[...]ction

cosmic and affective space


illusion of a universe of infinite curvature

*the impossible “point of view” given to the observer of early world maps*



map =/=? mystical narrative --?--> depends on an itinerary through space and language

mysticism
only adjectival forms of the term had occurred (in Renaissance and before), suggesting that the nonsubstantive status of mystical activities made them more ‘real’ than we might believe ** (de Certeau)
the development of atlas-structures and of two-dimensional --> attenuation (taz'if تضعيف) of the mixture of scientific and mystical dimensions
incunabulum --> Cartesian method
from a half-named sense of the unknown --to--> a clearly articulated relation with the unknown****


[*]perspectival object: the positioning and mapping of the self in and about the world in its ongoing construction of psychogenesis + aesthetics + history of perspective + clinical practice*--> a series of junctures between a viewer and what he or she sees, projects, fantasizes, and remembers
--> body's location in the world ***


excess of mastery
absolute quest of power

*to make meaning enigmatic(?)

with Sana, we are engaged in an anti-globe making, a transitional object rather than a ‘glory globe,’ “a field of diagonical or interdiscursive ‘play’ between impressions and memories”
in our exhibition, we are working the gridded/allegorized cartographic discourse/consciousness through appeal to spatial rhetoric
(reworking) the new form of a self-produced “geography” of writing (emerging in 16th century)
-we are perhaps inclined with the figure of Rhizome (from Deleuze and Guattari), the unifying lines and connections that produce an image of...
[in a fairly common obsession, amateurs of maps ofen seek to find the names of the places where they were born or raised. but when Sana's father wanted to erase his name from the map Sana made with his itineraries we betrayed this originary site]
-schizoanalytic cartographies, Guattari on: conditions of enunciation, structures of individual and collective subjectivity)
-we say (in our work with Olearius): reading can be an actively vagrant, nomadic examination of ideological materials


...an attempt to create in an ever recurring, mobile, and modular structures that endow themselves with renewed form


*the cartographic project invents a relation with the past

[*]projective identification: an illusion that tells who, where, and what these maps are about, and specifies the power that they wish to appropriate in diplomatic (and military) areas

[*]perspectival object: is the concept that shifts the spectator from a passive role to that of an engaged traveler who moves through the time and space of a given body of words, images, and sensation --passage-into--> vital and marginal areas where imagination, fact, history, and self are combined


plastic and lexical attributes

confused pictorial and lexical properties

[*]pictogram: alphabetical shapes + bodily form + memory of a seemingly archaic past of confusion and violence + +
pictogram is mobile, it moves between one register of cognition and another, it resembles the rebus [word puzzle representing form of pictures or symbols; (Latin: “by things”) a kind of word puzzle which uses pictures to represent words or parts of words, for example H + picture of ear = Hear] and calligram [a poem with (a phrase or single word) in which the typeface or handwriting is important], it conflates language and image and is thus liable to move in many unpredictable directions**** (@Luiza, Sina)
pictogram mobilizes wit[--animates--> imaginary & real movement] and laughter <== “short circuiting of rational thinking” (Bastide) }--> for the construction of a psychogeography
-a pictogram attached to the place that it both represents and remotivates --> *old maps are preoccupied with information at the specific point where it can be written, only at the very site of its pertinence* (Jacob)


fragments of remembered writing


the labor of interpretation consists exactly in opening onto surprise [...] immediate rediscovery of the known (... Mijolla-Mellor) ♥


*
ideograms, mimetic figures, miming the objects
that disrupts and affirms the sate of things
a stenographic form that telescopes language and extends into space as it signals a point where memory and national identity are being schematized

a childhood experience

the subject uses the illusion of a given spatial and historical order to create an imaginary world of impressions that tie his or her body to a mobility of space and place



signature, affixed to the edges in the spandrels between a map and its borders, is both ungrounded and necessary

authenticating effect
a sense of self-distance and power are obtained in the enactment of a signature

