[...]ary ='lgc'>[...='lgc'>] it whets the ="trms">imagination. It propels ="trms">narrative but also, dividing our attention, prompts reverie and causes our eyes to look both inward, at our own geographies, and outward, to rove about the frame and to engage, however we wish, the space='lgc'>[...='lgc'>]


(طرز بیان tarz-e bayan) idiolect of the geographer and cartographer

is ="trms">composed of signs that do not transcribe speech. Riddled with speech and ="trms">writing

a “map” that plots and colonizes the ="trms">imagination of the public it is said to “invent” and, as a result, to seek to control.

an image that locates and patterns the ="trms">imagination of its ="trms">spectators

="large lg2" stl="font-size:110%"> When it takes hold, ='lgc'>[a map='lgc'>] encourages its public to think of the ="trms">world in concert with its own ="trms">articulation of space.

(the advent of ="trms">bird-eye-view culture)

A map underlines what a film ='lgc'>[or text='lgc'>] is and what it does, but it also opens a rift or brings into view a site where a critical and productively ="trms">interpretive ="trms">relation with the film ='lgc'>[or text='lgc'>] can begin.

='strcls'>*locational ="trms">imaging='strcls'>*

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 ="trms">past or anticipated ="trms">memory in dialogue with the names, places, and forms on the map='lgc'>[...='lgc'>]

(="ppl">Olearius drawings and frontispieces) establishes a geography, manufactured from cartographic elements

When a geography is given a sense of identification, of ="trms">difference, doubt, a discerning gaze, or a critical reverie ='lgc'>[the people, ="trms">animals, subjects in the map cannot see how they are being mapped='lgc'>]


(how certain places are made to become the) simulacra of others='strcls'>*

perspective, visual style, ="trms">narrative economy, scale, ='lgc'>[...='lgc'>], the stakes of ="trms">mimesis, and reception

="large lg1" stl="font-size:119%">
="trms">story about the demise of nation and its cartographer='lgc'>:
(Dreamtigers by J. L. Borges)
In my ="trms">childhood I was a fervent worshiper of the tiger='lgc'>: not the jaguar, the spotted “tiger” of the Amazonian tangles and the isles of vegetation that float down the Paraná, but that striped, Asiatic, royal tiger, that can only be faced by a man of war, on a castle atop an elephant. I used to linger endlessly before one of the cages at the ="trms">zoo; I judged vast encyclopedias and ="trms">books of ="trms">natural ="trms">history by the splendor of their tigers. (I still re="trms">member those illustrations='lgc'>: I who cannot ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rightly recall the brow or the smile of a woman.) ="trms">Childhood passed away, and the tigers and my passion for them grew old, but still they are in my dreams. At that submerged or chaotic level they keep prevailing. And so, as I sleep, some dream beguiles me, and suddenly I know I am dreaming. Then I think='lgc'>: this is a dream, a pure diversion of my will; and now that I have unlimited power, I am going to cause a tiger.
Oh, incompetence! Never can my dreams engender the ="trms">wild ="trms">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 ="trms">bird.

='strcls'>****
The one that is in the other forever betrays its ="trms">differences with respect to its surrounding milieu in the field of the frame.


cartography at the time of its emergence in early ="trms">modern print-culture ='lgc'>[...='lgc'>] maps were tipped into ="trms">books to call attention to the aspect and format of a medium for which seeing and ="trms"nttrm="already,spread">reading were of a same character.


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 ="trms">accord with where it is felt in respect at once to itself and to its milieus.='strcls'>***

maps ='lgc'>==> that we are ="trms">naturally in the ="trms">world

="trms">ontology is a function of geography

='strcls'>*** Figures in a topographic field are as they are because geography is destiny ='strcls'>***

(can be defined in a narrow sense) Identity='lgc'>: the consciousness of belonging (or longing to belong) to a place and of being at a distance from it.


map='lgc'>:
="lsts lst1">•a guarantee for “taking place”
="lsts lst1">•a sign of prevarication (a map is inserted both to establish a fallacious authenticity of a place and to invent new or other spaces)


We find ourselves immediately undone by the weightless fact that we have no reason to be where we are.


