[...]نم پیش یزدان پاک
شب تیره چون روی زنگی سیاه ستاره نه پیدا نه خورشید و ماه
تو خورشید گفتی به بند اندرست ستاره به خم کمند اندرست
ز شبگیر تا تیره شد آفتاب همی خون به جوی اندر آمد چو آب
به روز درخشان شب آمد سیاه چپ و راست لشکر بیاراستند
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in old ="trms">Farsi='lgc'>:
پرچم='lgc'> = دم گاو بزرگ
خانه='lgc'> = اتاق
هیجان='lgc'> = مستی جنسی (حیوان نر)، جنبش دریا
دانستن to know='lgc'> = توانستن to be able to
خسته شدن getting tired='lgc'> = مجروح شدن getting injured
سرشتن to create='lgc'> = مخلوط کردن to mix, ="trms">compose
راه بردن='lgc'> = شناختن، بلد بودن
raftan='lgc'> = eshal gerftan
dashtan='lgc'> = motevaghef kardan
afzudan='lgc'> = toghyan kardan
="brkr">
TRAVEL='strcls'>*
="prgrph">-Adam ="ppl">Olearius (ambassador, ="trms">translator, Russian='lgc'>+Persian)
="prgrph">-="ppl">Sa'di (="trms">poet, ="trms">traveler, theorist of ="trms">love and friendship, )
="prgrph">-="frds scrmbld">Sana='lgc'>+="frds">Sina (artist, rese="trms"nttrm="search">archer, ="trms">translator, )
="trms">world='qstn'>? what is late today='qstn'>? trans-late='lgc'>: beyond being late ='lgc'>-='lgc'>-> ="trms">travel and arriving late
="trms">travel, trans, transportation, ="trms">poetry, disruption in ="trms">travel, traumatic ="trms">travel, log,
traumatic ="trms">travel='lgc'>:
="trms">poetic source/act
related to refuging
voyage
exploration
investigate ="trms">poetry and ="trms">travel in the 12th century and 16th century and 21st century encounter
="trms">translational ="trms">worlding between German ="nms">Iranian cross-cultural speculative ="trms">narratives that we ="trms">fabulate with artistic and research ="trms">methodologies
="trms">trajectory, destined beings, ="trms">translations, transportation, routs, paths, maps,
transportation ="trms">system
="trms">translation ="trms">system
error in destination(='qstn'>?) ='lgc'>[="trms">ontology of ‘error’ in 12th, 16th, 21st='lgc'>]
mutation in the garden(='qstn'>?)
="trms">technological ="trms">system of destiny -='qstn'>?='lgc'>-> ="ppl">Sa'di
the flow of energy and ="trms">material ='lgc'>: dejle-biaban continuity
which ="trms">agential force or ="trms">travel ="trms">agency ="ppl">Sa'di or ="ppl">Olearius or ="frds scrmbld">Sana or ="frds">Sina is enrolled or registered in, that it sends them off to far distances='qstn'>?
pure political plays='qstn'>?
the ="trms">question of ambassadorship
ambassadorial activities of ="frds scrmbld">Sana and ="frds">Sina
the ="trms">question of diplomacy
ambassador='lgc'>: ="trms">storytelling, acting,
comparative thinking, comparative research, comparative ="trms">translational ="trms">methodology ='lgc'>: ='strcls'>*self in ="trms">world='strcls'>* tech., lit., dis.,
which ="trms">technologies (of ="trms">composing, of ="trms">writing, of figuring) are installed for ="ppl">Sa'di in the 12th century and for Adam ="ppl">Olearius in the 16th century that allows them to ="trms">imagine and engage in/with what we call today ='strcls'>*mondial='strcls'>*='qstn'>?
(="ppl">Sa'di ='lgc'>+ ="ppl">Olearius='lgc'>:)
chance encounter, fai="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lures, ="trms">writing, making figures, ="trms">loving, making friends, their acts of ="trms">worlding (='qstn'>?), ="trms">composing ="trms">worlds, (de-="trms">compose='qstn'>?)
="trms">technicity='lgc'>: armillary sphere, Globe of Gottorf, Golestan, drawings, star constellations with astrological and mythological ="trms">symbols, inside-outside model of the ="trms">cosmos,
='lgc'>-='lgc'>-> they both have concerns of ='strcls'>*global consciousness='strcls'>* ='lgc'>-='lgc'>-> and their ="trms">differences='lgc'>: two (or more) ="trms">different ="trms">world knowl="trms"nttrm="knowledge,Knowledge">edges
GPS='lgc'>: global ="trms">system ="trms">position, concern of both ="ppl">Sa'di and ="ppl">Olearius
an excuse to ="trms"nttrm="already,spread">read and investigate their ="trms">worldings='qstn'>? ="trms">translations between ="trms">worlds, and sewing, tearings, and so on during the Safaviten and the Russian Tsar 16th century ="trms">cosmology and models of reciprocity
(="trms">Translation is always ="trms">interpretive, critical, and partial.)
