[...] words to the world --> **to feel, at least for a moment, language clicking into place, into a relation with the world that feels seamless and inevitable** -- when language seems to match experience, a kind of fusion between the word and the world : some tift is healed --> “the silken skilled *transremembrance* of a song” -[trans- : exchange of parts, one being fusing with another] --> “floating instant"--a part of the other, grown indistinguishable

the pleasure of recognizing a described world [****] --> work on ajayeb


festidious sense of accuracy


(Doty on) Elizabeth Bishop's poem “The Fish” (concerned with the experience of observing, aiming to track the pathways of scrutiny, *carefully rendered model of an engaged mind ar work*, looking into the fish's shifting eyes that can't be comfortably anthropomorphized. we can only guess if the poet is concerned with defeat, vitory, or survival) =/= Ferdosi's Rostam, or Div
Bishop's examination of the fish happening in the composition of the poem =/= straightforward record of perception

a tradition of seeking, in the vast book of difference (tha American continent offers)

(the poem) interprets a wordless, creaturely presence

baroque: attempt to dramatize the mind in action rather than in repose (Sa'di's baroque tendencies in Golestan)

fusing impressions synesthetically in a startling phrase
peeling scales provoke simile

...mind moving swiftly from observation to reverie

a compelling replica of inquiry ==> enlist the reader's participation in a version of the work of consciousness


descriptive acts --> attempt to render the world (and it is subject to revision)


*examplars of strangeness” (for my ajayeb, #writing Div descriptions)
-let's rewrite Div Sefid and give it more *wealth of detail*==> keeps the Div from becoming a symbol and allows it to *remain creaturely*
#Div poetry, to get close to a lived texture of creature, to allow the senses their complexity synthetic life

**every achieved poem inscribes a perceptual signature in the world**

the work of seeing ==> who is doing the looking, a specific, idiosyncratic sensibility

*detail ==> subjectivity* : we are brought into intimate proximity to the slipstream of (her) sensations --> *subjectivity* is made of such detail (of all the ways in which the world impresses itself upon us --> knowing through our scaffoldings of concerns, the tones and shadings of our moods) ~~--> we are in a sort of *readerly alliance*


[time]
#practice: try to describe what subjective time feels like --> to find variety of verbs to describe less readily chartable motions
(the time of interiority) pools, cibstricts, tunbles, speeds
-we live in a felt narrative progression, thr[...]

[...]e scientific mastery) --> fueled by a desire operationalized in a method of being close enough to something to sense it

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

(?every time we have to) show how *the word (that we are using) relates to meaning*

Christensen makes every effort to craft a witch that is real to us : ontological fluidity of a cinematic image ==> “Häxan = word + image + thing”

metoposcopy: the expression of reasoning was to be found on the face, (dating back to Girolamo Cardano and the Renaissance) the operation of reason as the weaving together of images in the mind --> a proto-cinematic theory of the relation between image and thought if ever there was one

•respectable scholar indexes himself through his sources
•authoritarian first-person tenor --> instrumentally impersonal tenor
•establishing the X as a chapter within a much longer constellation of practices, discourses, traditions, and institutions

Kieckhefer --> how the long history of practical natural magic was enfolded into the specificity of European witchcraft in the late Middle Ages

Christ in Limbo --> Christensen's parallel editing ==> moving representation of a terra-centered universe <~~ elaborate wonders found in baroque wunderkammer (meticulously assembled by the German elite)


Renaissance Hermeticism:
writings of Hermes Trimesgistus ~=> foundation for:
•Ficino's relatively mild natural magic
•Pico della Mirandola's Christian Cabalist
•Agrippa's Christian magus
•Tommaso Campanella's (1568–1639) utopian City of the Sun
•Bruno's full-blown Hermetic–Cabalist (through the power of astrology and magic to bypass the Church altogether)
•

...rippling effects of the Hermetic–Cabalist tradition -->
•scrupulously mathematical astrology of Girolamo Cardano
•the rigorously empirical studies of the natural worll world demanded by Bruno's attempts to operate as a magus
}==> (paved the way for) science of Newton and Copernicus --> a new metaphysics to emerge

attacks on Renaissance magic and the Hermetic–Cabalist tradition (that authorized witch) ==> anti-witch treatises

(case of Giordano Bruno's execution --> Hermetic magic and Cabalism) how in the 16th century: “superstition = crime”


(Christensen attributing) --> Hortus deliciarum, a largely cohesive image of hell to a period when the nature of hell's location and “topography” was a subject of fierce theological debate
-he strategically ignores debates and alternate conceptions of damnation that existed in the 15th and 16th centuries in Europe

[that which you choose] works to amplify affect more than further analysis (--> such as Christensen's attempt to heighten the fiery terror of the scene by billowing smoke ==> عام generic explanation)

[...]

[...]erts) ==> ‘organs of animals are counterparts of lived environments’ : ***animal body: inverted map of its environment*** (mediated by its capacity to interpret habitat through bodily sensation) [Uexküll using music to define the laws of nature: “life = musical response,” effects of *animal capitalism*]

to travel through stages of evolution of the consumer product ~=> becoming a new harmony (<-- using jellyfish as advertising in posthuman consumerism)

-(Lingis -->) [*]sensation: ملقمه amalgamations made of movements and affects that shape the energetic relay between subjects and objects,, an intensity --that--> pressures us --feel--> our cohabitation --in--> a sensible environment --that--> opens outward (=/= simulation of our sensorys or nervous systems) ==> subject is *involved* into the sensuousness of being : *excitation of affect and desire within a sensuous environment ==generate==> substance of self*
•percepts oringinating in environmental harmonization

tranimals invoke the social, affective, sensorial response-abilities of becoming and eating [<-- Hayward's affirmative poetics of trans- --✕--> Stewart's much more complex pattern of description]

-my art work has been more about intensity + techne (= baroque?), than aesthetics ==> ([{when i make images} sharing] our) subjugation to sensation


( sensibility [ ... ) sensuousness ]
                 |
affect <--  sensation --> affect
   affect          affect
          affect affect   affect
        affect      ::{~body~}::


sensation --distribute--> affects & percepts (across bodies)

excitation (unleashes bodily organization at the site of contact) = zone of an *expressed threshold* =/= zone of contact


multispecies materialities --Grosz--> life folds over itself to embrace its contact with materiality


rabbit mammalizes light
glow: a dynamizing force ==> making matter more


Hayward: through [Alba's] glow, her artfulness, we are reminded that species are not just relationships, nor are species ever directly in relationship with other species, we are resonances and dissonances of intensification, energetic cadences of one another--a sensorial ensemble [<-- what marketing would say about this?]


space between scientific experimentation (biocultural) & domestic cohabitation (composition #Cinderella, pet) --evoke--> invisible labour of jellyfish, research on the proliferation and patterns of cancer cells and the sensation of somalumenality [Hayward's Alba]


(Anker > Hayward:) the chimera must be understood in a social context: these beasts have always reflected the social, scientific and religious circumstances <-- my project in zoological vandalism


(Hayward's neologism --> posthumanist repositionin[...]

