[...]?”
“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
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
a map in a movie begs and baits us to ponder the fact that who we are or whomever we believe ourselves to be depends, whether or not our locus is fixed or moving, on often unconscious perceptions about where we come from and may be going.
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.
rhetoric of invisibility
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
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
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