[...]more valuable world
(Roethke:) “when is description mere? never!”
-->
[*]صنعت تضاد san'at-e tazad, polarity: the pull of forces in opposition ==makes==> writing feel alive
[*]projection: that psychological mechanism by which we turn the world, or other people, or deer (into versions of ourselves) --> it is not a sin; it is our method of operating, our modus operandi (--> “pathetic fallacy”: inevitable perceptual work of the human; “if you are miserable, then the trees look miserable to you”)
[*]qualifiers sefat صفت gheyd (adjectives and adverbs) intended to lend a host of sensory qualities to the sentence; (sometimes too much) adjectival or adverbial flavoring. [#training: remove every adjective and adverb, and see what you have got left --> **there is always a more exact term waiting to be employed**] (Foad's severe economy of means; Janina's allusive, shimmery surfaces delight) ([*]style: a simple way of saying complex things. -Cocteau)
[*]نظم nazm: musicality of poetry, poem's body of sound is its specific particular flesh, sonic texture --> **making the language more markedly like the world** [a trail, pathway through a wood of sounds, an unmistakably specific landscape, loyal to the local]
[*]synesthesia: occasion of excitement, a skein of complicated perception, (sort of a literary technique,) something like a snapshot of the image-making mind at work --> superimposition of both events and of senses (and of scenes?) ==> a consciousness
(aim of many artists:) “to form the sensorium, the sphere of perception in which we dwell” @Hoda =/= (Doty suggests:) it is work to sort them out (what sorts out senses? question @Hoda, she must learn: an accurate rendering of an idiosyncratic process of sensory overlap and association)
[*]لحن tone: special effects, evoking a ‘moment of’ ... intense statement of feeling ==> a concretely descriptive feeling
[*]questions are always a little more trustworty than answers (?) -- sometimes things said do not take the *rhetorical form of a question* [--> in apass i was training to be able to capture those kind of ummarkedly questions] --> something said (described) with room for indeterminacy ///*convex mirror* (Doty's refractive thinking)
[*]فعل verb, the descriptive force of the right (hardworking) verb, a kind of muscular concreteness. sometimes verbs gain descriptive force when other parts of speech are newly cast in active roles

*invocation = directly addressing the thing creates a sense of immediacy and of connection
*thou, with its suggestion of divinity or beloved --> prayer
*hectic: uncomfortable alliance, inharmonious, something that might set the teeth on edge
*destroy --> a death-steeped perception that reads the wind as a “destroyer”
*world of fused duality


‘and’ --> the signature element of a place, of a landscape, the conjoined body : the animate and the inorganic as one thing


*the project of being alive* (is little understood)

([my project is perhaps] to become) a person whom the ancient world is remarkably vivid*** ♥
to have gossiped about figures of ancient Persia

to believe that the *world is queer* (=/= Mobed, Foad, Reza)
(we need -->) a window of doupt through which all creative possbility comes into being

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

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


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


lush, sensuous, flowering

parallel text to the creature


“you are gorgeous and i am coming” ♥

an approximation, unstoppable as an approachoig sound of approaching organism


testing and smelling
insight and sound --> Lili


an aphrodisiac and a chastening reminder: getting sidetracked by grief


“my portion this time”

*art is a house that tries to be haunted* ♥ (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? @Marialena
lap and drag. crag and gleam
(monosyllables --> are we reading nouns or verbs? tough, playful ocean)

syntactical ambiguity disorients


(Khayam's) desire to die into the world (~ to surrender into the life of things)

[title]
*describer's art*


autumn
a kind of logarithn of decay and rekindling


to describe description
a work of advocacy
to go description-hunting in ajayeb
evocation of sense perception (--> a technique that Adventure Times TV series uses)

...................................

Foucault [_bestiary of the imagination]
...precisely because it puts them into categories of their own, the Chinese encyclopedia localizes their [fantastic entities, fabulous animals, polymorphous and demoniacal faces, creatures breathing fire,,] powers of contagion

encyclopedia ==> quality of monstrosity does not affect any real body (=/= lurk)

animals in the non-place of language, meeting in the immaterial 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 --> a tabula, “that enables thought to operate upon the entities of our world, to put them in order, to divide them into classes, to group them according to names that designate their similarities and their differences--the table upon which, since the beginning of time, language has intersected space.” (Foucault, The Order of Things)

...................................

*questionable interpretations

#attention
([art/]aesthetics of noticing)--> appreciation of multispecies landscape, making living ecologies

which sectors/fields of art require artist to go out and notice things?
(engage with which) details of the world --> breaking common sense

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

(Tsing's) history: overlapping tracks and traces and many trajectories of world-making, human and not human

irreversible time ==> indeterminacy (of history) --> new alliances --> the ability of assemblages to produce historical changes in our common world

what needs to be stated
what needs to be produced

context-dependent --?--> the way things are

architecture of podium <--✕--> labor-process of the actual speaker
how talks are *actually* produced
in your material practices
hybrid in digital manual tactile operations of speaking

noticing ants, spiders, little traps, species cohabiting, mutual coproduction of economics, ecology, labor-studies, house-hold studies, ajayeb-studies, and understanding of the orders of the natural and human world

(Gordon allowing) *algorithms to become stories*

(the technological enablement of some) *disciplines of attention*

“we are al lichen”: we are all ecosystem composite critters


ants, combining two kinds of noise, half-hazard patterns of interaction
half-hazard contact
half-hazard context
}==> it works (=/= perfection, precision/efficiency of clockwork)


#some Baradian models of intra-action in popular cinema:
•(intra-action received and wielded through discipleship and pre-programmed talent:) The Force in Starwars. [the story don't allow any other story of The Force and its contingencies other that good and evil tool-use of it]
•(intra-action resisted by individual subjectification:) the shadowy monster from the Upside Down in The Stranger T[...]