[...]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'><='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'>='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'>='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

="large lg2" stl="font-size:110%">
(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'>='lgc'>--> chasm barzakh between the incomprehensible and the making of meaning ='lgc'>='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'>='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'>='lgc'>--> ='at'>#adjacencies='lgc'>: bringing things, objects, ="trms">stories, arguments next to each other ='lgc'>='lgc'>--> ="trms">interrupting ="trms">stories with ="trms">stories='lgc'>]


ritual of flirtation


="large lg1" stl="font-size:148%"> 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'>*

(="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'>--> ='lgc'>[='strcls'>*='lgc'>]motion='lgc'>: the patterning life of energy ='lgc'>~~='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'>='lgc'>--> (made by the) ="trms">technologies of their moment

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


morality of description(='qstn'>?)='lgc'>='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'><='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'>-->
='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'>='lgc'>--> it is not a sin; it is our ="trms">method of operating, our modus operandi (='lgc'>='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'>='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'>='lgc'>--> ='strcls'>**making the ="trms">language more markedly like the ="trms">world='strcls'>** ='lgc'>[a trail, pathway through a wood of sounds, an unmistakably ="trms">specific landscape, loyal to the local='lgc'>]
='lgc'>[='strcls'>*='lgc'>]synesthesia='lgc'>: occasion of ex="trms">citement, a skein of complicated perception, (="trms">sort of a ="trms">literary ="trms">technique,) something like a snapshot of the image-making mind at work ='lgc'>='lgc'>--> superim="trms">position of both events and of senses (and of s="trms">cenes='qstn'>?) ='lgc'>='lgc'>==> a consciousness
(aim of many artists='lgc'>:) “to form the sensorium, the sphere of perception in which we dwell” ='at'>@="frds scrmbld">Hoda ='lgc'>=/= (="ppl">Doty sug="trms">gests='lgc'>:) it is work to ="trms">sort them out (what ="trms">sorts out senses='qstn'>? ="trms">question ='at'>@="frds scrmbld">Hoda, she must learn='lgc'>: an accurate rendering of an idio="trms">syncratic process of sensory overlap and as="trms">sociation)
='lgc'>[='strcls'>*='lgc'>]لحن tone='lgc'>: special effects, evoking a ‘moment of’ ... intense statement of feeling ='lgc'>='lgc'>==> a concretely descriptive feeling
='lgc'>[='strcls'>*='lgc'>]="trms">questions are always a little more trustworty than answers (='qstn'>?) ='lgc'>-- sometimes things said do not take the ='strcls'>*="trms">rhetorical form of a ="trms">question='strcls'>* ='lgc'>[='lgc'>='lgc'>--> in ="nms">apass i was training to be able to capture those kind of ummarkedly ="trms">questions='lgc'>] ='lgc'>='lgc'>--> something said (described) with room for indeterminacy ///='strcls'>*convex mirror='strcls'>* (="ppl">Doty's refractive thinking)
='lgc'>[='strcls'>*='lgc'>]فعل ="trms">verb, the descriptive force of the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right (hardworking) ="trms">verb, a kind of muscular concreteness. sometimes ="trms">verbs gain descriptive force when other parts of speech are newly cast in active roles

='strcls'>*invocation='lgc'> = directly addressing the thing creates a sense of immediacy and of connection
='strcls'>*thou, with its sug="trms">gestion of divinity or be="trms">loved ='lgc'>='lgc'>--> prayer
='strcls'>*hectic='lgc'>: uncomfortable alliance, inharmonious, something that might set the teeth on ="trms"nttrm="knowledge,Knowledge">edge
='strcls'>*destroy ='lgc'>='lgc'>--> a death-steeped perception that ="trms"nttrm="already,spread">reads the wind as a “destroyer”
='strcls'>*="trms">world of fused duality


="large lg3" stl="font-size:112%"> ‘and’ ='lgc'>='lgc'>--> the sig="trms">nature element of a place, of a landscape, the conjoined body ='lgc'>: the animate and the inorganic as one thing


='strcls'>*the project of being alive='strcls'>* (is little understood)

(='lgc'>[my project is perhaps='lgc'>] to become) a person whom the ancient ="trms">world is remarkably vivid='strcls'>*** ='heart'>♥
to have gossiped about figures of ancient Persia

="large lg4" stl="font-size:110%"> to believe that the ='strcls'>*="trms">world is queer='strcls'>* (='lgc'>=/= Mobed, ="frds scrmbld">Foad, Reza)
(we need ='lgc'>='lgc'>-->) a window of doupt through which all creative possbility comes into being

(Forster='lgc'>:) “='lgc'>[...='lgc'>] standing absolutly motionless at a sight angle to the universe”

(queer ='lgc'>=='qstn'>?) an oblique مورب ="trms">position in ="trms">relation to the real (='lgc'>=/= buisiness as usual)
queer to be ="trms">interested in what can't be packaged or sold in the ="trms">marketplace
queer to enjoy the fundamentally useless, contemplative pleasure of (="trms">poetry, ="nms">ajayeb, etc.)


description ='lgc'>='lgc'>--> ='strcls'>*providing the particular evidence of ="trms">specificity='strcls'>*
not everything can/need to be described ='lgc'>='lgc'>--> ='strcls'>**the choice of what to evoke='strcls'>**, to make any s="trms">cene seem ‘real’ vagheyi. look at USA film industry and all the efforts put in scenic description of the WWII, vampire ="trms">stories, teenage life, nation; or in ="nms">iran in ="nms">Iran-Iraq war (="acrnms">="nms">Iranq)

="large lg5" stl="font-size:138%">
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