Conley argues that: the individual who comes to be named as such can only do so when he or she gains the required illusion of having a real place in the world or, failing that, of experiencing movement in space and language that redeems the labor of living


cartography
•compass for verbal plotting
•turning the reader's gaze toward a productive consideration of its visible form


--*-- the dialogue and its dialogic echoes --*--


statecraft: fortification, centralization, extensive rebuilding (of national borders)
(Iran, Germany, Princess Bubblegum from Adventure Times)
--> (perspectival signature) existential relation with space
-Princess Bubblegum naturalized story: total control of now alienated bodies in a machine-determined future; (her jokingly horrible) mission to promote scientific management of every phase of society;
Princess Bubblegum = rational management in advanced monopoly capitalism


the cartographers create a “cultural entity” that, it is claimed, is only represented in the maps [...] also brought into being ... the authority that underwrote their own discourse ==> they make themselves

[*]colonialization is based on a culture's perceived need to acquire a protective zone between itself and the world in order to gain authority
(also) “it becomes increasingly difficult to find a stable signified to which the whole thesaurus of exotic signifiers may be referred” [Greenblatt]


topophilia


(i have been trying to reverse the movement of) transition from cosmography to topography

cartographic truth --> silent agenda (--> power structures)


motivation and demotivation of proper names and their implied referents

...................................

Allegories of the Continent

Persianisch, Persiae,

...................................

[Mary Louis Pratt]

“Our” Dr. Livingstone was a grand nephew of the “real” Dr. Livingstone in Africa. English Canada was still colonial in the 1950s: reality and history were somewhere else, embodied in British men.

The syllables wound through our lives, threading together by force of repetition things that were distant, discontinuous and unreal. Living stone. This is how empire makes the world meaningful to its subjects, how it weaves itself into the everyday.

...empire made us part of a history that was somewhere else made by people who were not us. At the same time, when it came to Africa, we knew who we were. Sunday school missionary stories built the color line into our imaginations. That was part of their job, to create us as subjects of empire, give us our place in the order.

The book aims to be both a study in genre and a critique of ideology. Its predominant theme is how travel books written by Europeans about non-European parts of the world created the imperial order for Europeans “at home” and gave them their place in it.  I ask how travel writing made imperial expansion meaningful and desirable to the citizenries of the imperial countries, even though the material benefits of empire accrued mainly to the few. Travel books, I argue, gave European reading publics a sense of ownership, entitlement and familiarity with respect to the distant parts of the world that were being explored, invaded, invested in, and colonized. Travel books were very popular. They created a sense of curiosity, excitement, adventure, and even moral fervor about European expansionism. They were, I argue, one of the key instruments that made people “at home” in Europe feel part of a planetary project; a key instrument, in other words, in creating the “domestic subject” of empire.

the rise of natural history

These case studies are shaped by a number of shared questions. With what codes has travel and exploration writing produced “the rest of the world” for European readerships at particular points in Europe’s expansionist process?

codifications of reality

the emanating glow of the civilizing mission
the cash flow of development

(it habitually blinds itself to) the reverse dynamic

obsessive need to present and re-present its peripheries

It becomes dependent on its others to know itself

important historical transitions alter the way people write, because they alter people’s experiences and the way people imagine, feel and think about the world they live in.

[...]how European travel writing interacted with enlightenment natural history to produce a Eurocentered form of global or “planetary” consciousness.

[Pratt considers] the classificatory schemes of natural history in relation to the vernacular peasant knowledges they sought to displace.

tourist propaganda
testimonio
oral history


If one studies only what the Europeans saw and said, one reproduces the monopoly on knowledge and interpretation that the imperial enterprise sought.


the passport: contact zone, like the flirting gaze of an Iranian woman with German ambassadors in Olearius images
Transculturation is a phenomenon of the contact zone.
metropolitan modes of representation

creating (your own) autonomous decolonized cultures
dynamics of creole self-fashioning

Pratt's “contact zone”: the space of imperial encounters, the space in which peoples geographically and historically separated come into contact with each other and establish ongoing relations, usually involving conditions of coercion, radical inequality, and intractable conflict.

