[...]sional activity of the geographer ='lgc'>[='lgc'>='lgc'>==> ='strcls'>*expert='lgc'>: a new subject ruled by laws of classification or ideology, an expert ="trms">cosmographer or topographer='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
="ppl">Olearius's ="trms">scientific reticence (kam-guyi کم گويى)
he quotes (without attribution) Athanasius Kircher='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 ="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'>--='qstn'>?='lgc'>='lgc'>--> Harvey's discovery of the circulation of blood
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...cartographic ="trms">literature both reflected and brought about changing perceptions of the ="trms">world
about Marco Polo
Gabriel='lgc'>: Marco Polo did not have the influence on geography that one might have expected ='lgc'>[...='lgc'>] he had no cor="trms">responding education, had been unable to make astronomical observation, and the results of these thrown-together maps was complete chaos ='lgc'>[!='lgc'>]
the shape-shifting Caspian sea
='strcls'>*** Tabula Asiae ='strcls'>***
="ppl">Olearius's ="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'>:
“='lgc'>[Perisans='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 ="trms">measured in their eating habits; they seldom keep to what they promise unless it is to their advantage” ='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'>='lgc'>==> they are indeed ="trms">different from the Europeans
discourse of analogy
cartographic evidence
a ="trms">book of others
the ways it ="trms">fashions received information
“Ortelius's innovation in the ="trms">science of cartography is that he attends less to the “big picture” of the ="trms">world than to putting together an illustrated summery of possibly in="trms">finite number of fragmentary parts (="ppl">Conley)
='lgc'>='lgc'>--> “segmentable” units of an in="trms">finite possibility of scale and focus (='at'>#Goolge maps)
='lgc'>[='lgc'>]
Blue Map of Persia
influence of Ptolemy on the early islamic cartographers, in the time of Ma'mun
='thdf'>the notion of the inhabitable ="trms">world being divided into seven horizontal bands called ‘climata’ or agalim/aghalim/ اقلیم(a geographical model derived probably from Persia)
='strcls'>*encircling ocean='strcls'>* surrounded the known ="trms">world, and that usually have south at the top, probably to emphasize the importance of Mecca
="trms">system of Climes
(="trms">book of) notification='lgc'>: tanbih تنبیه
...pioneer on the road toward a (geographically) correct picture of Persia
_Persienbild_
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“drawn from life”
the imagery and allegorical figures found on the frontispiece are learned signifiers belonging to a visual ="trms">world that reflects and prefigures the ="trms">verbal description that forms the body of the work
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="ppl">Olearius designs a brilliant visual program
visual table of contents
his nascent (dar tavalod درحال تولد) nationa="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list feelings
he ="trms">translates both='lgc'>:
="lsts lst1">•the ="trms">literature of the Persian ="trms">poet
="lsts lst1">•the visual ="trms">code of the land (he has visited)
traces of the ="trms">author within the map
signs of the hidden power ="trms">relation
depiction of the exotic “other” ='lgc'>='lgc'>--> re="trms">presented visually and typologically ="trms">categorized, be it within the map itself, or in the boundary areas, in the margins of the re="trms">presentational space='strcls'>**
='lgc'>--='qstn'>?='lgc'>='lgc'>--> Timuri jiz
patronage
naming
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“es gab eine lustige perspective”
of note in this s="trms">cene ='lgc'>[shah Safi's banquet for the Hostein embassy='lgc'>] is the woman alongside the ="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 ="trms">nature is laid bare
“you see me from the outside, as a pleasant young man in years, but on the murderous ="trms">interior i am a tyrant.”
