosh's talkativeness) ='lgc'>='lgc'>~= a state without ="trms">agency ='lgc'>='lgc'>--> unable to push back at things that impress upon them

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

the pleasure of recognizing a described ="trms">world ='lgc'>[='strcls'>****='lgc'>] ='lgc'>='lgc'>--> work on ="nms">ajayeb


festidious sense of accuracy


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

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

(the ="trms">poem) ="trms">interprets a wordless, creaturely ="trms">presence

baroque='lgc'>: attempt to dramatize the mind in action rather than in repose (="ppl">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 ='lgc'>==> en="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list the ="trms"nttrm="already,spread">reader's participation in a version of the work of consciousness


descriptive acts ='lgc'>='lgc'>--> attempt to render the ="trms">world (and it is subject to revision)


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

='strcls'>**every achieved ="trms">poem inscribes a perceptual sig="trms">nature in the ="trms">world='strcls'>**

the work of seeing ='lgc'>==> who is doing the looking, a ="trms">specific, idio="trms">syncratic sensibility

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


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


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

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


the surface of ="trms">language
the complexity and ="trms">interest of the surface

="trms">thickness means we have to ='strcls'>*labor to ="trms">enunciate='strcls'>* them ='lgc'>-- is a way of mirroring the physicality of the ="trms">world

seamlessness ='lgc'>==> our attention is suspended

(a ="trms">poem/="trms">writing) shift time ='lgc'>==> put us inside a s="trms">cene

...slip the confines of the body

="trms">poem's leap toward transcendence

people slip out of the ="trms">story they are living all the time (='at'>@="nms">iranians)
(daily life is full of small moments of='lgc'>:)
="lsts lst1">•rupture
="lsts lst1">•disappearance
="lsts lst1">•="trms">interiority

="large lg3" stl="font-size:110%"> because of her ='lgc'>[Bishop's ="trms">poem The Fish='lgc'>] act of description ='lgc'>==> her encounter with otherness restructures her sense of the ="trms">world ='strcls'>***
(for Bishop) ="trms">animal ="trms">presence engenders an experience of joy
(the ="trms">animal ="trms">presence provokes, engenders what in ="ppl">Attar='qstn'>?)


="prgrph">-our speech rushes in where there are no words

="nms">="nms">ajayebnameh ='lgc'>='lgc'>--> our acts of description ='lgc'>='lgc'>--> bridges to ="trms">animal life and evidence of our distance from them

="large lg4" stl="font-size:112%">
descriptions (actually='qstn'>?) describe the consciousness
various and lusterous enough (to reflect back the complexities of the) self that is doing the looking

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

‘chain of de="trms">finitions,’ a catalog of names ='lgc'>--='qstn'>?='lgc'>='lgc'>--> a mode of ='strcls'>*litany='strcls'>* ='lgc'>[مناجات وعبادت تهليل دار (تحلیل دار), colloquy with God (='lgc'>='lgc'>--> ='at'>#prayer, modes of consciousness and ="trms">rhetorics used to ="trms">commune with the divine ='lgc'>=/=='qstn'>? “building a tower in order to thunder back at the old thunderer” -="ppl">Doty)='lgc'>] (='lgc'>='lgc'>--> this has been my mode of consciousness in my ="trms">lectures)='lgc'>='lgc'>--> a way of accumulating terms of praise (can also easily grow numbing)
='strcls'>*accumulation of descriptive phrases='strcls'>*='lgc'>: a dynamic, forward-moving thing, one that in="trms"nttrm="cluster,club">cludes evidence of struggle ='lgc'>='lgc'>-->='lgc'>[='strcls'>*connection lies behind the “catalog of inadequate terms”='strcls'>*='lgc'>]
(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 ="trms">demands of heaven='strcls'>* ='lgc'>[_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 ='strcls'>*sensory evidence='strcls'>* (of the divine, or an ="trms">excessive described ="trms">world)='lgc'>]
(in my performances) through description, twining strands of meaning, braiding together elements of ='lgc'>[my='lgc'>] thinking and perception to make an image both elusive and unforgettable, unparaphrasable نقل بيان نشدنی
='strcls'>*="trms">density='strcls'>* ='lgc'>==> melds perception with thinking and feeling ='lgc'>==> 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 ='lgc'>='lgc'>='lgc'>~=> a ="trms">world that is both immediate and immense, a moment out of context, a pouring stream of being (on the way so somewhere else) ='lgc'>[a ="trms">viscerality that Vanja reported after experiencing my performance; my ='at'>#="trms">routines='lgc'>]
="prgrph">-when you look at my performances there is a feeling of it is not quite figured out how he is yet, there is no settled mastery on its way, rather, there is a restless experimentation, a trying on of ="trms">different ="trms">densities (of meanings, letters, spoken energies, etc.), various surfaces, degrees of busyness and calm ='lgc'>='lgc'>--> how to look at this kind of work='qstn'>?
(we don't need anymore art like this='lgc'>: as if they have been made on secret, and ='strcls'>*their radicalism lends them a ="trms">sort of urgency='strcls'>* ='lgc'>[='lgc'><='lgc'>-- no no!='lgc'>], a perpetual quality of surprise)
="prgrph">-my ="trms">imaginal portals='lgc'>: to invoke an inviting ="trms">world of as="trms">sociations, a scented cool, ='lgc'>~ an indirect way of naming (='lgc'>=/= to program ="trms">language ='lgc'>: reducing ="trms">language to a debasing perceptual shorthand)
="prgrph">-proposing ‘it is’ by placing another beside it, cultivating op="trms">position and tension


="large lg5" stl="font-size:136%"> “something understood” ='lgc'>='lgc'>--> left open, undefined, ...


(="frds scrmbld">Elen's “je suis” ='lgc'>[Ich bin='lgc'>] in her images and...)


(with the help of ="frds scrmbld">Janina, we are) madly in ="trms">love with the surface of the ="trms">world
[...]