[...] ...superfluity of details mannered and lss="trms"nttrm="cluster,club">cluttered with unlss="trms"nttrm="already,spread">read decorative motifs set in an unlss="trms"nttrm="already,spread">readable space
<lgc clss='lgc'>[lgc>16th century frontispiece; lss='mywrk'>my work is sometimes like that<lgc clss='lgc'>]lgc>
<lgc clss='lgc'>=/=lgc> (Rubin's title pages<lgc clss='lgc'>:lgc>) portrayed in an intelligible space, imbued with dramatic light effects, with a sense of movement, monumental architecture with three-dimensional figures moving in a lss="trms"nttrm="already,spread">readable illusionistic space

‘stretched-out lss="trms">animal skin with the head in the top center’ <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> Rubin's artistic lss="trms">vocabulary <lgc clss='lgc'>[lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> followed in today way of layout<lgc clss='lgc'>]lgc>
lion<lgc clss='lgc'> = lgc>saint's attribute <lgc clss='lgc'>--lgc>transformed<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> medium for lss="trms">writing
<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> (underscoring the) significance of ls clss='strcls'>**ls>trophyls clss='strcls'>**ls><lgc clss='lgc'>:lgc> subjugating a lss="trms">wild dlss="trms"nttrm="danger,stranger">angerous lss="trms">animal and then displaying it proudly for all to admire
l clss="ppl">Oleariusl>'s choice of lionskin<lgc clss='lgc'>:lgc>
<lstsrd clss="lstsrd">1- dramatic visual introduction (to Golestan)
lstsrd> <lstsrd clss="lstsrd">2- piques the lss="trms"nttrm="already,spread">reader's lss="trms">interest in the work
lstsrd> <lstsrd clss="lstsrd">3- stands for dlss="trms"nttrm="danger,stranger">angerous exotic land (Persia) that has been lss="trms">symbolically tamed and displayed for the Western viewer
lstsrd> <lstsrd clss="lstsrd">4- lss="trms">material of lss="trms">writing <lgc clss='lgc'>+lgc> lss="trms">material being lss="trms">written about
lstsrd>

<lrg clss="large lg2" stl="font-size:111%"> deictic

the lss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigor mortis of the body
lrg>

the dramatic pose of the Persian husband
the curtain-like skin
the “emblematic corpse” on a “lss="trms">stage”
to serve as ‘exemplum’ tamsil تمثيل
<lgc clss='lgc'>+lgc> martyr-like European hero who suffers the slings and arrows of outrageous Tatars
<lgc clss='lgc'>}lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> theater of cruelty


bellicosity (amade be jang آماده به جنگ)

lss="trms"nttrm="already,spread">reader/viewer is horrified lss='and'>& fascinated <lgc clss='lgc'>--lgc>provide<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> a tale of ls clss='strcls'>*ls>oriental atrocitiesls clss='strcls'>*ls> <lgc clss='lgc'>--lgc>set-for<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> lss="trms">stage adventure lss="trms">stories that follow...

lrg>lbrkr stl="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................lbrkr>

less obviously, from standard geographical texts of the Islamic lss="trms">world. yet with its emphasis on direct observation and critical objectivity, the map also points the way toward the more exacting “lss="trms">scientific” standards of the Enlightenment.

maps are cultural artifacts
Persia<lgc clss='lgc'>:lgc> exotic <lgc clss='lgc'>+lgc> faraway

map <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> analysis
a map<lgc clss='lgc'>--lgc>like a frontispiece<lgc clss='lgc'>--lgc>is comprised of both visual and textual elements, combining word and image; it relss="trms">presents a type of text, or discourse, that needs to be analyzed in detail in order to be “lss="trms"nttrm="already,spread">read” correctly


maps are never completely lss="trms">translatable (nor lss="trms"nttrm="already,spread">readable)

lss="trms">language lss="trms">translates into lss="trms">historical practice

carto-lss="trms">literacy

lss="trms">rhetorical device, ekphrasis<lgc clss='lgc'>:lgc> description

graph-o suglss="trms">gests both picture and lss="trms">writing ls clss='strcls'>*ls>

the cartographic enterprises under Duke Frederick III of Schleswig-Holstein-Gottorf

