[...]
raftan
dashtan
afzudan
TRAVEL
-Adam Olearius (ambassador, translator, Russian
-Sa'di (poet, traveler, theorist of love and friendship, )
-
world? what is late today? trans-late
travel, trans, transportation, poetry, disruption in travel, traumatic travel, log,
poetic source/act
related to refuging
voyage
exploration
investigate poetry and travel in the 12th century and 16th century and 21st century encounter
translational worlding between German Iranian cross-cultural speculative narratives that we fabulate with artistic and research methodologies
trajectory, destined beings, translations, transportation, routs, paths, maps,
transportation system
translation system
error in destination(?)
mutation in the garden(?)
technological system of destiny -?
the flow of energy and material
which agential force or travel agency Sa'di or Olearius or
pure political plays?
ambassadorial activities of
ambassador
comparative thinking, comparative research, comparative translational methodology
which technologies (of composing, of writing, of figuring) are installed for Sa'di in the 12th century and for Adam Olearius in the 16th century that allows them to imagine and engage in/with what we call today
(Sa'di
chance encounter, failures, writing, making figures, loving, making friends, their acts of worlding (?), composing worlds, (de-compose?)
technicity
GPS
an excuse to read and investigate their worldings? translations between worlds, and sewing, tearings, and so on during the Safaviten and the Russian Tsar 16th century cosmology and models of reciprocity
(Translation is always interpretive, critical, and partial.)
intersection of multiple hierarchies
-the Safaviten order (Isfahan architecture)
-the Duke of Holstein-Gottorp order (family architecture, court and mathematic)
-Tsar order (urban)
-literature of reciprocity
(unexpected)
media/mediums
why video
practical
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 Olearius and Sa'di in bondage
intermediate category
contiguous mass of flowers and tulips
magnitude prison
Others adopt Hell
...instead you are in paradise
traveling
post travel
Paradise Roads
Gesicht
Globe of Gottorf and Golestan of Sa'di
foreign affairs
Planthroposcene, the age of gardens
“How to disrupt patterns of thinking that see the past as finished and the future as not ours or only ours?”
When we read or hear any language statement from the past, we translate.
the ways Olearius remains non-Iranian all the way
Conley's notion of “Haptic Eye” (in line with
dilate the way (here?), we can't elsewhere
the lines that Olearius draws have their origin 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 metabolizes Olearius
study of the Persian object
gradually discovering what is in the image
to the image
(already knowing what it is)
how the screen/surface inflicting things far and near
(an) art of viewing
how the eye and the object of my vision constitute each other
optical visuality
erotically charged moment
lay
bare
a political aesthetic
celestial sphere
|
terrestrial sphere
|
the insular eye
(
is composed of signs that do not transcribe speech. Riddled with speech and writing
a “map” that plots and colonizes the imagination of the public it is said to “invent” and, as a result, to seek to control.
an image that locates and patterns the imagination of its spectators
When it takes hold,
(the advent of bird-eye-view culture)
A map underlines what a film
As the person who gazes upon a map works through a welter of impressions about the geographical information it puts forward—along with his or her own fantasies and pieces of past or anticipated memory in dialogue with the names, places, and forms on the map
(Olearius drawings and frontispieces) establishes a geography, manufactured from cartographic elements
When a geography is given a sense of identification, of difference, doubt, a discerning gaze, or a critical reverie
(how certain places are made to become the) simulacra of others
perspective, visual style, narrative economy, scale,
story about the demise of nation and its cartographer
(Dreamtigers by J. L. Borges)
In my childhood I was a fervent worshiper of the tiger
Oh, incompetence! Never can my dreams engender the wild beast I long for. The tiger indeed appears, but stuffed or flimsy, or with impure variations of shape, or of an implausible size, or all too fleeting, or with a touch of the dog or the bird.
The one that is in the other forever betrays its differences with respect to its surrounding milieu in the field of the frame.
cartography at the time of its emergence in early modern print-culture
toward productive, critical, and even creative speculation
To be able to say who one is depends on believing in the illusion that consciousness is in accord with where it is felt in respect at once to itself and to its milieus.
maps
ontology is a function of geography
(can be defined in a narrow sense) Identity
map
We find ourselves immediately undone by the weightless fact that we have no reason to be where we are.
maps are of a spatial scale
the history of cartography is marked by the appropriation, control, and administration of power (as David Buisseret
symbolic and political effectiveness of cartographic diagrams
(to leave open) the art of living with space itself
what it means to be located and discerned in the world
they lead the viewer “all over the map”
regime of the “image-fact”
an abstract point of view on reality that is analyzed
Conley > Bazin is close in spirit to the first sentence of Ptolemy's Geography in which cosmography is likened to the construction of a world map in the way a painter executes the portrait of the sitter, while topography is seen as a local view (of a city) in the way that the same painter depicts an isolated or detached piece, such as an eye or an ear.
(my deep interest
Renaissance
construction of space in disciplines that pertain to geometry
treating writing as a function of extension
writing holds, penetrates, delineates, and explores space; it maps itself in relation to an autonomous signature
early modern
(i have a relation with ajayeb, or any ‘old’ text, in that of “the pleasure these works afford is due the ways that they allow us to invent imaginary realms of space through our illusion of having ‘first-hand’ contact with them”
in a world in which we discover our heritage as gratuitous beings
we are products of individual and collective histories
geographic literature
the sudden birth and growth of mapping (between 15th and 17th century)
new modes of surveying and plotting the world influence representation of the private and public domains of the individual writer
theatricalization of the self
the self would acquire its identity through the creation of a space that bears the presence (or the reminder) of the mapping of its signature
its “foundational fantasy” depends on (an alliance with) a strongly marked geographic consciousness
mimes the construction (of a world)
contemporary politics of statecraft
...to locate a mobile site of anguish to project the portrait (of epic and lyrical scope) of a national subject?
...between experience and fantasy for the sake of producing imaginary conquests in the shape of self-aggrandizement?
ingenieur du moi
medium engineers
imaginary space, nation, selfhood
(Conley calls) writing “cartographic” insofar as tensions of space and of figuration inhere in fields of printed discourse
(although his understanding of writing as ‘effects of recorded speech’ is not interesting)
(and he ties to fast cartography to expansion and conquest, allegorical propaganda of cartographer's presence)
living conditions of vocal exc[...]