[...]mell, look, anime, etc.) made her enter into relationships with the animals in a new mode, **as a living person (like them) she creates with them an embodied proximity** (==> embodied affinities) [<-- Jassem is very good at it. this happens as well in apass research environment between artists]
  ---> go to Cinderella taking shower with her birds in the attic {urine, noise, surprise}
•Mark Bekoff --> empathy: possibility of sharing feelings involves mirror neurons (“I can feel the animals”) ~= (an experiment to incorporate) *to embody literally*
+ (Burghardt's) use of *critical anthropomorphism* (=/= Walt Disney) use of various forms of information (natural history, perception, behavioral description, autism, Cinderella, etc.)
•Temple Grandin (expert in factory plants for slaughter systems) --> *empathy without pathos* (for her and the animals) [*]world: a swirling mass of tiny details ~ [animal: autistic savant ~= special form of genius]--> a little plastic water bottle lying harmlessly, a shiny reflection, a yellow jacket hanging on a fence, all those turn out to be in their world *wrong details* (“I think the way animals think”) --> ****animals are visual thinkers**** {*you have to see in details*_ <-- how my work changed visually from abstract to baroque while working on the heritage of zoology. #Cinderella: which part of me animals give new powers and meanings? that part is of other beings}
-{Grandin actively transforms mindless animals into meaningful geniuses ==> gives them new powers ==> changes her}--> *animals (or your ghosts, your subjects) are invited to other modes of being, other relationships, new ways to inhabit the human world + to force human beings to address them differently : **disclosing unexpected affinities ==create==> new identities** (=/= empathy: tourism of the soul) --> identities do not pre-exist identification : *****previous construction of affinities ==> identity (is the outcome, the achievement)*****
(Grandin:) *marginal essence --transform--> partial perspective ==> affinities: (Haraway's) just-barely-connections*

}=/= romanticism: the belief that “feeling for another” belongs to some sort of naive state of nature


(#feedback: ways of showing the artists how they actively create the perspective that allows them to “see” --> ‘giving artistic feedback = being an anthropologist on Mars’)

Despret anticipate finding some references to the body (beyond simple “presence”) in the work of scientists --> the question of meaning + (its corollary) the question of perspective

tick's perception = world
(we know from Uexküll) one may indeed construct a perspective without involving the body - the perspective may be drawn partially from a mental process
•*animals only perceive things that have meaning for them*
•*animals construe meanings in acting*
Umwelt theory: a scientist may make an in[...]

[...]human (face)

(in advertisement -->) **the ways in which knowledge & reality are marshalled into collective visual consensus**


visual deconstruction --> rigor towards the idiosyncrasy and singularity of any text


restricted economy of the text ==> particular meaning =/= Derrida: moveing from a restricted --to--> general economy of the text

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

metaphysics: enterprise of returning (strategically, ideally) to an origin (a priority) thought to be simple, intact, normal, pure, standard, self-identical [=/= to think in terms of derivation, complication, deterioration, accident]
<--Derrida-- (the most constant profound potent metaphysical gesture in Western philosophy:) conceiving simple before the complex, essential before the accidental
}--> logocentric thought: thought which does not adequately attend to the contradictions inherent in its own medium ==> [logocentrism:] (fable) faith in the status of language as a lucid carrier of meaning (=/= attentiveness to the materiality of communication and the implications of such a project)

pecific languages make communication material, and exploring the interplay of terms within a linguistic system (-->? baroque) =/= Enlightenment = Age of Reason (logos)




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

Beauty and the Beast
or, blast of the clean slate



(goddamn it)

The picture of a relatively undifferentiated and continuous topological space undergoing discontinuous transitions and progressively acquiring detail until it condenses into the measurable and divisible metric space which we inhabit, is a powerful metaphor for the cosmic genesis of spatial structure. (Intensive Science & Virtual Philosophy)

baroque Trauerspiel, classical synthesis, ...
synthesis: synthetic thinking (the combination of ideas into a complex whole)
this is not a reasoning exercise (deducing particularity, etc.)

imagine you find a head. how do you search for the body? (research project)

graduating from ... and approaching ...
(from fairy tale ---> approach myth)


--> http://www.sinaseifee.com/DifficultForests.html
becoming Amazon as the fear of the male.
(Amazon as male hunter symbol)

(symbol for) masculine gender principle
(to disavow sexual difference)

I am not bringing the text to you, or you to the text.
as you have already guessed we have to destroy both the notion of text and you, to some extent, in order to permit a reading to constitutes itself.

is San'an a prince charming?
(let's examine)

the spiritually established death-birth (death of birth and birth of death) at the end of story

Miyazaki's faceless [...]

[...]o think in terms of derivation, complication, deterioration, accident]
<--Derrida-- (the most constant profound potent metaphysical gesture in Western philosophy:) conceiving simple before the complex, essential before the accidental
}--> logocentric thought: thought which does not adequately attend to the contradictions inherent in its own medium ==> [logocentrism:] (fable) faith in the status of language as a lucid carrier of meaning (=/= attentiveness to the materiality of communication and the implications of such a project)

pecific languages make communication material, and exploring the interplay of terms within a linguistic system (-->? baroque) =/= Enlightenment = Age of Reason (logos)




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

Beauty and the Beast
or, blast of the clean slate



(goddamn it)

The picture of a relatively undifferentiated and continuous topological space undergoing discontinuous transitions and progressively acquiring detail until it condenses into the measurable and divisible metric space which we inhabit, is a powerful metaphor for the cosmic genesis of spatial structure. (Intensive Science & Virtual Philosophy)

baroque Trauerspiel, classical synthesis, ...
synthesis: synthetic thinking (the combination of ideas into a complex whole)
this is not a reasoning exercise (deducing particularity, etc.)

imagine you find a head. how do you search for the body? (research project)

graduating from ... and approaching ...
(from fairy tale ---> approach myth)


--> http://www.sinaseifee.com/DifficultForests.html
becoming Amazon as the fear of the male.
(Amazon as male hunter symbol)

(symbol for) masculine gender principle
(to disavow sexual difference)

I am not bringing the text to you, or you to the text.
as you have already guessed we have to destroy both the notion of text and you, to some extent, in order to permit a reading to constitutes itself.

is San'an a prince charming?
(let's examine)

the spiritually established death-birth (death of birth and birth of death) at the end of story

Miyazaki's faceless monster (in Spirited Away 千と千尋の神隠し), with his flexible plasticity, has an issue with appearance. he goes from loneliness, to love, to greed, and finally becomes a student body. he has great agency in the beginning and docile in the end, [اسیر صورت --?--> اسیر معنی]


San'an is determined to see it through, the whole process

the German super-ego
the German ego
to carefully inject some of German super-ego to the Iranian ego

(for Anastasia) what is the next war?
ترسا

(to the audience:) you shou[...]