“contact language”: an improvised language that develops among speakers of different tongues who need to communicate with each other consistently, usually in the context of trade.

“colonial frontier” --> “contact zone” shifts the center of gravity and the point of view
...the space and time where subjects previously separated by geography and history are co-present, the point at which their trajectories now intersect

a “contact” perspective emphasizes how subjects get constituted in and by their relations to each other


* travelers and travelees *
in terms of co-presence, interaction, interlocking understandings and practices, and often within radically asymmetrical relations of power


***strategies of innocence*** (constructed in relation to older imperial rhetorics of conquest)
--> main protagonist of the anti-conquest is a figure (Pratt sometimes calls) the “seeing-man”: (an admittedly unfriendly label for) the white male subject of European landscape discourse--he whose imperial eyes passively look out and possess


the idioms of travel and exploration


two processes in Northern Europe (“planetary consciousness”):
•the emergence of natural history as a structure of knowledge
•the turn toward interior exploration
+
•Bourgeois forms of subjectivity consolidated themselves
•new territorial phase of capitalism propelled by searches for raw materials began
•coastal trade extended inland
•


ways of reading and focusing rhetorical analysis

...................................

[Brancaforte]

word + image
art + science
visual + discursive

the reality that he [Olearius] has experienced

Conley: “the mass of textual material that accompanies single-sheet or atlas maps tends to reveal its ideological perspective in the gaps between a silent, spatial, schematic rendering of an area (in visual form) and a voluble [por harf پر‌حرف], copious, emphatic, printed discourse that strives to tell of the invisible history that the image cannot put into words”

questions of
•authorship
•political power
•intellectual influence


Meerwunder, exotic curiosities from the sea


“we were about a gun-shot's distance”

in the age of incipient European colonialist expansion

a truly Baroque (bestseller) work, Vermehrte Newe Beschreibung der Muscowitischen and Persischen Reyse
(in terms of Oriental drama)
erudition (fazl فضل) + adventure }-> in narrative
•it is Adventure Time