the s="trms">cene of Eastern opulence and decadence cor="trms">responds to a 17th century (or even 21st century) Westerner's conception of an Oriental court
oriental ="trms">stage
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صورت الأرض surate al-arz (face of earth)
اصطخری Istakhri, 10th century, ="trms">translated into German by Mordtmann
he met another celebrated ="trms">traveler, Ibn Haukul ابن حوقل
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="ppl">Verran='lgc'>: ='strcls'>*innovating to effect the discipline of deductive proof in ancient ="trms">Greek='strcls'>*
(i found out='lgc'>--="frds scrmbld">Pierre also noted='lgc'>--that in ='mywrk'>my work i tend to) inspire a baroque style of ="trms">="trms">empirical analysis
='lgc'>[='strcls'>*='lgc'>]baroque
='lgc'>='lgc'>--> now you see it, now you don't
='lgc'>='lgc'>--> (a th="trms"nttrm="already,spread">read of innovation in) mixing words and visuals
='lgc'>='lgc'>--> ="trms">wonder-filled ="trms">difference
='lgc'>='lgc'>--> sensibility concerned with collective way finding through complexity
='strcls'>*baroque sensibility='strcls'>* ="trms">loves unlikely juxta="trms">position
='strcls'>*baroque form lives with passionate intensity='strcls'>*
='strcls'>****forms of non-explanation ='lgc'>[='lgc'>=/= to reflect of ‘what is’ from a ="trms"nttrm="metaph,metamorph,metabol,metal">meta ="trms">position='strcls'>****='lgc'>]='lgc'>:
="lsts lst1">•juxta="trms">position
="lsts lst1">•="trms">stories
="lsts lst1">•framing
="lsts lst1">•reframing
="lsts lst1">•="trms">folds ='lgc'>='lgc'>--> working within the ‘="trms">folds’
="lsts lst1">•working on the ="trms"nttrm="knowledge,Knowledge">edge
="prgrph">-
='lgc'>='lgc'>--> ='strcls'>*pushing and pulling at the ="trms">interfaces we feel ourselves enmeshed in='strcls'>* ='lgc'>[='lgc'><='lgc'>-- that is exactly the description of what i do. ='at'>#amazon project='lgc'>]
to recognize ="trms">stories of entrepreneurship as ="trms">stories of working ="trms">relations between people, ="trms">technology, and ="trms">nature
='at'>@="frds scrmbld">Setareh
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acknowl="trms"nttrm="knowledge,Knowledge">edge our “understanding of”(s)
(taking diagrams as involved only in) ="trms">epistemic practices linking the mess of the actual and ='thdf'>the ideal of the future ='lgc'>=/= (account of diagrams that focuses on their unique) contribution in ="trms">rhetoric ='lgc'>='lgc'>--> ='strcls'>*collective way-finding='strcls'>* (that ='at'>#="ppl">Olearius works agains for ="nms">iranians and german, and ="ppl">Sa'di's version)
='lgc'>[diagrams:='lgc'>]
="lsts lst1">•(graphs, images, visuals that fill the) two-dimensional physical spaces
="lsts lst1">•screened images that cover the surfaces of a ='strcls'>*tapestry='strcls'>*
="lsts lst1">•visuals performing in a graphic register in ='strcls'>*tension='strcls'>* with ="trms">linguistic registers (="ppl">Verran) ='lgc'>='lgc'>--> ="trms">figurations designed to work with text ='lgc'>='lgc'>--> open up a space for ="trms">imagining their capacities as ='strcls'>*="trms">agential devices='strcls'>* ='lgc'>='lgc'>--> (how) diagrams ="trms">intervene in the organization and governance of institutions ='lgc'>='lgc'>--> ='strcls'>*diagrams as objects of governance and organization='strcls'>* embeding working ="trms">imaginaries (such as in the imperial enterprise of the Duke Frederick that ="ppl">Olearius worked for) ='lgc'>--and='lgc'>='lgc'>--> diagramatic devices of ="trms">techno="trms">science ='lgc'>='lgc'>==> enforcing ='strcls'>*non-equivocation='strcls'>* and ='strcls'>*non-contra="trms">diction='strcls'>* ='lgc'>: the standard ="trms">rhetoric of Western ="trms">scientific thought and argument - - ='lgc'>='lgc'>--> ='strcls'>***devices enacting norm='strcls'>***