[...]
moral duty as humans [!!**] --> to recognize stasis at the heart of disorder **** (--> an ancient fable, archetype) *apperceive[~ perceive in terms of a past experience, accumulative perception] synchrony in the midst of diachrony[~ look for historical changes/roots in languages]* + to sync ([*]synchronization: to bring social and natural time into a unified form <--through-- production and storage of records)
@Marialena

the metronomic story
the mnemonic story


***spatializing time***
(for humanity) going out in space, to India, to the Orient, or within France to Brittany or the Pyrennees, was going backward in time (~ mapping technique ==> position of “humanity” out there nowhere --> anomalous, moral, short term [--> “impact” of Star Trek crew(~ a cult of people who have unlocked the secret of life and the universe) on the worlds they visit])
==> faceless scientist working in a vast and effective machine (--> Haraway talks about the same)


new memory practices
•***lie at the heart of our ways of knowing (both ourselves and the world)***
•they skew our available ontological space

it seems our contemporary memory practice is highly prosaic [~ german?] (=/= baroque)


[***mythological dimensions of new memory practices:] (*there is a compelling connection between the information revolution as an economic fact and as a statement about the nature of universe:)
19th century rationalization + bureaucracy (==> dramatic new information-processing and communication technologies) ==> today's institutions = **to oppose entropy** @apass
DNA ~= global economy --> nature of existence & new technology synchronized
(--> a history of science as successive decentralization of human) ==> ***eschatological (base of) information revolution*** : every material structure or energy flow (@Ali's pot carrier) could be used/seen to carry information
--> (mediated in 19th century:)
nature of the universe --to--> nature of humanity --to--> organization of economy

information mythology [~ “information” can travel anywhere and be made up of anything ~ “everything is information"] = interface between the social and natural worlds
}==> ‘a general statement about the nature of information' = 'a general statement about the nature of the universe’
(Bowker:) the new memory modality was at root an economic process of ordering social and natural space and time so that “objective” information can circulate freely [==> democracy, science]
==> package the world + make it deterministic
--✕--> (we must) make information historical (again)*

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

Avital's work has concerned itself [...] with the fact that technology is irremissible. Mary Shelley projected this view of technology with her massive, monumental, co[...]

[...]alian)

=/= thinking of numbers used in enumerating the real world as helping us to work relation ==> numbers (and mathematical objects) as cognitive tools
elements of schooling --> learning to use mathematical tools

*can number be considered as an inventive frontier in social, cultural, political and moral life?* --Verran--> *number = materialized relations*, enumerated materiality

people having kin relations
people are relations (in an embodied sense + semiotic in the sense of expressing a formal relation [for example wife/husband])

example:
•in river water --> taking numbers as semiotic = to identify numbers as the formal relation unity/plurality
•in working markets --> numbers enact generalizing iconically in the whole/parts mode

--**--> numbers as particulars, in place and time, in situ, realized in specific practical ways

Platonist account of number
intuitionist account of number
instrumentalist account of number
Iranian accounr of number

(Verran's rhetoric --> the term) semiotic (an opaque term, both vague and highly technical) + material modifies

(Verran not refering to) [*]semiotic: the summoning up the baroque complexity of French structuralist and post-structuralist thought, and alternatively the specific categorical proposals of Peirce's philosophy and its offspring, american pragmatism.

the paradox of worlds as already/always meaningful, recognizing that doing worlds as knowable (whether by science or by trading) or for that matter through Yoruba, or Yolngu knowledge traditions --involves--> engaging with the world as it is here and now --accepts--> *studying ‘forms of life’ and ‘language games’ as complex clots of signs and collective actions*

--Peirce--> numbers can be:
•iconic (icons are deeply coconstitutive with clots of collective actions that generate entities)
•indexical
•symbolic (symbols and their objects enact a relation of supervenience امر غير مترقبه, objects are accepted as affecting and effecting their signs but not vice-versa)
--> degrees of reciprocal co-constitution of signs and collective embodied and embedded actions in which objects come to life
--Verran--> ethnographically found forms of the workings of signs

(depending on) how one understands ethnography ==> names work as icons, indexes, or symbols

removing the stigma of Yoruba number as primitive

numbers as working indexically or symbolically --> for examine: are being used to represent the ecological health of Australia's creeks and rivers, lakes and billabongs


difference between these relational forms:
the first thing we need to know about a number is whether:
•it takes the one/many form (potentially containing unity within the pluralit[...]

[...]nal 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 small --> an astronomer shows on a small hand-globe (*globo coelesti*) the make-up of the great heaven with all its visible bodies, where a point means a star ~(in the same way)~> the geographer represents on a small terestrial globe (*globo terrestri*) the entire circle of the earth with all its landscapes ~(in the same way)~> “our common father in heaven,” the Lord, his revealed Word, he wrote for us (his children and students) the great book of wonders --recognize--> Himself
}--> (the concepts of) microcosm & macrocosm : something small (a dot on a globe) stands for something else, larger than itself (a city) ==> individual objects of stu[...]

[...] a point means a star ~(in the same way)~> the geographer represents on a small terestrial globe (*globo terrestri*) the entire circle of the earth with all its landscapes ~(in the same way)~> “our common father in heaven,” the Lord, his revealed Word, he wrote for us (his children and students) the great book of wonders --recognize--> Himself
}--> (the concepts of) microcosm & macrocosm : something small (a dot on a globe) stands for something else, larger than itself (a city) ==> individual objects of study or curiosities of nature, that are collected and presented to a reader/observer, represent a greater whole ==> interconnectedness --> “the great chain of being” ~-> God teaches humans by means of natural wonders #ajayeb
}==> (microcosmic world of the) frontispiece = visual macrocosm of the larger book, *the textual macrocosm* that it introduces
[my video atlas in Eckernförde was reworking with frontispiece as it is meant to intrigue the reader with its complex set of visual images (taken from classical coins and medals, from devices and emblems), to be decoded after reading the book that follows. Olearius brings all desciplines onto the stage of his's world: ethnography, history, natural science, geography, architecture, and literature --> this is very baroque _+]

Olearius's didactic program: to entertain while instructing

(tasavof's) world as *mundus symbolicus* <== cosmos of significance (~= art + history + nature)

[Das grosse Wunderbuch die Welt]

*theatrum mundi*
staging of nature (~ ajayeb) : nature in all its various manifestations (animal, vegetable, and mineral) must be displayed on a stage (of the title page, on the compartments of Kunstkammer)
•an arch of gateway resting on a platform or plinth (--> a basic model provided by classical architecture for the majority of Renaissance and Baroque stagings), a design that recalls the structures of allegorical tableaux used for triumphal entries into Italian and Dutch Renaissance cities, on order to honor the hero of the day
•(early modern title page *iconographic program*) incorporating the feature of the triumphal arch in order to signify the symbolic entry into the written work [<-- we don't need to do this!!] --> *formal monumental opening* (leading the “reader” to the ‘interior of’)--> Olearius's frontispiece (monumental, awe-inspiring works that aimed to spark the viewer's interest):
◦(to commemorate) official functions at the court
◦literary activities

[*]baroque: ***the art of not rejecting anything*** (el arte de no renunciar a nada -Montesinos)
(am i baroque?)

different types of frontispiece:
1. divided into geometrical compartments (german origin?)
2. depicting a particular scene (german invention) [images/elements chosen/included for doctrinal and controversial significance]
3. single cartouche (school of [...]

