[...] 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

="large lg2" 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


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


“you are gorgeous and i am coming” ='heart'>♥

an approximation, unstoppable as an approachoig sound of approaching organism


="large lg1" stl="font-size:111%"> 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


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)

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="large lg3" stl="font-size:110%"> ="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.”

="large lg4" stl="font-size:110%"> 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)

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

='at'>#attention
(='lgc'>[art/='lgc'>]="trms">aesthetics of noticing)='lgc'>='lgc'>--> appreciation of multi="trms">species landscape, making living ="trms">ecologies

="large lg5" stl="font-size:119%"> which sectors/fields of art require artist to go out and notice things='qstn'>?
(engage with which) details of the ="trms">world ='lgc'>='lgc'>--> breaking common sense

our mamalian bias='lgc'>:
="lsts lst1">•predetermined body shape and size
="lsts lst1">•run toward death (pre-programmed death ='lgc'>=/= ="trms">history) ='lgc'>='lgc'>==> makes us think in terms of set-life courses
='lgc'>}='lgc'>='lgc'>==> allow us to ="trms">imagine a standard individual outside of ="trms">history

(="ppl">Tsing's) ="trms">history='lgc'>: overlapping tracks and traces and many ="trms">trajectories of ="trms">world-making, human and not human

irreversible time [...]