="trms">intersection of multiple hierarchies='lgc'>:
="prgrph">-the Safaviten order (Isfahan architecture)
="prgrph">-the Duke of Holstein-Gottorp order (family architecture, court and mathematic)
="prgrph">-Tsar order (="trms"nttrm="disturban">urban)
="prgrph">-="trms">literature of reciprocity='strcls'>***
="frds scrmbld">Sana keywords='lgc'>: distortion, displacement, distance, alternation, collage, b="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lur (noun), noise, voice-over, subtle changes, micro-macro, micro-politic, rhythm, turbulence, fragmentation, ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor, persistence, repetition, dist="trms"nttrm="disturban">urbance,
(unexpected)
='lgc'>-='lgc'>-> separation ='qstn'>?='qstn'>?='qstn'>? ='lgc'>=/=='qstn'>? ="trms">compose
media/mediums='lgc'>: new ="trms">narratives (script, score, etc.), image archive, garden (="trms">material and ="trms">semiotic site), performance ="trms">poetry, land-art, video
why video='lgc'>: using performative ="trms">materials, enactments and ="trms">staging of speculative ="trms">narratives, experimental film making, editing, cheap visual effects, animation and drawing. by using the local geography and landscape of Eckernförde, employment of fragmented scores and modest ="trms">embodiment, experimental acting and ="trms">storytelling, the video as a generous medium holds and hosts all our gathered ="trms">materials, and enables a linear but expansive experience. we will ="trms">write short scripts based on ="trms">stories from ="ppl">Olearius's ="trms">travel logs in ="nms">Iran and ="ppl">Sa'di's Golestan in order to put them into tests after 8 and 3 centuries, and produce intensity and curiosity for a richer way of relating to our shared cultural ="trms">heritages and ="trms">literacies.
practical='lgc'>: we will explore all the mentioned ideas and ="trms">storylines as starting points to create ="trms">interest for ="trms">material-discursive practices of ‘="trms">worlding’ and ‘encountering’ in cross-="trms">techno-cultural ="trms">intersections.
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='lgc'>[working='lgc'>] title='lgc'>:
Das Gesicht des Paradies
the cast of one Globe to another
Globe of Gottorf of Golestan
“Each serving diligently in its own appointed place”
“Deliverance from the yoke of bondage”
The Globe of Gottorf and deliverance from the yoke of bondage
The cast of Golestan and the magnitude prison of Globe
Das Gesicht des Paradies und schlichtendes Gottorfer Riesenglobus
Adam ="ppl">Olearius and ="ppl">Sa'di in bondage
magnetic fields of
="trms">intermediate ="trms">category
contiguous mass of flowers and tulips
magnitude prison
Others adopt Hell
...instead you are in paradise
="trms">traveling
post ="trms">travel
Paradise Roads
Gesicht
Globe of Gottorf and Golestan of ="ppl">Sa'di
foreign affairs
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Pl="trms">anthropos="trms">cene, the age of gar="trms">dens
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='lgc'>[...='lgc'>] re="trms">membering is not a replay of a string of moments, but an enlivening and reconfiguring of ="trms">past and future that is larger than any individual. ='lgc'>[...='lgc'>] The ="trms">past is never finished. It cannot be wrapped up like a package, or a scrap="trms">book, or an acknowledgment; we never leave it and it never leaves us behind.
="ppl">="ppl">Barad's mother's ="trms">question='lgc'>: “what good is there in offering recognition that can't be recognized='qstn'>?”
='lgc'>[...='lgc'>] there is only the ongoing practice of being open and ='strcls'>*alive to each(other)='strcls'>* meeting
“How to disrupt patterns of thinking that see the ="trms">past as finished and the future as not ours or only ours='qstn'>?”
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When we ="trms"nttrm="already,spread">read or hear any ="trms">language statement from the ="trms">past, we ="trms">translate.
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the ways ="ppl">Olearius remains non-="nms">Iranian all the way
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="ppl">Conley's notion of “Haptic Eye” (in line with ="ppl">="ppl">Marks)
dilate the way (here='qstn'>?), we can't elsewhere
the lines that ="ppl">Olearius draws have their o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin in their process, in the line, and in the support that line receives,
the drawing that causes the line
the hand that sees
a hand that perceives
the reciprocity between seeing and drawing is that which ="trms"nttrm="metaph,metamorph,metabol,metal">metabolizes ="ppl">Olearius ='lgc'>--(the ="trms">interchangeability of the visual and ="trms">verbal)='lgc'>-='lgc'>-> “="trms">simultaneous process of subjectivation and objectivation” (of sensation)
study of the Persian object
gradually discovering what is in the image
to the image
(al="trms"nttrm="already,spread">ready knowing what it is)
how the screen/surface inflicting things far and near
(an) art of viewing
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how the eye and the object of my vision constitute each other
optical visuality
="trms">erotically charged moment
='lgc'>-='lgc'>-> the distanced is sensed
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='strcls'>*="trms">world laid bare
lay='lgc'>: to place down in a ="trms">position of rest, or in a horizontal ="trms">position
bare='lgc'>: naked, open
a political ="trms">aesthetic='lgc'>: a seeing hand relates to prehension (Greifen) of the ="trms">world at large, the ="trms">world at its ="trms">imagined totality, ='strcls'>*a ="trms">world in which any ocular grasp is utopian='strcls'>* (and is always politically invested)
celestial sphere
|
terrestrial sphere
|
the insular eye
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='lgc'>[a map='lgc'>] it tells a ="trms">story, an itiner[...]