mathematical principles <lgc clss='lgc'>+lgc> projection lss="trms">methods

14th century, seeks to inlss="trms"nttrm="cluster,club">clude “ancient and lss="trms">modern discoveries in one lss="trms">verbal and visual description”


early lss="trms">modern age military and strategic lss="trms">situation of europe

establish fortifications
lrg>
(Harley<lgc clss='lgc'>:lgc>) behind most cartographers there is a patron
mapping so became the business of the state and cartography is early nationalized
lss="prgrph">-global empire building
lss="prgrph">-preservation of the nation-state
lss="prgrph">-local assertion of individual property lss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rights
<lgc clss='lgc'>}lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> in each of these contexts the dimensions of polity and territory were fused in images which were part of the intellectual lss="trms">apparatus of power ls clss='strcls'>**ls>


individual niches <lgc clss='lgc'>[lgc>on<lgc clss='lgc'>]lgc> architectural plinth

in Newe lss='trgt hghlght 1'href='?q=L'>Landesbeschreibung<lgc clss='lgc'>:lgc> “in the beginning of the lss="trms">world, God created everything at once, with his clever/intelligent finger, using lss="trms">measure, weight and number ... because God is not a God of disorder, but wants everything to proceed in a proper manner and with the proper lss="trms">differentiation.” (lss="trms">translated in Vision of Persia, p.123)


illustrious predecessors
through their patronage and linked to the noble art of geography

the map is framed by scale bars (the cartouche <lgc clss='lgc'>[lgc>of title<lgc clss='lgc'>]lgc> rests on a kind of architectural base in which a scale bar is contained)ls clss='strcls'>***ls>
(graticules, more details,)
typography plays a role in emphasizing (noveltylss='qstn'>?)
geographical purview (meydan-e did, چشم رس، ميدان ديد) of the rulers

map and approval

lss="trms">different layers of information in the map<lgc clss='lgc'>:lgc> by looking at it all at once, it is difficult to comprehend the entire lss="trms">story that the lss="trms">author/artist are trying to tell. by examining individual visual elements in the map, and then linking them to the text, one can trace the lss="trms">different lss="trms">narratives extant<lgc clss='lgc'>--lgc>manifest and latent<lgc clss='lgc'>--lgc>in the work (l clss="ppl">Brancafortel> on l clss="ppl">Oleariusl> cartographic work)
(this visual lss="trms">rhetoric is also what i am using in my lss="trms">storytellings) (i also need to be careful with my collages<lgc clss='lgc'>:lgc> (notlss='qstn'>?) to map out creations that are totalities much greater than its lss="trms">author's own appreciation or conscious knowllss="trms"nttrm="knowledge,Knowledge">edge of them; to emerge an often confused and paradoxical but signatory “self” in the liminal/marginal areas of the page)
<lsts clss="lsts lst1">•“the mass of textual lss="trms">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، روان، سليس، چرب و نرم، خوش زبان), copious (mofasal مفصل), emphatic (mo'akad تاکيد شده), printed discourse that strives to tell of the invisible lss="trms">history that the image cannot put into words.” (l clss="ppl">Conleyl>)
lsts>

grid, superimposed on the map

a common topos in Persian painting<lgc clss='lgc'>:lgc> a male protagonist expecting the female to pour wine or some other liquid into the shallow bowl he is holding
this ‘anticipation of drink’ is construed (in the title of l clss="ppl">Oleariusl> map of persia) as a lss="trms">gesture of welcome and hospitality; providing the viewer with an iconic image of two “typical” inhabitants and their form of dress <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> “promise and peril” <lgc clss='lgc'>[lgc>riches to be found <lgc clss='lgc'>+lgc> dlss="trms"nttrm="danger,stranger">angers encountered; treasures <lgc clss='lgc'>+lgc> giant snakes<lgc clss='lgc'>]lgc>
this continues today<lgc clss='lgc'>:lgc> the image of an lss="nms">iranian woman in native dress

on the Persians’ inner lss="trms">nature and customs

the dedicatory cartouche's <lgc clss='lgc'>[lgc>special effects<lgc clss='lgc'>]lgc><lgc clss='lgc'>:lgc> ruler's name, capitalized, special style of italics
establishing the Duke's geographical purview <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> linked to foreign territories


through ‘knowllss="trms"nttrm="knowledge,Knowledge">edge’ and ‘discovery’ <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> learn about Safavid Persia

