[...]='strcls'>*='lgc'>]لحن tone='lgc'>: special effects, evoking a ‘moment of’ ... intense statement of feeling ='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


="large lg2" stl="font-size:111%"> ='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


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

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

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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

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'>==> makes us think in terms of set-life courses
='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 ='lgc'>==> indeterminacy (of ="trms">history) ='lgc'>='lgc'>--> new alliances ='lgc'>='lgc'>--> the ability of assemblages to produce ="trms">historical changes in our common ="trms">world

what needs to be stated
what needs to be produced

context-dependent ='lgc'>--='qstn'>?='lgc'>='lgc'>--> the way things are

architecture of podium ='lgc'><='lgc'>--='not'>✕='lgc'>='lgc'>--> labor-process of the actual speaker
how talks are ='strcls'>*actually='strcls'>* produced
in your ="trms">material practices
hybrid in digital manual tactile operations of speaking

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

(Gordon allowing) ='strcls'>*algorithms to become ="trms">stories='strcls'>*

(the ="trms">technological enablement of some) ='strcls'>*disciplines of attention='strcls'>*

“we are al lichen”='lgc'>: we are all eco="trms">system com="trms">posite critters


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


='at'>#some ="ppl">="ppl">Baradian models of ="trms">intra-action in popular cinema='lgc'>:
="lsts lst1">•(="trms">intra-action received and wielded through discipleship and pre-programmed talent='lgc'>:) The Force in ="ppl">="ppl">Starwars. ='lgc'>[the ="trms">story don't allow any other ="trms">story of The Force and its ="trms">contingencies other that good and evil tool-use of it='lgc'>]
="lsts lst1">•(="trms">intra-action resisted by individual subjectification='lgc'>:) the shadowy ="trms">monster from the Upside Down in The Str="trms"nttrm="danger,stranger">anger Things, possessing the character. ='lgc'>[the ="trms">story is based on non-="trms">intra-active models and mode of being in the ="trms">world of multi="trms">species in multi-dimensions, it wants clear boundried subjects encapsulated by psychological ego and self-possession persons, ideas of identity and power ='lgc'>='lgc'>--> life insurance ="trms">system='lgc'>]
="lsts lst1">•(="trms">intra-action resisted by the political ="trms">modern concrete individualism='lgc'>:) ="trms">relationship with the phantom of state in The Handmaid's Tale. ='lgc'>[overlapping a flat image of totalitarian ="trms">society into ="trms">religion='lgc'>]


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="trms">technosphere='lgc'>: (conceptualized as) an unintended muddle of multi="trms">species ="trms">relationships emerging from contaminated landscapes, dumps
='lgc'>--reconsider-with='lgc'>-> feral ="trms">technologies='lgc'>: novel and weedy capacities for ="trms">materially significant change

="large lg3" stl="font-size:112%"> invasive artificial intelligence

="trms">anthropo="trms">cene='lgc'>: a multidimensional puzzle structured around complexities and ruptures ='lgc'>='lgc'>--> when ways of being ='and'>& ways of belonging can no longer be studied ex="trms">="trms"nttrm="cluster,club">clusively
(human-nonhuman-machine)

="lsts lst1">•who orders the ="trms">technosphere='qstn'>?
="lsts lst1">•who inhabits the ="trms">technosphere='qstn'>?
="lsts lst1">•


="large lg4" stl="font-size:112%"> ="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

“unmediated experience” ='lgc'>--(signals a d="trms"nttrm="danger,stranger">anger)='lgc'>='lgc'>--> naive realism (='lgc'>+ its polar op="trms">posite='lgc'>: naive subjectivism)


soup operatic
operatic (='lgc'>='lgc'>--> opera)
aporetic (='lgc'>='lgc'>--> aporia)
operative (='lgc'>='lgc'>--> secret ="trms">agent)

="large lg5" stl="font-size:153%"> ="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

‘learning’ in biology='lgc'>: (how to overcome X that) its ="trms">ancestors would have not met
='lgc'>='lgc'>--> ="trms">stories of ‘trial-and-error’ in ="trms">animals
='thdf'>the idea of having ‘varying ="trms">technique’ (closer to human) in regard to biological stasis
how ='thdf'>the idea of ‘intelligence’ in ="trms">animals is construted ="trms">according to venture capitalism predatory prefer[...]