[...]baroque _+]

Olearius's didactic program: to entertain while instructing

(tasavof's) world as *mundus symbolicus* <== cosmos of significance (~= art + history + nature)

[Das grosse Wunderbuch die Welt]

*theatrum mundi*
staging of nature (~ ajayeb) : nature in all its various manifestations (animal, vegetable, and mineral) must be displayed on a stage (of the title page, on the compartments of Kunstkammer)
•an arch of gateway resting on a platform or plinth (--> a basic model provided by classical architecture for the majority of Renaissance and Baroque stagings), a design that recalls the structures of allegorical tableaux used for triumphal entries into Italian and Dutch Renaissance cities, on order to honor the hero of the day
•(early modern title page *iconographic program*) incorporating the feature of the triumphal arch in order to signify the symbolic entry into the written work [<-- we don't need to do this!!] --> *formal monumental opening* (leading the “reader” to the ‘interior of’)--> Olearius's frontispiece (monumental, awe-inspiring works that aimed to spark the viewer's interest):
◦(to commemorate) official functions at the court
◦literary activities

[*]baroque: ***the art of not rejecting anything*** (el arte de no renunciar a nada -Montesinos)
(am i baroque?)

different types of frontispiece:
1. divided into geometrical compartments (german origin?)
2. depicting a particular scene (german invention) [images/elements chosen/included for doctrinal and controversial significance]
3. single cartouche (school of Fontainebleau), a predilection for Mannerist irrationality and illusionism; interlocking, complicated scroll-work and strapwork; imitating the three-dimensional scrolling, with edges curling forward around the inscription; fantastic architectural structures, and grotesque figures and monsters taken from classical mythology
4. architectural title page (with the most monumental and most three-dimensional character), arrangement of sculpture-like allegorical figures or personifications


shifts from the techniques of woodcut --to--> engraving (--to-->? digital) ==> greater pictorial detail & better illusionism


*Sa'di's advice and devices* [title]
(Sa'di's relationship to) ‘the accumulated knowledge’(==> device)
[*]device (symbolum): a combination of a picture and a personal motto. a private adage (امثال و حکم) or clever aphorism --> heraldic image --fusion~=> device: a personal message by means of which a knight would define himself--developed from the chivalric tradition** ==?==> Sa'di's moral devices
-theoretical advice and examples of devices
-a craftsmann, a painter or goldsmith, would then supply the visual form of the idea that the learned scholar created
(moral) device --discuss--> [...]

[...]her Sa'di or the text of the Golestan, or Hakwirdi, but this “Persians” is to be “let inside, wearing a German coat,” Olearius's body is charged with teaching “the Persian to speak German” (--> integration)

other translations of Golestan:
•Andre du Ryer
•Johan Ochsenbach
•Georg Gentius


*Golestan
taut and well-translated epigrams
end-rhyme poems
a ‘treasury’ of rhetorical and poetical motifs
a voluminous index of sayings
-*short and astute speeches* (ایجاز ijaz ناقلا naghola)
*the genre of aphorism* = "apophthegma” (concise saying --> fit for advice, --> emblem)
(clever and) *sharp* ==> memorable
practical advice for individuals (members of the bourgeois, merchants) who wanted to climb the social ladder and learn *how to behave at court*
Golestan was considered a rich sourch of (such) “oriental wisdom”
(why Olearius is so into Sa'di's Golestan:) the aphorisms try to convey mental images or pictures [...] the apophthegma are the verbal equivalent of the images of the frontispiece --Brancaforte--> both genres try to convey a great deal of information in a condensed form (verbal or pictorial) [--> this is also why i am into Olearius and Sa'di #baroque]
(frontispiece + Golestan's) architectural framework --serving--> organizing structure; formal entrance to the scene

[]
relation to the soverign in Sa'di

in Golestan, the tales speak of the love or affection between a man and a young male. however, in the introduction to his translation, Olearius notes that he has subsituted the term “girl, lover, person, or human being” for “youth,” so that it will not offend young people who read the book --> (resisting the) jocular moralistic-didactic use of the momoerotic motif a much deeper understanding of Sufi terminology and motivation than one can expect from a 17th century translator
Olearius normalizes the discourse (of sufi) for fear of offending the sensibilities of his reading public

angelic piety
Englische Frömmigkeit

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

the lionskin story

lion symbolizing the element of fire as well as purification
astrological relationship between lion and sun, in the image of Mithras, entwined by snake, symbolizing the path of the sun

mithraic influences survived into the islamic era as well, and became even more prevalent with the safavid dynasty --> lion imagery became strongly associated with Ali, the fist imam in twelver shi'ism

cosmic imagery and forms of address

the persian sun/lion symbol becomes intelligible for a european audience, when it is represented as a symbol of royalty

the lionskin, in Olearius's title, Persianischer Rosenthal
the animal's interior surface contains the writing, which provides the in[...]

[...]ns 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 *agen[...]

[...]vironmental and social contextualization of the techniques described by physics ==> constitution of environmental robustness ==achieving==> social acceptability] --> the rhetoric of a diagram embeding that assumption:
◦‘additive’ : that knowledge becomes relevant at ‘later’ stages in the life of the model asserted by the diagram. the purview of the ‘additive’ diagram : negotiation and strategy reside in the realm of subjectivity, therefore cannot be represented }==> subjects, those who do the organizing and the giverbing, do not belonge to the ‘core’ that the diagram claims to represent : [subject]--[emptiness]--[dieagram]
--> rendering innovation as a ‘general event’ of an ‘unspecifiable future’ that is progressed towards + idealizing sites [= times and places (of these affairs)] [not allowing the questioning of these sites as obligatory passage points (for innovation)]
--> claiming for itself a capacity to realistically map a stable system
(diagram of technological innovation: a cartography of stable entities and stable relations) =/= a complex and emergent system embedding ambiguity and contradiction
--> promoting an organizational regime that proceeds by conforming to standards of non-contradiction and non-equivocation in its rhetoric =/= baroque baldachin (arshe عرشه) (with other than representation capacities) explicitly recognizing complexity, openness, and emergence --offering--> [enabling graphics to offer] pilotage خلبانى

***every tool should pose not only technically complicated questions rather fundamental ones***

branched tree diagram: saying that knowledge of the ‘branches’ includes a conception of the truck, suggesting: to understand is to understand how the truck generates the branches, and that is what is learnt and transmitted by specialists (Stengers, @Eszter)


Verran > Stengers working on the “gods and demons that populate physics”


[...] rejection and enclosure within the domain of ‘nonscientific’ or ‘simply subjective’ (of anything that cannot be reduced to the canon of the ‘simple’ model)
[Stengers]


(Verran on) the capacities of numbers to interpellate (رسما سوال کردن، استيضاح کردن) their users


diptych قاب دو لوحى


model of meaning-making that diagrams initiate (spatially + linguistically)

articulated sets of relations

a particularly efficacious form of certainty-generating rhetoric by ancient Greek mathematicians (appropriated by thier politicians), according to Netz: meaning-making in geometry proceeds in a particular way, a way that generates deductive proof --> (Netz's notion of) oral performance origins of meaning-making with diagrammatic device =/= (Verran's) graphics embedded within flows of words --> relations graphically plotted frame the relations plotted in flows [...]