(l clss="ppl">Conleyl>)
(cartography during early lss="trms">modern age afforded to) the emerging self and the self's lss="trms">relation to lss='thdf'>the idea of national space
between raw perception and creative lss="trms">imagination
surveying and plotting the lss="trms">world
the drama of european lss="trms">literature<lgc clss='lgc'>:lgc> an unforeseen theatricalization of the self in the 15th-17th century
lss="prgrph">-the self seems to be produced in the form of a subject, as a paradoxical being divided between a relss="trms">presentation of the conditional lss="trms">relations it is producing and the comlss="trms">posite lss="trms">nature of the lss="trms">simultaneously aural and visual medium of print
lss="prgrph">-growth of cartography parallels that of the coming of autobiography <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> mapping is lss="trms">responsible for the consciousness that leads to the production of the lss="trms">fashioned self

rise of<lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•autobiography
lsts> <lsts clss="lsts lst1">•opera
lsts> <lsts clss="lsts lst1">•lss="trms">natural lss="trms">history
lsts>

l clss="ppl">Oleariusl> multiplicity of roles
artist, geographer, lss="trms">historian, tourist, merchant, diplomat,

l clss="ppl">Oleariusl>'s production of self
mantle of artist is passed on to the lss="trms">author, who asserts himself and his new status in pictorial form
<lgc clss='lgc'>[lgc>in the corner of the map of Flensborg from Newe lss='trgt hghlght 1'href='?q=L'>Landsbeschreibung<lgc clss='lgc'>]lgc> a hat obscures the lss="trms">specific character traits of the individual <lgc clss='lgc'>[lgc>artist/cartographer<lgc clss='lgc'>]lgc>, and the image opts instead to emphasize the professional activity of the geographer <lgc clss='lgc'>[lgc><lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> ls clss='strcls'>*ls>expert<lgc clss='lgc'>:lgc> a new subject ruled by laws of classification or ideology, an expert lss="trms">cosmographer or topographer<lgc clss='lgc'>]lgc>
<lgc clss='lgc'>+lgc> beautiful theories of a fire that burned in the human heart



he stick to his calculations despite the criticism he receives from colleagues and friends

l clss="ppl">Oleariusl>'s lss="trms">scientific reticence (kam-guyi کم گويى)
he quotes (without attribution) Athanasius Kircher<lgc clss='lgc'>:lgc> “some think that the earth, as well as the heavens have their intelligent angels or spirits which move inside them and thus bring the waters out of their depth” (Vision of Persia p.153)
therefore the waters were driven by a lss="trms">natural power through the hidden veins of the earth and rose up into the mountains, just as in a human being the blood rises from the liver to the heart and moves upward to the head through the vena cava. <lgc clss='lgc'>--lgc>lss='qstn'>?<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> Harvey's discovery of the circulation of blood


...cartographic lss="trms">literature both reflected and brought about changing perceptions of the lss="trms">world

about Marco Polo
Gabriel<lgc clss='lgc'>:lgc> Marco Polo did not have the influence on geography that one might have expected <lgc clss='lgc'>[lgc>...<lgc clss='lgc'>]lgc> he had no corlss="trms">responding education, had been unable to make astronomical observation, and the results of these thrown-together maps was complete chaos <lgc clss='lgc'>[lgc>!<lgc clss='lgc'>]lgc>


the shape-shifting Caspian sea

<lrg clss="large lg6" stl="font-size:106%">
ls clss='strcls'>***ls> Tabula Asiae ls clss='strcls'>***ls>

l clss="ppl">Oleariusl>'s lss="trms">travel account also seeks to be encyclopedic
...describe and judges the deviations from the European norm

common
barbarous
destruction of the body itself

Munster's final judgment<lgc clss='lgc'>:lgc>
“<lgc clss='lgc'>[lgc>Perisans<lgc clss='lgc'>]lgc> do not speak much and are more apt to act than to speak. they like the uncleanness or lust of the body; they are lss="trms">measured in their eating habits; they seldom keep to what they promise unless it is to their advantage” <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> a laconic (mojez موجز) group of people who are frugal (sarfeju صرفه جو) in their habits, rarely keep their word unless it is to their advantage and are also oversexed <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> they are indeed lss="trms">different from the Europeans