proto-ethnography
acquire eyewitness information about a relatively unknown part of the world
-(with Olearius's style we can hear) ethnography's mantra: “writing from the ground” --> attention to the shakenness of difference (encountered or imagined) [Stewart bringing my attention to the writing affect:] “ground” sends people bouncing, takes place as a threshold, hits the senses as a set of provocations. “Writing matters if objects of analysis are to be understood as emergent forms with qualities, intensities, and trajectories that can be described or evoked. Writing is not epiphenomenal to thought but its medium. As it sidles up to worlds, disparate and incommensurate things throw themselves together.” (Stewart 2012)
(the ground of Iran on which Olearius stands cannot be summarized in a literalized description, under the spell of a kind of cartographic shorthand [tond-nevisi تند نويسى، مختصر نويسى], into a strangely idealist paradigm that imagines the things of the world)
*writing can be:
•the practice of writing ourselves into our worlds as emergent and disparate ensembles --> speculative concept of ‘worlding.’ [to consider our] writing as an inscription that configures the spaces of form and event in daily living
•Stewart slowed ethnographic practice: Why does writing matter in ethnography? How do forms of writing change cultural theory? What questions do forms of writing raise about subjects and objects, forms of attention, the possibility of thinking through description? How do you describe a scene, a character, an event, a situation, a collective sensibility, a difference, a world? What does it mean to add density and texture to ethnographic description? What can ethnography do?
•attuned to the *forms and forces* unfolding in scenes and encounters --> *apparatus of conceptualization* [pulled into (a tricky) alignment with (your field's) immanent concerns and with the concerns of the worlds.] your (anthropological) objects have to “be walked around,” “approached from precise angles,” and seen as “states of being,” emergent, or suspended in potentiality, or collapsing, or residual, roosting on live matter. *culture ~= [*]the cultural: “a resonant and magnetizing field that registered in people and things living through events and conditions.” we try to describe sensibilities hitting people and traversing [...] things:
◦bodies of thought
◦assemblages of infrastructures and institutions
◦new ecologies
◦the rhythms of a daily living
◦the strangely connective tissue (produced by handheld devices and social media)
 }--> to compose a register of the lived affects of the things that took place in a social-aesthetic-material-political worlding [=/= “to track the predetermined effects of abstractable logics and structures."] ***singularities*** take place as a series of precisions (across sociality, materiality, infrastructure, etc.) they are “events of,” emerged in the lived problematics of a present ==> they could be brought to bear, deployed, maneuvered, suffered, or played with. [*]affects: “registering of life as an assemblage of elements thrown, in the course of events, into a contact aesthetic” [=/= the side effects of systems, codes, or imaginaries (located in an elsewhere)]
•return (anthropology) to sense and sensation (<== affect) (Olearius missed this, the “world” is proposed to him anchored in the consciousness of [his] humanist subject or its categories of thought. he misses Iran as a world charged with affect, which is a prolific, mixed-use contact zone in an ongoing state of transition that leaves [Iranian] people “improvising with already-felts” [~=? Golestan Sa'di]) -- affect added an affirmative critique that registers surprise at what and how things happen.
[*]affective subject: “a person who waits in the company of others for things to arrive, one who learns to sense out what's coming and what forms it might take, one who aims to notice what crystallizes and how things ricochet and rebound in a social-natural-aesthetic ecology of compositions and thresholds of expressivity.” --> “For the affective subject, there is always the weight of the world in what can be hoped for and what must be feared, in what flourishes and what matters.”
[*]Life: “an experiment of being in a world, of finding ways to be in circuits of force and form, an aspiration to get something out of the alchemical transmogrifications of things that twist off on trajectories far beyond humanist models of suffering or the usual hyperlegible registers of normativity and the state.” --> “[Life] takes place in the inhuman gestures of demons and angels, in the struggles of addicts and the rage of racists, in the endurance of the unbelievably injured or the oddly still curious.” (Stewart)
•a world deliteralized (with no endemic divide between a naturalized given order and the exceptionalism of event)
•things, to become recognizable as something to be in or near, or else to oppose and resist
•(affect --Deleuze-->) differential ontology: the prolific generativity of difference and connection taking place in a field of possibilities. affect studies now hitting:
◦anthropology
◦new materialism
◦object-oriented ontology
◦naturecultures
◦multispecies work
◦science studies
◦new ecologies
 --> “the generativity and volatility of life as such, to its capacity to actively shift or harden into forms of peace or violence, pleasure and pain, collectivities and chaos.”
[...] it looks for ways to describe what precedes and exceeds the categorical in the labors of living through historical presents.
[...] affect-inflected [study] leans into its descriptive objects with an eye to their hardenings into something recognizable (=/= what is often called ‘critical thinking’: habits of snapping, to catch the world in a lie, dualist dead ends of modernist humanist social science, independent logic of data, the conviction that something is wrong --> paranoid approaches to the world)
•ethnographic method of mattering, [why conceptuality might take radically different forms in Iran?] attention to the still unfolding [--> Foad's (mental habit of) describing the fixed object of destiny (of Iran).] how to move in the manner of things slipping in and out of existence? the way a world (in this case: Iran) elaborates in prolific forms, taking off in directions. the Iranian real is alchemical, traveling in circuits of impact and reaction, in which things happen. we must train ourselves on an effort to describe the iterations/durations/modes of “being taking place.”




Said: “the idea of representation is a theatrical one: the Orient is the stage on which the whole East is confined. on this stage will appear figures whose role it is to represent the larger whole from which they emanate...”
[when we use “theater” in a cartographic sense it refers to the dynamic space where the “I” or the “self” sees itself engaged in a public space (of kin, of others, of economic and political forces)]

the theatrical arts: spoken work + visual spectacle --> rise of opera
[--> rise of natural history]


observers of the differences between their civilization and that of the Persians, their standards of measure were those of the West:
Xenophon
Herodotus
Quintus Curtius Rufus
Strabo
Pausanias
Ammianus Marcellinus
Barnabas Brissonius
Pietro Bizzarri
Johannes de Laet
Thomas Herbert
Hans Schiltberger
Hans Christoph von Teufel
Stefan Kakasch
Anthony Jenkinson
Anthony and Robert Sherley
Thomas Coryat
Pietro della Valle
Garcai de Silva y Figueroa
Jean Babtiste Tavernier
Raphael du Mans
Olearius (1636)
Engelbert Kaempfer

a Greek invented dichotomy:
(Greek) small democracies =/= (Persian) powerful empire
modestia (cult of the simple and good) =/= superbid (pride)
law =/= monarch