[...]yles of knowing* mime and intertwine in poetics, practice, and politics}

speaking from diagram (offering possibilities of pilotage of the emergent relations) =/= speaking to diagram (a form of presentation, a proposed ‘found’ past in an idealized future, proposing as a realistic map of a given)

@Eszter: the question of recognizing the complexity of manipulating sets of relations expressed graphically --> developing (in my self) a contrast which offers possibilities for rhetorically distinguishing between ‘speaking from’ and ‘speaking to’ ==> shifts that can effect moves in collective meaning-making

wordy texts

(Star Trek's) displaying “our” modern commonplaces out of the place they are coming from --> makes me vomit
-in US sci-fi TV series we face that we are still Aristotlian, in our regulation of speech, we live under the regime of non-contradiction and of non-equivocation (tie up our public life in it) (--> when i say this is not my story, i am talking about another tradition of speech regulation)


proto-Baroque theater


*ambiguous monarchy*

absolutism has never been a feature of Iran monarchies

(who?) 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 --> that is how Adventure Time's sensibility is now

[Verran & Winthereik briliant thinking and literature:] “baldachin was designed to perform within the tense shifting landscape of partnerships associated 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 social integration’ (Christianson) with a better-off peasantry and a surge in the urban middle classes, and secular magnate families (najibzade نجيب زاده)

the baldachin was a device that performed in a force field--a wary but indomitable alliance of crown and noble magnates --> baldachin as a diagram in association with texts, the speech, and bodily gesture of court events


diagram: ambiguously and ambivalently ‘spoken from’ (--> proposing how a just society might be achieved) and ‘spoken to’ (--> a vivid vision of a just polity)

a figuration that equivocates over what a just society is

baroque diagram's felicity and ability to assist **collective passage through complexity**


tapestry (فرش / منقوش --> is concerned with collective way-finding ~ pilotage) and diagram }--> has to do with the collective


baldachin and the (innovation) model as material semiotic devices that intervene in the ‘happening of the real’ (Lury & Wakeford, Winthereik & Verran)
-they press upon others their presence as *participating entities* and[...]

[...] never been a feature of Iran monarchies

(who?) 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 --> that is how Adventure Time's sensibility is now

[Verran & Winthereik briliant thinking and literature:] “baldachin was designed to perform within the tense shifting landscape of partnerships associated 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 social integration’ (Christianson) with a better-off peasantry and a surge in the urban middle classes, and secular magnate families (najibzade نجيب زاده)

the baldachin was a device that performed in a force field--a wary but indomitable alliance of crown and noble magnates --> baldachin as a diagram in association with texts, the speech, and bodily gesture of court events


diagram: ambiguously and ambivalently ‘spoken from’ (--> proposing how a just society might be achieved) and ‘spoken to’ (--> a vivid vision of a just polity)

a figuration that equivocates over what a just society is

baroque diagram's felicity and ability to assist **collective passage through complexity**


tapestry (فرش / منقوش --> is concerned with collective way-finding ~ pilotage) and diagram }--> has to do with the collective


baldachin and the (innovation) model as material semiotic devices that intervene in the ‘happening of the real’ (Lury & Wakeford, Winthereik & Verran)
-they press upon others their presence as *participating entities* and offer *pilotage*

the model perfroms by eschewing اجتناب contradiction and equivocation =/= the baldachin (my graphs, atlases) elaborately figures both equivocation and contradiction --> *it equivocates about contradiction*
[equivocate: in Medieval Latin perfect passive participle of aequivocō “I am called by the same name”, doubtful signification]

Verran (in baroque form juxtaposing an engineering object with an art object) identifies diagrams as capable of effecting *dual rhetorical shifts*, effect possibilities of moving between speaking from and speaking to --> open up possibilities for equivocatign our contradictions + (representing =) *equivocating over what exactly is represented*[<-- in apass this is what i always do, in a way my project]

(@apass, attending to iconography opens up a space for asking:)
****what are doing here together?
****what kind of pilotage does this diagram offer and to whom?


(a way of abandoning the idea that these objects are essentially different) --> attending an object as:
•story
•diagram
•




[...]

[...]rown and noble magnates --> baldachin as a diagram in association with texts, the speech, and bodily gesture of court events


diagram: ambiguously and ambivalently ‘spoken from’ (--> proposing how a just society might be achieved) and ‘spoken to’ (--> a vivid vision of a just polity)

a figuration that equivocates over what a just society is

baroque diagram's felicity and ability to assist **collective passage through complexity**


tapestry (فرش / منقوش --> is concerned with collective way-finding ~ pilotage) and diagram }--> has to do with the collective


baldachin and the (innovation) model as material semiotic devices that intervene in the ‘happening of the real’ (Lury & Wakeford, Winthereik & Verran)
-they press upon others their presence as *participating entities* and offer *pilotage*

the model perfroms by eschewing اجتناب contradiction and equivocation =/= the baldachin (my graphs, atlases) elaborately figures both equivocation and contradiction --> *it equivocates about contradiction*
[equivocate: in Medieval Latin perfect passive participle of aequivocō “I am called by the same name”, doubtful signification]

Verran (in baroque form juxtaposing an engineering object with an art object) identifies diagrams as capable of effecting *dual rhetorical shifts*, effect possibilities of moving between speaking from and speaking to --> open up possibilities for equivocatign our contradictions + (representing =) *equivocating over what exactly is represented*[<-- in apass this is what i always do, in a way my project]

(@apass, attending to iconography opens up a space for asking:)
****what are doing here together?
****what kind of pilotage does this diagram offer and to whom?


(a way of abandoning the idea that these objects are essentially different) --> attending an object as:
•story
•diagram
•


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

intermingling the sexuality and materiality of bodies with the transcendental concepts and questions of spirituality and religion

to re-insert the body back into religious imagery

queer religious imagery

culture-jam
weaving their desire and bodies back into an exclusionary narrative

(un)critical faith

sexuality, gender, and bodily regulation in ...


deep inextricability of religious and secular discourses in constructing the body, as well as the ways in which such discourses alone can never tell the complete story of gendered and sexual bodies and practices (Wetzel)

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

Saadia Toor

() within the neo-Orientalist discourse [~= liberal modernity as embodied by ‘the West’ and Barbarism as connoted[...]