="trms">rhetoric of invisibility

maps are of a spatial scale

the ="trms">history of cartography is marked by the appropriation, control, and administration of power (as David Buisseret ='lgc'>[1992='lgc'>], Michel ="ppl">="ppl">Foucault ='lgc'>[1975 and 1994 (1967)='lgc'>], J. Brian Harley ='lgc'>[1988 and 2001='lgc'>], Denis Wood ='lgc'>[1992='lgc'>], and others have shown)

="trms">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 ="trms">world


they lead the viewer “all over the map”


regime of the “image-fact” ='lgc'>='lgc'>--> implicit cartography
an abstract point of view on reality that is analyzed

="ppl">Conley > Bazin is close in spirit to the first sentence of Ptolemy's Geography in which ="trms">cosmography is likened to the construction of a ="trms">world map in the way a pa="trms">inter executes the portrait of the sitter, while topography is seen as a local view (of a city) in the way that the same pa="trms">inter depicts an isolated or detached piece, such as an eye or an ear.



(my deep ="trms">interest='lgc'>:) spatial ="trms">histories that procede us

Renaissance
='strcls'>*art='lgc'>: various and always mobile ="trms">articulation of space
='strcls'>*="trms">writings='lgc'>: spatially conceived and ="trms">materially determined ='lgc'>='lgc'>--> they explore surfaces and volumes
='strcls'>*cartography='lgc'>: component of the ="trms">literary ="trms">imagination of the early ="trms">modern age

="large lg3" stl="font-size:110%"> ='lgc'>{="trms">narratives of the Renaissance tell of the construction of the subject through a venture='lgc'>--a plotted itinerary='lgc'>--into the realm of death and back again='lgc'>} (='at'># Adventure Time)

construction of space in disciplines that pertain to ="trms">geometry='strcls'>*
treating ="trms">writing as a function of extension ='lgc'>[="trms">according to ="ppl">Conley, Self-Made Map='lgc'>]
="trms">writing holds, penetrates, delineates, and explores space; it maps itself in ="trms">relation to an autonomous sig="trms">nature='lgc'>--born of the congress of space

early ="trms">modern='lgc'>: a growth of a com="trms">posite ="trms">writing that moves between diagrammatical and discursive inspiration ='lgc'>~=> creation of self

(i have a ="trms">relation with ="nms">ajayeb, or any ‘old’ text, in that of “the pleasure these works afford is due the ways that they allow us to invent ="trms">imaginary realms of space through our illusion of having ‘first-hand’ contact with them” ='lgc'>='lgc'>-->='qstn'>? creation of my “self”)
in a ="trms">world in which we discover our ="trms">heritage as gratuitous beings ='lgc'>='lgc'>--> a partial and universal ="trms">history of ourselves
we are products of individual and collective ="trms">histories

="large lg4" stl="font-size:112%"> geographic ="trms">literature


the sudden birth and growth of mapping (between 15th and 17th century)='lgc'>:
="lsts lst1">•in Renaissance admiration for antiquity Ptolemy esteemed as the ="trms">world's founding geographer
="lsts lst1">•in growth of ="trms">scientific revolution quantification and ="trms">measurement was stressed, the human body and the geographic landscape of the ="trms">natural ="trms">world became topics of ="trms">interest
="lsts lst1">•plotting and perspective='lgc'>: in re="trms">presentation art a “saturated reality” began to animate paintings ='lgc'>+ the invention of artificial perspective ='lgc'>==> new ways of gridding and plotting the ="trms">world
="lsts lst1">•political unification, or nation building, to use maps to construct ="trms">systems of defense
="lsts lst1">•='strcls'>*emerging self and to the self's ="trms">relation to ='thdf'>the idea of national space

new modes of surveying and plotting the ="trms">world influence re="trms">presentation of the private and public domains of the individual ="trms">writer

theatricalization of the self ='lgc'>='lgc'>--> a consciousness of its autonomy (through modes of ="trms">positioning ='lgc'>[in gridded and textual reality='lgc'>])
='lgc'>='lgc'>--> a new cartographic impulse='lgc'>:
="lsts lst1">•changing conditions of information
="lsts lst1">•new taxonomies
="lsts lst1">•new ="trms">relations that individuals hold with space
="lsts lst1">•emerging sense of national identity

="large lg5" stl="font-size:153%"> the self would acquire its identity through the creation of a space that bears the ="trms">presence (or the reminder) of the mapping of its sig="trms">nature
its “foundational fantasy” depends on (an alliance with) a strongly marked geographic consciousness

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