[...]e, longed-for accomplishment


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

="large lg2" 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


='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'>--> 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'>--> which is usually ='strcls'>*too much='strcls'>*


here is one of those ="trms">stories everyone swears is true,...


(an appetizer called) “smoked ="trms">language”

the absolute centrality of ="trms">figurative speech

(Susan Morrow='lgc'>:) how the scuttle of crab claws on sand influenced the hieroglyph for “="trms">writing”

we breathe ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor, swim in ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor, traffic in ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor

(becoming ="trms">poet='lgc'> = becoming the) handler of the ="trms">figurative speech ='lgc'>: employing ="trms">language's tendency to connect like and disparate things to the richest possible effects
(in talk='lgc'>:) ="trms">figurative is at its most sophisticated='lgc'>: con="trms">densed, alive with meaning, pointing in multiple directions at once
(Hollywood's ways) to make meaning seem more attractive ='lgc'>=/= ="trms">figurative speech itself means, and ='strcls'>*means intensely='strcls'>*

baznegari-e sanaye adabi (بازنگری صنایع ادبی‌)='lgc'>:
="lstsrd">1. to say ='strcls'>*what we see='strcls'>*='lgc'> = to speak ="trms">figuratively (first project of simile tashbih تشبیه and ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor esteare استعاره is to describe, to say what something's like ='lgc'>~~='qstn'>?='lgc'>--> ="trms">measurement, we can't do so without comparison='lgc'>[='qstn'>?='lgc'>])
="lstsrd">2. figures work together ='lgc'>==(to form)='lgc'>='lgc'>==> ='strcls'>*="trms">networks of sense='strcls'>* (enjoying a ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphoric game, modes of appreciation)
="lstsrd">3. ="trms">figuration='lgc'> = a form of ='strcls'>*self-portraiture='strcls'>* (intense involvement in rich, descriptive speech ='lgc'>='lgc'>==> perceptual sig="trms">nature ='lgc'>: a destillation/con="trms">densation of the way one person knows herself/himself in time and in place)
="lstsrd">4. ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor ='lgc'>==introduces='lgc'>='lgc'>==> ='strcls'>*tension='strcls'>* and ='strcls'>*polarity='strcls'>* to ="trms">language (="trms">figurative ='lgc'>='lgc'>==> enexpected ="trms">language into text, shifting the elements of ="trms">vocabulary)
="lstsrd">5. ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor's distancing aspect ='lgc'>==(allows)='lgc'>='lgc'>==> (us) to speak more freely (to explore a heated, charged experience, “I need more ="trms">veil” ='heart'>♥, a delight in a thin disuise; the way a good ="trms">veil works ='lgc'>[="trms">according to ="ppl">Doty='lgc'>]='lgc'>: you can see the ="trms">veil itself, if you choose to. but if you want to, or you know how, you can ="trms"nttrm="already,spread">read what lies beneath)
="lstsrd">6. ='strcls'>***="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor='lgc'> = an act of inquiry='strcls'>*** ='lgc'>=/= an expression of what we al="trms"nttrm="already,spread">ready know (“i can't prove this ='lgc'>[...='lgc'>] but i can feel the power of the result.” unmistakable quality of discovery ='lgc'>[of ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphoric figures='lgc'>]='lgc'>: the ="trms">sort of energy generated when an idea ='lgc'>[and a concomitant set of emotions='lgc'>] un="trms">folds before the ="trms">write ='lgc'>[='lgc'><-- ="frds scrmbld">Sven is missing this='qstn'>?='lgc'>]. in this way='lgc'>: ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor='lgc'> = (a kind of) ='strcls'>*argument='strcls'>*= a “thinking through” of what is implied, ='lgc'>[oh i have made something='lgc'>] complicated='lgc'> = full of feeling and tension, ='at'>#="trms">excess; investigation of ="trms">erotic energy, thrilling sonic structures you build,,,)


to become a ="trms">rhetorical ="trms"nttrm="already,spread">reader of our ='strcls'>*="trms">gesture drawing='strcls'>*
moments of rebelion, when you have just enough of the strictures of the ="trms">composed still life the teacher had assigned, you whip out...


description is fueled by ='strcls'>***hunger for the ="trms">world='strcls'>***, the need to taste, to name, to claim what is seen, to bring it ='lgc'>--> the resurrection of the ="trms">world within the perceiver
='strcls'>*it is very often true that what we are compelled to describe is terrible, or oppressive, or heartbreaking. ="trms">language is hungry for that, too ='lgc'>[...='lgc'>] to eat everything. even the falling and fading ="trms">world, even misery='strcls'>* (="ppl">Doty)
="prgrph">-they speak to our hunger for a ="trms">vocabulary for the whole range of feeling, even the awful parts (='lgc'>--> destruction of speech is d="trms"nttrm="danger,stranger">angerous, having no ="trms">language for what we do good or bad)

desctiption is made both more moving and more exact when it is acknowl="trms"nttrm="knowledge,Knowledge">edged that is is inevitably incomplete