[...]ends on posing a somewhere or something else that is real in a different manner ~= performativity


(Hacking:) we recognize the collective enactment of knowledge practices in devising re-presentations --Verran--> ethnographic story: (first ans foremost) making reality (=/= the idea that reality gives rise to re-presentations)

a generalization: a unified text, narrative, exemplifying and enacting a particular time and space --condense--> here-now
}--> recognizing how ethnographic stories deal with necessarily being just one of infinitely many possible stories of a herenow

(John Law:) ethnography: a method of assemblage : enactment of presence, manifest absence, and absence as otherness

#Tehran index
attending to indexes for herenow that embed two logics generalization: one-many & whole-parts
1. one kind of story embeds a logic of one-many generalization --> represents its here-now as an example of something in general [--> story = evidence base of a general statement about human, world, erc.]--Kwa--> *romantic*
3. one kind of story embeds a logic of whole-parts generalization --> presents its here-now by first building this world [--> story = an emergent entity on a vague whole]--Kwa--> *baroque*

20th century history of complexity theory

*romantic =/= baroque ways of doing complexity*
--Verran--> we should use both simultaneously ~= Haraway cyborg double vision

---> go to Latour's analysis of Ambassadors painting (~= illustration of an ethnographic story)
•technique of anamorphosis: invite the viewer to shift their perspective --> *they are invited to do the work of recognizing the alternative logics of generalization*
•agential instrumentality
•dual logic: ambassadors & skull
•skull/brownish object --signal--> a ‘viewer’ must ‘lean over’ in order to see the database (in Verran's example) as authoritative & as autonomous and *capable of making new kinds of knower* emerge (worker, storyteller, ethnographer)
-

my image assemblages are whole-part generalizations, one-many pictures, vague whole with emergent parts

#workshop on training two modes of generalization, use of drawing and image making, writing ethnographic stories


(artists typically make the mistake of making these two identical -->)
*indicator =/= outcome*
•indicator: for example you implement something
•outcome: a change in behavior (= accomplished indicator)

*one-many generalization*
x is one of many possible stories about X in general (--Latour--> purification:) spacetime specificities are transformed into general claims }--> abstracting
=/=
*whole-parts generalization*
x is a participant on an assemblage where all actors are somehow emerging parts --> one does not yet know what X is or may bec[...]

[...]ological work

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

Kwa

[*]holism: the ideal of integrating all the workings of nature into one whole

1950s --> a special relationship between the holism and the computer (the idea that if the assumption of holism is fed into a computer model, the computer faithfully reproduces it)

early 20th century --> notions of the complex unity of (living) systems ==> romantic conceptions of nature
*complexity = romantic holism =/= reductionist*

romantic tradition of complexity : to see an underlying unity in a world of heterogeneous objects and phenomena (Rousseau, Cuvier, last two thousands years, [is religion romantic?])


romantic scientist's moderate version of Kant's Copernican Revolution:
•Rousseau
•Humboldt --> ***to arrange the facts, not successively on the order in which they have presented themselves, but according to the relations which they have between themselves*** [~~> a sort of paranoia]
◦the idea that to see that Humboldt was able to see takes a “sensitive observer”
•Whitehead --> physical systems with endurance as the measure of their stability
•Tansley --> ecosystem ~= superorganism
•
=/= baroque (--Kwa--> neobaroque):
•Leibniz --> every bit of matter can be conceived as a garden full of plants : each drop of its bodily fluid is also such a garden ==> ***it is the direction of looking that matters *** (mode of attention)
•Deleuze
•Whitehead
•Darwin
•Benjamin
•

bestiary = baroque + romantic

*romantic complexity (looks up) =/= baroque complexity (looks down)*
•looking up: integrate individuals (who appear to be a heterogeneous lot) at the phenomenological level to a single entity at a higher level of organization --> (plants and animals, individuals) are*functionality integrated* [<-- my problem with the notion of community]
◦looking up to the world of platonic forms <-- a process of abstraction
•looking down: a table of companions --> (plants and animals, individuals) are *cooperating*

(romantic conceptions of) society as organism =/= (baroque conception of) organism as society


(historic) baroque
-grand style of 17th century
-(insist on) strong phenomenological realness --> sensuous materiality
-materiality flows out in many directions (=/= confined within) ==> blurring “individual =/= environment”
-inventiveness:
--music--> the ability to produce lots of novel combinations out of a rather limited set of elements
--theater--> (logical development of plot =/=) sequence of monologues and allegories ==> action


Leibniz baroque philosophy --> monad: individuals not linked to form greater systems (they don't even communicate), but they affect each other
--D[...]

[...]lations which they have between themselves*** [~~> a sort of paranoia]
◦the idea that to see that Humboldt was able to see takes a “sensitive observer”
•Whitehead --> physical systems with endurance as the measure of their stability
•Tansley --> ecosystem ~= superorganism
•
=/= baroque (--Kwa--> neobaroque):
•Leibniz --> every bit of matter can be conceived as a garden full of plants : each drop of its bodily fluid is also such a garden ==> ***it is the direction of looking that matters *** (mode of attention)
•Deleuze
•Whitehead
•Darwin
•Benjamin
•

bestiary = baroque + romantic

*romantic complexity (looks up) =/= baroque complexity (looks down)*
•looking up: integrate individuals (who appear to be a heterogeneous lot) at the phenomenological level to a single entity at a higher level of organization --> (plants and animals, individuals) are*functionality integrated* [<-- my problem with the notion of community]
◦looking up to the world of platonic forms <-- a process of abstraction
•looking down: a table of companions --> (plants and animals, individuals) are *cooperating*

(romantic conceptions of) society as organism =/= (baroque conception of) organism as society


(historic) baroque
-grand style of 17th century
-(insist on) strong phenomenological realness --> sensuous materiality
-materiality flows out in many directions (=/= confined within) ==> blurring “individual =/= environment”
-inventiveness:
--music--> the ability to produce lots of novel combinations out of a rather limited set of elements
--theater--> (logical development of plot =/=) sequence of monologues and allegories ==> action


Leibniz baroque philosophy --> monad: individuals not linked to form greater systems (they don't even communicate), but they affect each other
--Deleuze--> each monad had its context represented inside itself (as fold) [more important the monad --> richer its world]


metaphors of romanticism:
•organicism
•system --> (in graphical representation) depicted by connecting lives between constituent elements (=/= monad)
•

Whitehead --Deleuze--> a neobaroque philosopher --> possibility of a chaotic side-by-side existence of mutually exclusive realities
(baroque era) harmony: art of counterpoints (bringing together independent voices)


German baroque (Gryphius, Lohenstein) --> nature = [*]ruin: heap of highly significant fragments =/= seamless web (@ERG website)
•fragment: independent individual things with a monadological structure (~/= postmodern understanding of fragment)
•link (between them) = reciprocal reference =/= connection
◦(references remain in their) *allegorical immanence*
•
[...]