discourse of analogy
cartographic evidence

a lss="trms">book of others

the ways it lss="trms">fashions received information
lrg>
“Ortelius's innovation in the lss="trms">science of cartography is that he attends less to the “big picture” of the lss="trms">world than to putting together an illustrated summery of possibly inlss="trms">finite number of fragmentary parts (l clss="ppl">Conleyl>)
<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> “segmentable” units of an inlss="trms">finite possibility of scale and focus (lss='at'>#Goolge maps)


<lgc clss='lgc'>[lgc><lgc clss='lgc'>]lgc>
Blue Map of Persia


influence of Ptolemy on the early islamic cartographers, in the time of Ma'mun

lss='thdf'>the notion of the inhabitable lss="trms">world being divided into seven horizontal bands called ‘climata’ or agalim/aghalim/ اقلیم(a geographical model derived probably from Persia)

ls clss='strcls'>*ls>encircling oceanls clss='strcls'>*ls> surrounded the known lss="trms">world, and that usually have south at the top, probably to emphasize the importance of Mecca

lss="trms">system of Climes

(lss="trms">book of) notification<lgc clss='lgc'>:lgc> tanbih تنبیه


...pioneer on the road toward a (geographically) correct picture of Persia
_Persienbild_

lrg>lbrkr stl="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................lbrkr>

“drawn from life”

the imagery and allegorical figures found on the frontispiece are learned signifiers belonging to a visual lss="trms">world that reflects and prefigures the lss="trms">verbal description that forms the body of the work

l clss="ppl">Oleariusl> designs a brilliant visual program
visual table of contents
his nascent (dar tavalod درحال تولد) nationalss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list feelings
he lss="trms">translates both<lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•the lss="trms">literature of the Persian lss="trms">poet
lsts> <lsts clss="lsts lst1">•the visual lss="trms">code of the land (he has visited)
lsts>
traces of the lss="trms">author within the map
signs of the hidden power lss="trms">relation
depiction of the exotic “other” <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> relss="trms">presented visually and typologically lss="trms">categorized, be it within the map itself, or in the boundary areas, in the margins of the relss="trms">presentational spacels clss='strcls'>**ls>
lrg>
<lgc clss='lgc'>--lgc>lss='qstn'>?<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> Timuri jiz

patronage
naming
lrg>

“es gab eine lustige perspective”

of note in this slss="trms">cene <lgc clss='lgc'>[lgc>shah Safi's banquet for the Hostein embassy<lgc clss='lgc'>]lgc> is the woman alongside the lss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right wall, who seems to be flirting coquettishly with a German looking in her direction, thus establishing a kind of contact between the two cultures

the monarch's true lss="trms">nature is laid bare

“you see me from the outside, as a pleasant young man in years, but on the murderous lss="trms">interior i am a tyrant.”

the slss="trms">cene of Eastern opulence and decadence corlss="trms">responds to a 17th century (or even 21st century) Westerner's conception of an Oriental court

oriental lss="trms">stage
lrg>
lrg>lbrkr stl="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................lbrkr>

صورت الأرض  surate al-arz (face of earth)

اصطخری Istakhri, 10th century, lss="trms">translated into German by Mordtmann
he met another celebrated lss="trms">traveler, Ibn Haukul ابن حوقل

lrg>lbrkr stl="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................lbrkr>
lrg>
l clss="ppl">Verranl><lgc clss='lgc'>:lgc> ls clss='strcls'>*ls>innovating to effect the discipline of deductive proof in ancient lss="trms">Greekls clss='strcls'>*ls>

(i found out<lgc clss='lgc'>--lgc>lss="frds scrmbld">Pierre also noted<lgc clss='lgc'>--lgc>that in lss='mywrk'>my work i tend to) inspire a baroque style of lss="trms">lss="trms">empirical analysis