='lgc'>[='strcls'>*='lgc'>]diagrams='lgc'>: a juncture='lgc'>: text-graphic / graphic-text as an ephemeral clot لخته of ="trms">material ="trms">semiotic resources where words are embedded in graphics as much as graphics are buried in words
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...not collaborate enough to benefit from each other's insights
='lgc'>[re="trms">presenting passage of a domain of innovation from ="trms">past to future='lgc'>]
is there a way re="trms">presenting the many ="trms">differences at play='qstn'>? are there other ways apart from one arrow pointing towards one futre='qstn'>? the answer was swift='lgc'>: “no, that would not be wise. we need to de="trms">monstrate that we stand united ='lgc'>[as an industry, nation, family,,,='lgc'>]” ='lgc'>='lgc'>--> it was ="trms">mutually and tacitly agreed that this is how innovation happens ='lgc'>: man-made devices ride into the future on arrows of progressive tinkering with heterogeneous things
(="ppl">Verran ="trms"nttrm="already,spread">reading/naming of) normative iconography of ="trms">technological innovation
assumptions of ="trms">technological innovation='lgc'>:
="lsts lst1">•physics as fundamental knowl="trms"nttrm="knowledge,Knowledge">edge (='lgc'>='lgc'>--> the ="trms">translation of kinetic energy to electrical energy and the variables that influence the efficiency of that ="trms">translation) ='lgc'>[='lgc'>--(this is)='lgc'>='lgc'>--> knowl="trms"nttrm="knowledge,Knowledge">edge relating to environmental and ="trms">social contextualization of the ="trms">techniques described by physics ='lgc'>='lgc'>==> constitution of environmental robustness ='lgc'>==achieving='lgc'>='lgc'>==> ="trms">social acceptability='lgc'>] ='lgc'>='lgc'>--> the ="trms">rhetoric of a diagram embeding that assumption='lgc'>:
="lsts lst2">◦‘additive’ ='lgc'>: that knowl="trms"nttrm="knowledge,Knowledge">edge becomes relevant at ‘later’ ="trms">stages in the life of the model asserted by the diagram. the purview of the ‘additive’ diagram ='lgc'>: negotiation and strategy reside in the realm of subjectivity, therefore cannot be re="trms">presented ='lgc'>}='lgc'>='lgc'>==> subjects, those who do the organizing and the gi="trms">verbing, do not belonge to the ‘core’ that the diagram claims to re="trms">present ='lgc'>: ='lgc'>[subject='lgc'>]='lgc'>--='lgc'>[emptiness='lgc'>]='lgc'>--='lgc'>[dieagram='lgc'>]
='lgc'>='lgc'>--> rendering innovation as a ‘general event’ of an ‘un="trms">specifiable future’ that is progressed towards ='lgc'>+ idealizing sites ='lgc'>[= times and places (of these affairs)='lgc'>] ='lgc'>[not allowing the ="trms">questioning of these sites as ="trms">obligatory passage points (for innovation)='lgc'>]
='lgc'>='lgc'>--> claiming for itself a capacity to rea="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listically map a stable ="trms">system
(diagram of ="trms">technological innovation='lgc'>: a cartography of stable entities and stable ="trms">relations) ='lgc'>=/= a complex and emergent ="trms">system embedding ambiguity and contra="trms">diction
='lgc'>='lgc'>--> promoting an organizational regime that proceeds by conforming to standards of non-contra="trms">diction and non-equivocation in its ="trms">rhetoric ='lgc'>=/= baroque baldachin (arshe عرشه) (with other than re="trms">presentation capacities) explicitly recognizing complexity, openness, and emergence ='lgc'>--offering='lgc'>='lgc'>--> ='lgc'>[enabling graphics to offer='lgc'>] pilotage خلبانى
='strcls'>***every tool should pose not only ="trms">technically complicated ="trms">questions rather fundamental ones='strcls'>***
branched tree diagram='lgc'>: saying that knowl="trms"nttrm="knowledge,Knowledge">edge of the ‘branches’ in="trms"nttrm="cluster,club">cludes a conception of the truck, sug="trms">gesting='lgc'>: to understand is to understand how the truck generates the branches, and that is what is learnt and transmitted by specia="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists (="ppl">="ppl">Stengers, ='at'>@="frds scrmbld">Eszter)