[...]ze
•Whitehead
•Darwin
•Benjamin
•

bestiary = baroque + romantic

*romantic complexity (looks up) =/= baroque complexity (looks down)*
•looking up: integrate individuals (who appear to be a heterogeneous lot) at the phenomenological level to a single entity at a higher level of organization --> (plants and animals, individuals) are*functionality integrated* [<-- my problem with the notion of community]
◦looking up to the world of platonic forms <-- a process of abstraction
•looking down: a table of companions --> (plants and animals, individuals) are *cooperating*

(romantic conceptions of) society as organism =/= (baroque conception of) organism as society


(historic) baroque
-grand style of 17th century
-(insist on) strong phenomenological realness --> sensuous materiality
-materiality flows out in many directions (=/= confined within) ==> blurring “individual =/= environment”
-inventiveness:
--music--> the ability to produce lots of novel combinations out of a rather limited set of elements
--theater--> (logical development of plot =/=) sequence of monologues and allegories ==> action


Leibniz baroque philosophy --> monad: individuals not linked to form greater systems (they don't even communicate), but they affect each other
--Deleuze--> each monad had its context represented inside itself (as fold) [more important the monad --> richer its world]


metaphors of romanticism:
•organicism
•system --> (in graphical representation) depicted by connecting lives between constituent elements (=/= monad)
•

Whitehead --Deleuze--> a neobaroque philosopher --> possibility of a chaotic side-by-side existence of mutually exclusive realities
(baroque era) harmony: art of counterpoints (bringing together independent voices)


German baroque (Gryphius, Lohenstein) --> nature = [*]ruin: heap of highly significant fragments =/= seamless web (@ERG website)
•fragment: independent individual things with a monadological structure (~/= postmodern understanding of fragment)
•link (between them) = reciprocal reference =/= connection
◦(references remain in their) *allegorical immanence*
•


World War II ~=> systems theories (attempt to explain the structure and behavior of complex objects


Charney + von Neumann
deterministic description of the atmosphere
“long-range forecasting”
computer-based metrology
==> *field* became the essence of atmospheric state (field =/= structure, phenomena such as cyclones, fronts, cyclogenesis, frontogenesis)
<--Lorenz-- a given that the atmosphere is a single whole

romantic & nonromantic Darwin
evolutionary theory
phyloge[...]

[...]f platonic forms <-- a process of abstraction
•looking down: a table of companions --> (plants and animals, individuals) are *cooperating*

(romantic conceptions of) society as organism =/= (baroque conception of) organism as society


(historic) baroque
-grand style of 17th century
-(insist on) strong phenomenological realness --> sensuous materiality
-materiality flows out in many directions (=/= confined within) ==> blurring “individual =/= environment”
-inventiveness:
--music--> the ability to produce lots of novel combinations out of a rather limited set of elements
--theater--> (logical development of plot =/=) sequence of monologues and allegories ==> action


Leibniz baroque philosophy --> monad: individuals not linked to form greater systems (they don't even communicate), but they affect each other
--Deleuze--> each monad had its context represented inside itself (as fold) [more important the monad --> richer its world]


metaphors of romanticism:
•organicism
•system --> (in graphical representation) depicted by connecting lives between constituent elements (=/= monad)
•

Whitehead --Deleuze--> a neobaroque philosopher --> possibility of a chaotic side-by-side existence of mutually exclusive realities
(baroque era) harmony: art of counterpoints (bringing together independent voices)


German baroque (Gryphius, Lohenstein) --> nature = [*]ruin: heap of highly significant fragments =/= seamless web (@ERG website)
•fragment: independent individual things with a monadological structure (~/= postmodern understanding of fragment)
•link (between them) = reciprocal reference =/= connection
◦(references remain in their) *allegorical immanence*
•


World War II ~=> systems theories (attempt to explain the structure and behavior of complex objects


Charney + von Neumann
deterministic description of the atmosphere
“long-range forecasting”
computer-based metrology
==> *field* became the essence of atmospheric state (field =/= structure, phenomena such as cyclones, fronts, cyclogenesis, frontogenesis)
<--Lorenz-- a given that the atmosphere is a single whole

romantic & nonromantic Darwin
evolutionary theory
phylogenetic tree
-“war of nature ==> higher animals directly follow”
-individual organisms engage in various interactions with each other ==> speciation

Tansley (fulfilling a romantic expectation with regard to complex systems) --1926--> maintenance of equilibrium by ecosystem ["life = equilibrium"]
=/= Schrödinger (showed that equilibrium is unfit as a metaphor for life) --> life = islands of low entropy (complex locations) in a sea of high entropy (of decreasing complexity)[...]

[...]either of two directions --> the system behaves as a whole)

local random fluctuations (around a mean) --> bifurcation point --> the system as a whole evolves to a new order
=/= cybernetic system (control center)
=/= steam engine (governor)