<lgc clss='lgc'>[lgc>ls clss='strcls'>*ls><lgc clss='lgc'>]lgc>baroque
<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> now you see it, now you don't
<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> (a thlss="trms"nttrm="already,spread">read of innovation in) mixing words and visuals
<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> lss="trms">wonder-filled lss="trms">difference
<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> sensibility concerned with collective way finding through complexity
ls clss='strcls'>*ls>baroque sensibilityls clss='strcls'>*ls> lss="trms">loves unlikely juxtalss="trms">position
ls clss='strcls'>*ls>baroque form lives with passionate intensityls clss='strcls'>*ls>

ls clss='strcls'>****ls>forms of non-explanation <lgc clss='lgc'>[lgc><lgc clss='lgc'>=/=lgc> to reflect of ‘what is’ from a lss="trms"nttrm="metaph,metamorph,metabol,metal">meta lss="trms">positionls clss='strcls'>****ls><lgc clss='lgc'>]lgc><lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•juxtalss="trms">position
lsts> <lsts clss="lsts lst1">•lss="trms">stories
lsts> <lsts clss="lsts lst1">•framing
lsts> <lsts clss="lsts lst1">•reframing
lsts> <lsts clss="lsts lst1">•lss="trms">folds <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> working within the ‘lss="trms">folds’
lsts> <lsts clss="lsts lst1">•working on the lss="trms"nttrm="knowledge,Knowledge">edge
lsts> lss="prgrph">-
<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> ls clss='strcls'>*ls>pushing and pulling at the lss="trms">interfaces we feel ourselves enmeshed inls clss='strcls'>*ls> <lgc clss='lgc'>[lgc><lgc clss='lgc'><<lgc clss='lgc'>--lgc>lgc> that is exactly the description of what i do. lss='at'>#amazon project<lgc clss='lgc'>]lgc>


to recognize lss="trms">stories of entrepreneurship as lss="trms">stories of working lss="trms">relations between people, lss="trms">technology, and lss="trms">nature
lss='at'>@lss="frds scrmbld">Setareh


acknowllss="trms"nttrm="knowledge,Knowledge">edge our “understanding of”(s)


(taking diagrams as involved only in) lss="trms">epistemic practices linking the mess of the actual and lss='thdf'>the ideal of the future <lgc clss='lgc'>=/=lgc> (account of diagrams that focuses on their unique) contribution in lss="trms">rhetoric <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> ls clss='strcls'>*ls>collective way-findingls clss='strcls'>*ls> (that lss='at'>#l clss="ppl">Oleariusl> works agains for lss="nms">iranians and german, and l clss="ppl">Sa'dil>'s version)
<lgc clss='lgc'>[lgc>diagrams:<lgc clss='lgc'>]lgc>
<lsts clss="lsts lst1">•(graphs, images, visuals that fill the) two-dimensional physical spaces
lsts> <lsts clss="lsts lst1">•screened images that cover the surfaces of a ls clss='strcls'>*ls>tapestryls clss='strcls'>*ls>
lsts> <lsts clss="lsts lst1">•visuals performing in a graphic register in ls clss='strcls'>*ls>tensionls clss='strcls'>*ls> with lss="trms">linguistic registers (l clss="ppl">Verranl>) <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> lss="trms">figurations designed to work with text <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> open up a space for lss="trms">imagining their capacities as ls clss='strcls'>*ls>lss="trms">agential devicesls clss='strcls'>*ls> <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> (how) diagrams lss="trms">intervene in the organization and governance of institutions <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> ls clss='strcls'>*ls>diagrams as objects of governance and organizationls clss='strcls'>*ls> embeding working lss="trms">imaginaries (such as in the imperial enterprise of the Duke Frederick that l clss="ppl">Oleariusl> worked for) <lgc clss='lgc'>--lgc>and<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> diagramatic devices of lss="trms">technolss="trms">science <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> enforcing ls clss='strcls'>*ls>non-equivocationls clss='strcls'>*ls> and ls clss='strcls'>*ls>non-contralss="trms">dictionls clss='strcls'>*ls> <lgc clss='lgc'>:lgc> the standard lss="trms">rhetoric of Western lss="trms">scientific thought and argument - - <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> ls clss='strcls'>***ls>devices enacting normls clss='strcls'>***ls>
lsts>
<lgc clss='lgc'>[lgc>ls clss='strcls'>*ls><lgc clss='lgc'>]lgc>diagrams<lgc clss='lgc'>:lgc> a juncture<lgc clss='lgc'>:lgc> text-graphic / graphic-text as an ephemeral clot لخته of lss="trms">material lss="trms">semiotic resources where words are embedded in graphics as much as graphics are buried in words
lrg>

