[...]age afforded to) the emerging self and the self's relation to the idea of national space
between raw perception and creative imagination
surveying and plotting the world
the drama of european literature: an unforeseen theatricalization of the self in the 15th-17th century
-the self seems to be produced in the form of a subject, as a paradoxical being divided between a representation of the conditional relations it is producing and the composite nature of the simultaneously aural and visual medium of print
-growth of cartography parallels that of the coming of autobiography --> mapping is responsible for the consciousness that leads to the production of the fashioned self

rise of:
•autobiography
•opera
•natural history


Olearius multiplicity of roles
artist, geographer, historian, tourist, merchant, diplomat,

Olearius's production of self
mantle of artist is passed on to the author, who asserts himself and his new status in pictorial form
[in the corner of the map of Flensborg from Newe Landsbeschreibung] a hat obscures the specific character traits of the individual [artist/cartographer], and the image opts instead to emphasize the professional activity of the geographer [==> *expert: a new subject ruled by laws of classification or ideology, an expert cosmographer or topographer]
+ 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

Olearius's scientific reticence (kam-guyi کم گويى)
he quotes (without attribution) Athanasius Kircher: “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 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. --?--> Harvey's discovery of the circulation of blood


...cartographic literature both reflected and brought about changing perceptions of the world

about Marco Polo
Gabriel: Marco Polo did not have the influence on geography that one might have expected [...] he had no corresponding education, had been unable to make astronomical observation, and the results of these thrown-together maps was complete chaos [!]


the shape-shifting Caspian sea


*** Tabula Asiae ***

Olearius's 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:
“[Perisans] do not speak much and are more apt to act than to speak. they like the uncleanness or lust of the body; they are measured in their eating habits; they seldom keep to what they promise unless it is to their advantage” --> 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 ==> they are indeed different from the Europeans


discourse of analogy
cartographic evidence

a book of others

the ways it fashions received information

“Ortelius's innovation in the science of cartography is that he attends less to the “big picture” of the world than to putting together an illustrated summery of possibly infinite number of fragmentary parts (Conley)
--> “segmentable” units of an infinite possibility of scale and focus (#Goolge maps)


[]
Blue Map of Persia


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

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

*encircling ocean* surrounded the known world, and that usually have south at the top, probably to emphasize the importance of Mecca

system of Climes

(book of) notification: tanbih تنبیه


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

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

“drawn from life”

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

Olearius designs a brilliant visual program
visual table of contents
his nascent (dar tavalod درحال تولد) nationalist feelings
he translates both:
•the literature of the Persian poet
•the visual code of the land (he has visited)

traces of the author within the map
signs of the hidden power relation
depiction of the exotic “other” --> represented visually and typologically categorized, be it within the map itself, or in the boundary areas, in the margins of the representational space**

--?--> Timuri jiz

patronage
naming


“es gab eine lustige perspective”

of note in this scene [shah Safi's banquet for the Hostein embassy] is the woman alongside the 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 nature is laid bare

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

the scene of Eastern opulence and decadence corresponds to a 17th century (or even 21st century) Westerner's conception of an Oriental court

oriental stage

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

صورت الأرض  surate al-arz (face of earth)

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

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

Verran: *innovating to effect the discipline of deductive proof in ancient Greek*

(i found out--Pierre also noted--that in my work i tend to) inspire a baroque style of empirical analysis

[*]baroque
--> now you see it, now you don't
--> (a thread of innovation in) mixing words and visuals
--> wonder-filled difference
--> sensibility concerned with collective way finding through complexity
*baroque sensibility* loves unlikely juxtaposition
*baroque form lives with passionate intensity*

****forms of non-explanation [=/= to reflect of ‘what is’ from a meta position****]:
•juxtaposition
•stories
•framing
•reframing
•folds --> working within the ‘folds’
•working on the edge
-
--> *pushing and pulling at the interfaces we feel ourselves enmeshed in* [<-- that is exactly the description of what i do. #amazon project]


to recognize stories of entrepreneurship as stories of working relations between people, technology, and nature
@Setareh


acknowledge our “understanding of”(s)


(taking diagrams as involved only in) epistemic practices linking the mess of the actual and the ideal of the future =/= (account of diagrams that focuses on their unique) contribution in rhetoric --> *collective way-finding* (that #Olearius works agains for iranians and german, and Sa'di's version)
[diagrams:]
•(graphs, images, visuals that fill the) two-dimensional physical spaces
•screened images that cover the surfaces of a *tapestry*
•visuals performing in a graphic register in *tension* with linguistic registers (Verran) --> figurations designed to work with text --> open up a space for imagining their capacities as *agential devices* --> (how) diagrams intervene in the organization and governance of institutions --> *diagrams as objects of governance and organization* embeding working imaginaries (such as in the imperial enterprise of the Duke Frederick that Olearius worked for) --and--> diagramatic devices of technoscience ==> enforcing *non-equivocation* and *non-contradiction* : the standard rhetoric of Western scientific thought and argument - - --> ***devices enacting norm***

[*]diagrams: a juncture: text-graphic[...]