Robert May
the more complex a system is, the more likely it is that small fluctuations (will be just large enough) to be critical
complexity ==> unstability
~~~~> chaos theory


(for Prigogine) fluctuation: essential condition for order of physical universe, life, civilization
[the most humble aspect of the behavior of matter:] white noise --(chaotic phenomena)--> order [on macro level]

turbulence <-- cannot be predicted (deterministic approach), but we have empirical certainty that they will appear

55BC --turbulence--> Lucretius’ De Rerum natura (philosophical poem on the nature of things)
(his basic metaphor of) nature: hydrodynamic flow of particles in free fall, in swirls, in vortexes
‘small cause ==> disproportional nonlinearity’ : ‘random collision of some falling atoms ==> constitution of world’
--Serres--> (Lucretius) heterodox tradition (=/= orthodoxe)


romantic & baroque are ***discourse =/= paradigm***
•discourse (available to draw from)
•paradigm (to succeed another paradigm) [<-- to be careful as an artist, the fantasy of genesis]

•since the 19th century romantic complexity had been the more orthodox discourse
•since 1975 baroque complexity became the focus of interest
}=/= new conception of reality

•romantic complexity --favor--> stable structural metaphors (self-correcting cybernetic machine, Gaya, etc.)
◦criteria can be established (more easily) --> delineate emergent wholes (*abstract criteria*)
•baroque complexity --favor--> swarming individuals metaphor (population of individuals in turbulent motion) --> delineate emergent wholes (*situational criteria*)
◦conceptual problem of baroque: there may be higher level order, but what is it?
◾(it is not) stable patterns of communication (<== if patterns exists they are short-lived, individuals take part in several wholes rather than in one)


body = turbulent phenomena par excellence


*****
--Deleuze--> the very idea of “concept” is different in baroque thinking : [*]concept = an allegory, a narrative =/= a symbol of the cosmos <-- romantic idea of concept: a cosmological order that is grasped by the thinking subject

the uncertainty (of the world) in the baroque case is ontological [=/= epistemological --> uncertainty is an effect of not knowing enough]

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

(i say in iran, instead of public jurnalism we need more) *public anthropology*

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

[...]

[...]y type of text that makes coherent interpretation fail*** <== text suffers from an overload of contradictory meanings which make it literally fall apart at the seams


(Derrida:) monster: *species of the nonspecies* = as-yet unnameable which is proclaiming itself --> make people turn their eyes away
-the figure of the monster embodies a means of thinking otherwise
-event of the Derridean text signalling a rupture with the discourses in which it is gestated
--Campbell--> both Derrida and Darwin were engaged in the *practice of revealing monstrosity to the world*


***contemporary Iran = postmodern gothic***
آخوند‎ akhoond: social imaginary of post-industrial society producing teratological monstrous formations <== their technological character transgresses conventions of taxonomical description --Braidotti--> cyber-teratological (fascinatino with grotesque + technological)
-what are the non-unitary subjectivities in Tehran today? (monster = horror + marvel)

monster =/= demonstrate, de-monstrate <-- vision + monstrosity
*monster: sites of otherworldliness* --used--> teratoscopy

1- Greek and Roman --> race of monsters: ethnic entity horrific & fantastic
2- baroque and enlightenment --> began to produce a scientific, wondrous, fantastic, rare, entertaining --(such as: madmen and dwarfs and other marvels participated in the life of his or her town and enjoys certain privileges [...] jesters and fools can transgress social conventions and do things that “normal” human beings cannot afford -Braidotti)
3- genetic turning point in the post-nuclear era --> cybernetic teratology: effects of toxicity and environmental pollution ==> new monsters [--> Tsing]


experience of the world of high-technology

artifacts of visual culture, (TV advertisements) dealing with the tropes of the primitive, technology, horror:
(these artifacts connote دلالت ضمنى long histories of techno-mytho-political dramas)
•Audi spider; where Audi is likened to a preditor, ensnaring, devouring its rivals; Vorsprung durch Technik written in gothic-style jagged, suspended cobwebs {<-- Ridley Scott's alien's technology as dirty; a lair swathed in a thick cobweb-like substance --> *technology as life* <== the dirt and dampness of *dirty technology* suggest an animate, sweating, breathing life-force [~ an aesthetic]} --> horror <== damp dark leaking space containing moulding cocoons of spider --Campbell--> motivation, goals or logic of this life form cannot be recovered within the economy of the human (=/= clean cold untouched technological artefact)
◦***technology covered in its own dirt --implies--> life --implies--> disorganization --implies--> disintegration of borders between ‘us’ (bounded) and ‘them’ (unbounded) --implies--> loss of control
◦ajayeb-e spider // links the world (of pri[...]

[...]y 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 f[...]

[...]n 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/[...]

[...]
•

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 mou[...]

[...]ole ==> interconnectedness --> “the great chain of being” ~-> God teaches humans by means of natural wonders #ajayeb
}==> (microcosmic world of the) frontispiece = visual macrocosm of the larger book, *the textual macrocosm* that it introduces
[my video atlas in Eckernförde was reworking with frontispiece as it is meant to intrigue the reader with its complex set of visual images (taken from classical coins and medals, from devices and emblems), to be decoded after reading the book that follows. Olearius brings all desciplines onto the stage of his's world: ethnography, history, natural science, geography, architecture, and literature --> this is very baroque _+]

Olearius's didactic program: to entertain while instructing

(tasavof's) world as *mundus symbolicus* <== cosmos of significance (~= art + history + nature)

[Das grosse Wunderbuch die Welt]

*theatrum mundi*
staging of nature (~ ajayeb) : nature in all its various manifestations (animal, vegetable, and mineral) must be displayed on a stage (of the title page, on the compartments of Kunstkammer)
•an arch of gateway resting on a platform or plinth (--> a basic model provided by classical architecture for the majority of Renaissance and Baroque stagings), a design that recalls the structures of allegorical tableaux used for triumphal entries into Italian and Dutch Renaissance cities, on order to honor the hero of the day
•(early modern title page *iconographic program*) incorporating the feature of the triumphal arch in order to signify the symbolic entry into the written work [<-- we don't need to do this!!] --> *formal monumental opening* (leading the “reader” to the ‘interior of’)--> Olearius's frontispiece (monumental, awe-inspiring works that aimed to spark the viewer's interest):
◦(to commemorate) official functions at the court
◦literary activities

[*]baroque: ***the art of not rejecting anything*** (el arte de no renunciar a nada -Montesinos)
(am i baroque?)

different types of frontispiece:
1. divided into geometrical compartments (german origin?)
2. depicting a particular scene (german invention) [images/elements chosen/included for doctrinal and controversial significance]
3. single cartouche (school of Fontainebleau), a predilection for Mannerist irrationality and illusionism; interlocking, complicated scroll-work and strapwork; imitating the three-dimensional scrolling, with edges curling forward around the inscription; fantastic architectural structures, and grotesque figures and monsters taken from classical mythology
4. architectural title page (with the most monumental and most three-dimensional character), arrangement of sculpture-like allegorical figures or personifications


shifts from the techniques of woodcut --to--> engraving (--to-->? digital) ==> greater pictorial detail & b[...]

[...]ity: liable to err and fall, slip, glide, flow] in the middle ages --helps--> how in the absence of authoritative *source of knowledge* in artistic research environments such as apass, *styles of knowing* mime and intertwine in poetics, practice, and politics}

speaking from diagram (offering possibilities of pilotage of the emergent relations) =/= speaking to diagram (a form of presentation, a proposed ‘found’ past in an idealized future, proposing as a realistic map of a given)

@Eszter: the question of recognizing the complexity of manipulating sets of relations expressed graphically --> developing (in my self) a contrast which offers possibilities for rhetorically distinguishing between ‘speaking from’ and ‘speaking to’ ==> shifts that can effect moves in collective meaning-making

wordy texts

(Star Trek's) displaying “our” modern commonplaces out of the place they are coming from --> makes me vomit
-in US sci-fi TV series we face that we are still Aristotlian, in our regulation of speech, we live under the regime of non-contradiction and of non-equivocation (tie up our public life in it) (--> when i say this is not my story, i am talking about another tradition of speech regulation)


proto-Baroque theater


*ambiguous monarchy*

absolutism has never been a feature of Iran monarchies

(who?) 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 --> that is how Adventure Time's sensibility is now

[Verran & Winthereik briliant thinking and literature:] “baldachin was designed to perform within the tense shifting landscape of partnerships associated 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 social integration’ (Christianson) with a better-off peasantry and a surge in the urban middle classes, and secular magnate families (najibzade نجيب زاده)

the baldachin was a device that performed in a force field--a wary but indomitable alliance of crown and noble magnates --> baldachin as a diagram in association with texts, the speech, and bodily gesture of court events


diagram: ambiguously and ambivalently ‘spoken from’ (--> proposing how a just society might be achieved) and ‘spoken to’ (--> a vivid vision of a just polity)

a figuration that equivocates over what a just society is

baroque diagram's felicity and ability to assist **collective passage through complexity**


tapestry (فرش / منقوش --> is concerned with collective way-finding ~ pilotage) and diagram }--> has to do with the collective


baldachin and the (innovation) model as mater[...]