(in the strictest sense) one could say that nothing unintelligible is a meaning ='lgc'>=/= ='strcls'>*there is always meaning='strcls'>*
="prgrph">-the perception of meaning ='lgc'>[such as goose sound='lgc'>] that cannot be ="trms">translated into any other form of speech ='lgc'>--> chasm barzakh between the incomprehensible and the making of meaning ='lgc'>--> (how='qstn'>?) to build a construct of ="trms">language that acknowl="trms"nttrm="knowledge,Knowledge">edges the “meanings” that live outside of words (a ‘description’ that builds an argument about the ="trms">nature of real) ='lgc'>[='lgc'>--> ="nms">ajayeb's concern; part of a function of the humility of the speaker='lgc'>]
(='lgc'>[="nms">ajayeb is full of='qstn'>?='lgc'>] similes that produce) juxta="trms">position of the ="trms">natural and the artificial, ='lgc'>[the vegetal and the made, the tiny and the immense='lgc'>] ='lgc'>: (unexpected) collision of elements (in the framing field of thinking) ='lgc'>==means='lgc'>='lgc'>==> to bring energy into ="trms">language ='lgc'>[='lgc'>--> ='at'>#adjacencies='lgc'>: bringing things, objects, ="trms">stories, arguments next to each other ='lgc'>--> ="trms">interrupting ="trms">stories with ="trms">stories='lgc'>]


ritual of flirtation


sky's deep machinery


“poor girls make themselves ="trms">fabulous”
“white girl make herself black, at least while she is pretending to be a supreme”


reprofessor

(='mywrk'>my work and ="trms">interest since 2012='lgc'>:) attention and allegiance to a ='strcls'>*process of knowing='strcls'>*

="large lg3" stl="font-size:112%"> (="nms">ajayeb.net has ="trms">interest in reworking the conventions of syntax and of the sentence)
="lsts lst1">•the experience of ="nms">ajayeb.net is like watching something leap; scrambled elements, something clicks into place; a stubborn suspension, not quite parsable
="lsts lst1">•the experience of ="nms">ajayeb (mode of description) is like ='strcls'>*a sudden event happening so quickly we don't have a name for what we see, cannot identify the motion='strcls'>* (='lgc'>='lgc'>==> ="trms">animals in ="nms">ajayeb have many legs and arms)='lgc'>--> ='lgc'>[='strcls'>*='lgc'>]motion='lgc'>: the patterning life of energy ='lgc'>~~='lgc'>--> ="trms">world of forms

(="ppl">Doty > Cummings='lgc'>:) “rearrangingly” ='lgc'>+ “become"='lgc'> = rea(be)rran(com)gi(e)ngly

="nms">ajayeb='lgc'> = "how everything happens” (based on the ebb and flow of percept ='lgc'>+ ="trms">episteme)
(an index finger that) points to the ="trms">world's ways of happening (in energetic and enigmatic waves of ="trms">world's coming into ='lgc'>[& going out of='lgc'>] being)
='strcls'>*="nms">ajayeb moves concepts in like of='lgc'>: the ="trms">world doesn't necessarily want to be ordered into the linearity and forwardness of text

طلسم‌های ایرانی‌
nefrin نفرین ='lgc'>: re="trms">presentative of the (intricacy of) ='strcls'>*larger actions of the ="trms">world='strcls'>*
nefrin-nevisi نفرین نویسی ='lgc'>--> (made by the) ="trms">technologies of their moment

="large lg4" stl="font-size:112%"> post="trms">modernism's familiar hesitation on the inadequacy of ="trms">language ='lgc'>='lgc'>==> giving up referentiality ='lgc'>=/= my ="nms">ajayeb

(taking up on moon, for me is about) not going in fear of that which has been looked at again and again. ='at'>#moon is “deeply compelling and we probably won't ever get done with it”


...somewhere in the neighborhood of a hundred years later


="large lg5" stl="font-size:159%"> morality of description(='qstn'>?)='lgc'>--> ="trms">embodying the dilemma and work of the witness


...wheels of thinking turn slowly for some of us


adabiat tosifi ادبیات توصیفی
divisive consciousness (with a certain) degree of removal from the ="trms">world ='lgc'>=/= (we want) ='strcls'>*more='strcls'>* ="trms">language (='lgc'><-- more we name what we see and do)='lgc'>==='qstn'>?='lgc'>='lgc'>==> a larger and more valuable ="trms">world
(Roethke='lgc'>:) “when is description mere='qstn'>? never!”
='lgc'>-->
='lgc'>[='strcls'>*='lgc'>]صنعت تضاد san'at-e tazad, polarity='lgc'>: the pull of forces in op="trms">position ='lgc'>==makes='lgc'>='lgc'>==> ="trms">writing feel alive
='lgc'>[='strcls'>*='lgc'>]projection='lgc'>: that psychological mechanism by which we turn the ="trms">world, or other people, or deer (into versions of ourselves) ='lgc'>--> it is not a sin; it is our ="trms">method of operating, our modus operandi (='lgc'>--> “pathetic fallacy”='lgc'>: inevitable perceptual work of the human; “if you are miserable, then the trees look miserable to you”)
='lgc'>[='strcls'>*='lgc'>]qualifiers sefat صفت gheyd (adjectives and ad="trms">verbs) intended to lend a host of sensory qualities to the sentence; (sometimes too much) adjectival or ad="trms">verbial flavoring. ='lgc'>[='at'>#training='lgc'>: remove every adjective and ad="trms">verb, and see what you have got left ='lgc'>--> ='strcls'>**there is always a more exact term waiting to be employed='strcls'>**='lgc'>] (="frds scrmbld">Foad's severe economy of means; ="frds scrmbld">Janina's allusive, shimmery surfaces delight) (='lgc'>[='strcls'>*='lgc'>]style='lgc'>: a simple way of saying complex things. -Cocteau)
='lgc'>[='strcls'>*='lgc'>]نظم nazm='lgc'>: musicality of ="trms">poetry, ="trms">poem's body of sound is its ="trms">specific particular flesh, sonic texture ='lgc'>--> ='strcls'>**making the ="trms">language more markedly like the ="trms">world='strcls'>** ='lgc'>[a trail, pathway through a wood of sounds, an unmistakably[...]