<lrg clss="large lg3" stl="font-size:112%"> ...not collaborate enough to benefit from each other's insights
lrg>

<lgc clss='lgc'>[lgc>relss="trms">presenting passage of a domain of innovation from lss="trms">past to future<lgc clss='lgc'>]lgc>
is there a way relss="trms">presenting the many lss="trms">differences at playlss='qstn'>? are there other ways apart from one arrow pointing towards one futrelss='qstn'>? the answer was swift<lgc clss='lgc'>:lgc> “no, that would not be wise. we need to delss="trms">monstrate that we stand united <lgc clss='lgc'>[lgc>as an industry, nation, family,,,<lgc clss='lgc'>]lgc>” <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> it was lss="trms">mutually and tacitly agreed that this is how innovation happens <lgc clss='lgc'>:lgc> man-made devices ride into the future on arrows of progressive tinkering with heterogeneous things


<lrg clss="large lg4" stl="font-size:111%"> (l clss="ppl">Verranl> lss="trms"nttrm="already,spread">reading/naming of) normative iconography of lss="trms">technological innovation
lrg>
assumptions of lss="trms">technological innovation<lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•physics as fundamental knowllss="trms"nttrm="knowledge,Knowledge">edge (<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> the lss="trms">translation of kinetic energy to electrical energy and the variables that influence the efficiency of that lss="trms">translation) <lgc clss='lgc'>[lgc><lgc clss='lgc'>--lgc>(this is)<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> knowllss="trms"nttrm="knowledge,Knowledge">edge relating to environmental and lss="trms">social contextualization of the lss="trms">techniques described by physics <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> constitution of environmental robustness <lgc clss='lgc'>==lgc>achieving<lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> lss="trms">social acceptability<lgc clss='lgc'>]lgc> <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> the lss="trms">rhetoric of a diagram embeding that assumption<lgc clss='lgc'>:lgc>
lsts> <lsts clss="lsts lst2">◦‘additive’ <lgc clss='lgc'>:lgc> that knowllss="trms"nttrm="knowledge,Knowledge">edge becomes relevant at ‘later’ lss="trms">stages in the life of the model asserted by the diagram. the purview of the ‘additive’ diagram <lgc clss='lgc'>:lgc> negotiation and strategy reside in the realm of subjectivity, therefore cannot be relss="trms">presented <lgc clss='lgc'>}lgc><lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> subjects, those who do the organizing and the gilss="trms">verbing, do not belonge to the ‘core’ that the diagram claims to relss="trms">present <lgc clss='lgc'>:lgc> <lgc clss='lgc'>[lgc>subject<lgc clss='lgc'>]lgc><lgc clss='lgc'>--lgc><lgc clss='lgc'>[lgc>emptiness<lgc clss='lgc'>]lgc><lgc clss='lgc'>--lgc><lgc clss='lgc'>[lgc>dieagram<lgc clss='lgc'>]lgc>
lsts> <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> rendering innovation as a ‘general event’ of an ‘unlss="trms">specifiable future’ that is progressed towards <lgc clss='lgc'>+lgc> idealizing sites <lgc clss='lgc'>[lgc>= times and places (of these affairs)<lgc clss='lgc'>]lgc> <lgc clss='lgc'>[lgc>not allowing the lss="trms">questioning of these sites as lss="trms">obligatory passage points (for innovation)<lgc clss='lgc'>]lgc>
<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> claiming for itself a capacity to realss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listically map a stable lss="trms">system
(diagram of lss="trms">technological innovation<lgc clss='lgc'>:lgc> a cartography of stable entities and stable lss="trms">relations) <lgc clss='lgc'>=/=lgc> a complex and emergent lss="trms">system embedding ambiguity and contralss="trms">diction
<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> promoting an organizational regime that proceeds by conforming to standards of non-contralss="trms">diction and non-equivocation in[...]