="ppl">Verran > ="ppl">="ppl">Stengers working on the “gods and demons that populate physics”
='lgc'>[...='lgc'>] rejection and enclosure within the domain of ‘non="trms">scientific’ or ‘simply subjective’ (of anything that cannot be reduced to the canon of the ‘simple’ model)
='lgc'>[="ppl">="ppl">Stengers='lgc'>]
(="ppl">Verran on) the capacities of numbers to ="trms">interpellate (رسما سوال کردن، استيضاح کردن) their users
diptych قاب دو لوحى
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model of meaning-making that diagrams initiate (spatially ='lgc'>+ ="trms">linguistically)
="trms">articulated sets of ="trms">relations
a particularly efficacious form of certainty-generating ="trms">rhetoric by ancient ="trms">Greek mathematicians (appropriated by thier politicians), ="trms">according to Netz='lgc'>: meaning-making in ="trms">geometry proceeds in a particular way, a way that generates deductive proof ='lgc'>='lgc'>--> (Netz's notion of) oral performance o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigins of meaning-making with diagrammatic device ='lgc'>=/= (="ppl">Verran's) graphics embedded within flows of words ='lgc'>='lgc'>--> ="trms">relations graphically plotted frame the ="trms">relations plotted in flows of words (and reversed)='lgc'>: diagrams labile ناپايدار in their forms of participation in collectives='strcls'>***
='lgc'>{='mywrk'>my research on pre="trms">modern ="trms">systematic investigation of strange singularities of the labile ="trms">phenomena ='lgc'>[lability='lgc'>: ="trms">liable to err and fall, slip, glide, flow='lgc'>] in the middle ages ='lgc'>--helps='lgc'>='lgc'>--> how in the absence of ="trms">authoritative ='strcls'>*source of knowl="trms"nttrm="knowledge,Knowledge">edge='strcls'>* in artistic research environments such as ="nms">apass, ='strcls'>*="trms">styles of knowing='strcls'>* ="trms">mime and ="trms">intertwine in ="trms">poetics, practice, and politics='lgc'>}
speaking from diagram (offering possibilities of pilotage of the emergent ="trms">relations) ='lgc'>=/= speaking to diagram (a form of ="trms">presentation, a proposed ‘found’ ="trms">past in an idealized future, proposing as a rea="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic map of a given)
='at'>@="frds scrmbld">Eszter='lgc'>: the ="trms">question of recognizing the complexity of manipulating sets of ="trms">relations expressed graphically ='lgc'>='lgc'>--> developing (in my self) a contrast which offers possibilities for ="trms">rhetorically distinguishing between ‘speaking from’ and ‘speaking to’ ='lgc'>='lgc'>==> shifts that can effect moves in collective meaning-making
wordy texts
(="ppl">="ppl">Star Trek's) displaying “our” ="trms">modern commonplaces out of the place they are coming from ='lgc'>='lgc'>--> makes me vomit
="prgrph">-in US sci-fi TV series we face that we are still ="ppl">Aristotlian, in our regulation of speech, we live under the regime of non-contra="trms">diction and of non-equivocation (tie up our public life in it) (='lgc'>='lgc'>--> when i say this is not my ="trms">story, i am talking about another tradition of speech regulation)
proto-Baroque theater
='strcls'>*ambiguous monarchy='strcls'>*
absolutism has never been a feature of ="nms">Iran monarchies
(who='qstn'>?) put an end to the complex, emergent baroque polity
a baroque sensibility was no longer salient in the Danish monarchical context and the baldachin became war booty ='lgc'>='lgc'>--> that is how Adventure Time's sensibility is now
='lgc'>[="ppl">Verran ='and'>& Winthereik briliant thinking and ="trms">literature:='lgc'>] “baldachin was designed to perform within the tense shifting landscape of partnerships as="trms">sociated with an aristocracy vigorously reorganizing itself as it emerged out of the crisis of the late medieval.”
