[...]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

="large lg2" stl="font-size:112%"> seamlessness ='lgc'>='lgc'>==> our attention is suspended

(a ="trms">poem/="trms">writing) shift time ='lgc'>='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

because of her ='lgc'>[Bishop's ="trms">poem The Fish='lgc'>] act of description ='lgc'>='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


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'>='lgc'>==> melds perception with thinking and feeling ='lgc'>='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'>~=> 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


“something understood” ='lgc'>='lgc'>--> left open, undefined, ...


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


="large lg1" stl="font-size:119%"> (with the help of ="frds scrmbld">Janina, we are) madly in ="trms">love with the surface of the ="trms">world

='at'>@="frds scrmbld">Marialena; trans="trms">membering power of the sea, nautical daryayi دريايي، مربوط به دریانوردی، ملوانی



saying what ‘you’ see ='and'>& saying why you ‘see’

the more accurate and sensory the apparent evocation of things, the more we have the sense of someone there doing the looking (='lgc'><='lgc'>-- USA ="trms">spectacle knows this)


X in Y's ="trms">translation


“a fish never makes an ="trms">aesthetic mistake” ='lgc'>='lgc'>--> it sends us hurrying to every visual image of fish we can think of, to see if it could be true='strcls'>*

(a good) description='lgc'>: an evocation of the sensory ="trms">world also sug="trms">gests the limitations of such evoking, maintaining a ="trms">sort of open space
in which meaning isn't closed or completed, but remains instead generative


a title sometimes does the useful work of placing us ="trms">specifically, so that the body of the ="trms">poem can turn its attention to the heart of the ="trms">matter

(it is surprising how strongly the) naming of particulars ='lgc'>==(bring color into)='lgc'>='lgc'>==> ="trms">poem's (or text's) perceptual web


distortion's power to sug="trms">gest but not define linkage
="lsts lst1">•the use of ‘like’ ='lgc'>='lgc'>--> would draw a firm line between the two elements
="lsts lst1">•not using ‘like’ ='lgc'>='lgc'>--> no firm ="trms">gesture of equivalence ='lgc'>='lgc'>==> we confront a ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor that is far more alive in its as="trms">sociations, far more ambiguous, and more crucial ='lgc'>='lgc'>--> both an evocation of alienation and a recognition of ="trms">communality ='lgc'>--tonally='lgc'>='lgc'>--> ="trms">composed of ='strcls'>*equal portions of sorrow and ="trms">wonder='strcls'>* ='lgc'>='lgc'>--> forcing us ='strcls'>*to remain in the ="trms">position of ="trms">interpreter='strcls'>* of something that is perpetually open ='lgc'>=/= direct statement


Blake (and ="ppl">Attar='qstn'>?) wouldn't be the great ="trms">poet he is if he could allow his bloom to be entirely ="trms">symbol
='lgc'>='lgc'>--> a bloom attached to the speaker, a ="trms">memeber of Lord Death's troops, an assistant to the disruptive powers of the night
='lgc'>=/= transcendence

crucible بوته اهنگرى, this nere-archaic word with its connotations of flame and molten ="trms"nttrm="metaph,metamorph,metabol,metal">metal, magical heat and transformation


sunflower='lgc'>: the cry of the determined survivor='strcls'>**

(="trms">differently depicted) sunflower gain power from resisting the flower's conventional as="trms">sociations

the ="trms">poetic ='lgc'>=/= reinscribing the al="trms"nttrm="already,spread">ready known

“it would be like hearing the grass grow and the squirrel's heart beat, and we should die of that roar which lies on the other side of silence.” (George Eliot > ="ppl">Doty) ='heart'>♥



description='lgc'> = giving us the ="trms">world ='lgc'>+ the inner life of the witness

evoking texture of experience ='lgc'>='lgc'>--> beauty='lgc'> = accuracy

“whatever ‘what is’ is is what i want.” tosif توصیف
(Galway Kinnel)


“the deeds and sufferings of light.” -="ppl">Goethe ='at'>@="frds scrmbld">Foad

into the ="trms"nttrm="already,spread">reader's ="trms">internal eye

="frds scrmbld">Foad's paintings='lgc'>: ...two textures have now been added to the color, and in “rough” there is even a sug="trms">gestion of place='lgc'>--it doesn't sound domestic, or ="trms"nttrm="disturban">urban='lgc'>--and of age

="large lg3" stl="font-size:112%">
(coming close to an) impossible, longed-for accomplishment


the art of description='lgc'> = ='strcls'>*the art of perception='strcls'>* ='lgc'>}='lgc'>='lgc'>--> what do you require to say what you see='qstn'>?

="large lg4" stl="font-size:112%"> to be better at description, we have to work at attentiveness

='at'>#training / do c="trms">ontour drawing just with your eyes


your ="trms">erotic inflects and charges is your way of ="trms">interacting with the ="trms">world
...you basically just make ="trms">love to the whole ="trms">world
...and all the ="trms">stories you tell yourself about your encounter with the cake


="large lg5" stl="font-size:161%"> ='lgc'>[='strcls'>*='lgc'>]economy ='lgc'>=/= it is too much, ="trms">excess
no one would want Proust to have less to say
fulsome discourse works only when perception itself is the subject ='lgc'>='lgc'>--> Proust's novel is a huge inquiry into the ="trms">nature of consciousness ='lgc'>: a magnificently nuanced evocation of what it is to see and sense ='lgc'>='lgc'>--> which is usually ='strcls'>*too much='strcls'>*


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