[...]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 lg2" stl="font-size:111%"> (="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'>~='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


‘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

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)


lush, ="trms">sensuous, flowering

parallel text to the creature

="large lg1" stl="font-size:137%">
“you are gorgeous and i am coming” ='heart'>♥

an approximation, unstoppable as an approachoig sound of approaching organism


testing and smelling
insight and sound ='lgc'>='lgc'>--> ="frds scrmbld">Lili


an aphrodisiac and a chastening reminder='lgc'>: getting sidetracked by grief


“my portion this time”

='strcls'>*art is a house that tries to be haunted='strcls'>* ='heart'>♥ (="ppl">Doty > Dickinson)

قافیه به تنگ آمد ghafie tang, (when a choice is) driven more by sonic than by logic


what kind of game is the sea='qstn'>? ='at'>@="frds scrmbld">Marialena
lap and drag. crag and gleam
(monosyllables ='lgc'>='lgc'>--> are we ="trms"nttrm="already,spread">reading nouns or ="trms">verbs='qstn'>? tough, playful ocean)

syntactical ambiguity disorients


(Khayam's) desire to die into the ="trms">world (='lgc'>~ to surrender into the life of things)

='lgc'>[title='lgc'>]
='strcls'>*describer's art='strcls'>*


autumn
a kind of logarithn of decay and rekindling

="large lg3" stl="font-size:110%">
to describe description
a work of advocacy
to go description-hunting in ="nms">ajayeb
evocation of sense perception (='lgc'>='lgc'>--> a ="trms">technique that Adventure Times TV series uses)

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

="large lg4" stl="font-size:112%"> ="ppl">="ppl">Foucault ='lgc'>[_="trms">bestiary of the ="trms">imagination='lgc'>]
...precisely because it puts them into ="trms">categories of their own, the Chinese encyclopedia localizes their ='lgc'>[fantastic entities, ="trms">fabulous ="trms">animals, poly="trms">morphous and demoniacal faces, creatures breathing fire,,='lgc'>] powers of contagion

encyclopedia ='lgc'>='lgc'>==> quality of ="trms">monstrosity does not ="trms">affect any real body (='lgc'>=/= ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurk)

="trms">animals in the non-place of ="trms">language, meeting in the im="trms">material sound of the voice pronouncing their enumeration

“Absurdity destroys the ‘and’ of the enumeration by making impossible the ‘in’ where the things enumerated would be divided up.”

the ‘operating table’
a table ='lgc'>='lgc'>--> a tabula, “that enables thought to operate upon the entities of our ="trms">world, to put them in order, to divide them into classes, to group them ="trms">according to names that designate their similarities and their ="trms">differences='lgc'>--the table upon which, since the beginning of time, ="trms">language has ="trms">intersected space.” (="ppl">="ppl">Foucault, The Order of Things)

="large lg5" stl="font-size:114%"> ="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

='strcls'>*="trms">questionable ="trms">interpretations

='at'>#attention
(='lgc'>[art/='lgc'>]="trms">aesthetics of noticing)='lgc'>='lgc'>--> apprecia[...]