there was a shift from ‘vertical to horizontal ="trms">social ="trms">integration’ (="frds scrmbld"nttrm="Christianson">Christianson) with a better-off peasantry and a surge in the ="trms"nttrm="disturban">urban middle classes, and secular magnate families (n="nms">ajibzade نجيب زاده)
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the baldachin was a device that performed in a force field='lgc'>--a wary but indomitable alliance of crown and noble magnates ='lgc'>='lgc'>--> baldachin as a diagram in as="trms">sociation with texts, the speech, and bodily ="trms">gesture of court events
diagram='lgc'>: ambiguously and ambivalently ‘spoken from’ (='lgc'>='lgc'>--> proposing how a just ="trms">society might be achieved) and ‘spoken to’ (='lgc'>='lgc'>--> a vivid vision of a just polity)
a ="trms">figuration that equivocates over what a just ="trms">society is
baroque diagram's felicity and ability to assist ='strcls'>**collective passage through complexity='strcls'>**
tapestry (فرش / منقوش ='lgc'>='lgc'>--> is concerned with collective way-finding ='lgc'>~ pilotage) and diagram ='lgc'>}='lgc'>='lgc'>--> has to do with the collective
baldachin and the (innovation) model as ="trms">material ="trms">semiotic devices that ="trms">intervene in the ‘happening of the real’ (="trms"nttrm="failure,blur,plur,lurk,tallur,slur">Lury ='and'>& Wakeford, Winthereik ='and'>& ="ppl">Verran)
="prgrph">-they press upon others their ="trms">presence as ='strcls'>*participating entities='strcls'>* and offer ='strcls'>*pilotage='strcls'>*
the model perfroms by eschewing اجتناب contra="trms">diction and equivocation ='lgc'>=/= the baldachin (my graphs, atlases) elaborately figures both equivocation and contra="trms">diction ='lgc'>='lgc'>--> ='strcls'>*it equivocates about contra="trms">diction='strcls'>*
='lgc'>[equivocate='lgc'>: in Medieval Latin perfect passive participle of aequivocō “I am called by the same name”, doubtful signification='lgc'>]
="ppl">Verran (in baroque form juxtaposing an engineering object with an art object) identifies diagrams as capable of effecting ='strcls'>*dual ="trms">rhetorical shifts='strcls'>*, effect possibilities of moving between speaking from and speaking to ='lgc'>='lgc'>--> open up possibilities for equivocatign our contra="trms">dictions ='lgc'>+ (re="trms">presenting =) ='strcls'>*equivocating over what exactly is re="trms">presented='strcls'>*='lgc'>[='lgc'><='lgc'>-- in ="nms">apass this is what i always do, in a way my project='lgc'>]
(='at'>@="nms">apass, attending to iconography opens up a space for asking='lgc'>:)
='strcls'>****what are doing here together='qstn'>?
='strcls'>****what kind of pilotage does this diagram offer and to whom='qstn'>?
(a way of abandoning ='thdf'>the idea that these objects are essentially ="trms">different) ='lgc'>='lgc'>--> attending an object as='lgc'>:
="lsts lst1">•="trms">story
="lsts lst1">•diagram
="lsts lst1">•
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="trms">intermingling the sexuality and ="trms">materiality of bodies with the transcendental concepts and ="trms">questions of spirituality and ="trms">religion
to re-insert the body back into ="trms">religious imagery
queer ="trms">religious imagery
culture-jam
weaving their desire and bodies back into an ex="trms">="trms"nttrm="cluster,club">clusionary ="trms">narrative
(un)critical faith
sexuality, gender, and bodily regulation in ...
deep inextricability of ="trms">religious and secular discourses in constructing the body, as well as the ways in which such discourses alone can never tell the complete ="trms">story of gendered and sexual bodies and practices (Wetzel)
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="ppl">Saadia ="ppl">="ppl">Toor
() within the neo-Orienta="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list discourse ='lgc'>[='lgc'>='lgc'>~= liberal ="trms">modernity as ="trms">embodied by ‘the West’ and Barbarism as connoted by Islam='lgc'>] ‘the Muslim’ enemy is today configured as both misogynyst and homophobic (with an essentialized Islam comfortably ="trms">posited as the roots of illiberalism='lgc'>[= ="trms">presented as the mark and the evidence of Islam's radical alterity from Western civilization='lgc'>])='lgc'>='lgc'>==> “civilizing ="trms">missions” ='lgc'>[such as my orientation course (as an ideological cover) in Germany='lgc'>] ='lgc'>+ ='lgc'>[="frds scrmbld">Hoda's bottom-lined subjugated self puts her on such “="trms">mission” (‘to rescue women’ and) ends any discussion with her (about women, or Islam)='lgc'>] ='lgc'>}='lgc'>='lgc'>==> essentialized and monolithic (and flattened) ‘Islam’ emptied of ="trms">history, diversity, complexity, and dissent ن[...]