‘conflict’ is a theme


Europe/Persia reasons for contact according to Cambridge History of Iran:
1- religious incentive (moharek محرک)
2- both against the Ottoman Turks
3- commercial incentive
4- travelers passed through Persia


Duke Frederick's commercial venture that would put the tiny territory on the map, as it were, and eliminate all its debts [...] with Adam Olearius chosen to chronicle the mission as its official secretary
“Duke's stated aim in sending the embassy to Persia was to establish a trade route with Persia and obtain exclusive rights to export silk from the area, thus squeezing out the other European competition, especially the Dutch”

his methodology
(Olearius's citational mobilization) a typical Baroque writer, he cites classical and Renaissance sources copiously and compares them to each other, thus paying homage to the scholarly tradition
•list the main features of a subject under discussion
•quote classical and contemporary authorities --> elicit different opinions
•

*correction of faulty source material imperative*

Harvey's new theory of the circulation of blood

Olearius:
•seasickness could be caused by motion of the waves
•“monsters” living along the Siberian coast are wrong
•

Olearius's methodology is that of a comparatist
he juxtaposes (the customs and social structures of the people he meets with those of his native land)

Olearius's trip ==> production of (superior maps)
Olearius ==> maps
Qazwini ==> lists
Sa'di ==> de-vice

Olearius's The Vermehrte Newe Beschreibung includes large, detailed, fold-out maps describing...
as well our technique in our work, with Sana
-our work/contribution includes placing maps and figures with the flux of discourse (=/= Olearius)

description of (the Persian) “natives” and their “nature” --> a codification of his human hosts


traditional western stereotypes regarding exotic eroticism

Shah Safi's banquet (sur سور) corresponds fully to a European's notion of what an oriental feast should entail

he marks the poles of Persian culture: as the site, on the one hand, of voluptuous, erotic encounters, and of unnatural cruelty and despotism on the other hand --> meant for the moral edification/codification of its western readers. (readers were taught about different countries + taught to be better European persons [with proper differences])


Baroque's excess of information
(as Pierre also noted in my style of language)

Beschreibung

*** the customs of the observed peoples ***
-->(language of pictorial representation emphasized)

temporal displacements [in his frames pictures]
inscriptions, conveying a sense of movement


scorpion bites Olearius (“Ich vom Scorpion gestochen” --> oriental danger) --> specimen scorpion (--> immobilized and tamed) --> back in the Kunstkammer --> Duke's cabinet of curiosities (--> on display)
["his” experience =/= Sa'di's technologies of writing]

Olearius + Hakwirdi --> Golestan of Sa'di

Sa'di's influence on German baroque literature:
•Grimmelshausen (Simplicissimus)
•Lohenstein (Ibrahim Bassa and Ibrahim Sultan)
•Gryphius (Catherina von Georgien)
•Montesquieu (Letters Persanes)
•Goethe (West-östlicher Divan)


Jens from Kiel library, like Olearius, is appointed court librarian, by state/Duke, given the task of cataloging and expanding the ducal/official collection, and developing the Duke's Kunstkammer/Wunderkammer

Gotterffische Kunstkammer --> “Wunderbuch” (book of wonders), with its insistence on the concepts of writing + drawing

Olearius's genre of frontispiece, his engraved title pages --follow--> Norbert: kluger Vater or fleissiger Praeceptor
clever father / industrious preceptor مرشد مربى #Pir [--> “our common father in heaven"], wants to introduce his children and students to something in arts or sciences, “make them understand” by means of his mouth + pen :
*analogy/simile: showing something grand by showing them something [...]