[...]ive='strcls'>* (="ppl">="ppl">Despret) ='lgc'>=/= (Uexküll) ="trms">semiological perspective (of the tick)
(looking for or) focus on ="trms">affected perspective ='lgc'>==="ppl">="ppl">Despret='lgc'>='lgc'>==> (reveals) ="trms">scientists’ bodies in their practice ='lgc'>='lgc'>--> what having a body means (for ="trms">scientists)
='lgc'>+
(="ppl">="ppl">Haraway ='lgc'>='lgc'>==>) ='strcls'>*bodies are “made” by ="trms">scientific practices ='lgc'>[='lgc'><='lgc'>-- ='thdf'>that is why the ="trms">question of ="trms">science is important for whoever dealing or working with the body='lgc'>]
='lgc'>+
(="ppl">Annemarie ='lgc'>='lgc'>==>) bobies (that are made) are enacted multiples (in medical practice)
='lgc'>+
(="ppl">="ppl">Despret ='lgc'>='lgc'>-->) how bodies are undoing and redoing themselves through ="trms">different ="trms">scientific practices with ="trms">animals='qstn'>?='lgc'> = ='strcls'>*how are bodies growing multiples in diverse practices='qstn'>?='strcls'>* ='lgc'>+ (its corollary) ='strcls'>*how do each of these practices (='lgc'>+ ="trms">animals they are addressing) enact each of these bodies='qstn'>?='strcls'>*
Mowat's ='strcls'>*modest ="trms">embodiment='strcls'>* ='lgc'>==="ppl">="ppl">Despret='lgc'>='lgc'>==> partial af="trms">finities ='lgc'>[='lgc'>=/= seeing like a wolf or mouse='lgc'>] ='lgc'>='lgc'>==> feeling or being like a wolf or mouse='lgc'> = ='strcls'>****to be taken in a radically non-psychological sense='strcls'>**** (='lgc'>='lgc'>--> ="nms">Cinderella's non-psychological ="trms">relation to her ="trms">birds and mice ='lgc'>=/= contemporary western psychological subjects)
='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="nms">="trms">wildboyz, ="nms">Cinderella under a mouse regimen
="prgrph">-using his body as an experimental tool ='lgc'>='lgc'>--> eating a wolf's diet (='lgc'>=/= empathy, romantic dream of being a wolf)
submit his own body to mouse diet
one uses one's own body to meet the needs of another
Mowat used his own body as a means of generating ="trms">scientific proof, and turned it into an ="trms">apparatus for validity ='lgc'>[='lgc'>='lgc'>--> how do we apply or misapply our body in artistic environment for generating truth and validity='qstn'>? to be careful with the context of ="trms">generalization='lgc'>]
(='lgc'>[artist's and='lgc'>] ="trms">scientist's) body='lgc'>: a ="trms">technical device, the witness
(companion ="trms">story ='lgc'>='lgc'>-->) ='strcls'>***to ="trms">embody the way other beings solve their survival problems='strcls'>***
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“the business of curling up to start with, and spinning around after each nap” (was vital to success with a dozing wolf) ='lgc'>='lgc'>--> ="nms">Cinderella's choreography of the morning ="trms">greeting ceremony
limits of endurance
i feld that i, because of my ="trms">specific superiority as a ="trms">member of Homo sapiens, together with my intensive ="trms">technical training, was entitled to ='strcls'>*pride of place='strcls'>* ='lgc'>=/= being under observation
Mowat's humour ='lgc'>=/= ="ppl">Derrida not ="trms">laughing at his own worries (concerned with='lgc'>: what distinguish ="trms">animals from man is their “being naked without knowing it”)
="lsts lst1">•naked body is a pretext, a pre-text for more philosophy
="lsts lst1">•="ppl">Derrida is talking to his colleagues (the very people who are ='strcls'>**seeking grandiose ="trms">difference='strcls'>** ='lgc'><='lgc'>-- also artists) ='lgc'>=/= a ="trms">difference that happens to him
="lsts lst1">•(my problem with the old tiring trend in philosophy ='lgc'>[after encounter with Manning='lgc'>]='lgc'>:) looking for locus of things ='lgc'>[a generality='lgc'>] ='lgc'>: talk about ‘the figure of the cat'='lgc'> = the allegory for all the cats on the earth (='lgc'>~ the felines that ="trms">traverses our myths and ="trms">religions, ="trms">literature and ="trms">fables)
='strcls'>***what the cat might actually be doing='strcls'>***
(this is my ="trms">relation to description, what is the ="trms">world, that cat, the demon, the mice up to='qstn'>? and use my best ="trms">imaginative ="trms">crafts and precise descriptive acts, the answers are many. that is not about de="trms">finition or defining ‘what is’ the cat that visits me or the spider in my room. i only try to well define concepts and not subjects. my style of ="trms">presenting ='mywrk'>my research on ="nms">ajayeb ="trms">bestiary='lgc'>: ="trms">narrating the ="trms">contingency of the ="trms">differences that happened and ="trms">mattered to me in particular ='lgc'>=/= philosophy)
wolves (='lgc'>=/= nomadic roamer) have strong feelings of property ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rights and they ritually and regularly mark their boundaries
what am i allowed to do with my body when i am with ="trms">animals='qstn'>?
(="ppl">="ppl">Despret ='lgc'>+ Strum ='lgc'>+ Mowat) using one's body to make the ="trms">animal ="trms">respond (='lgc'>='lgc'>--> does this make sense with humans='qstn'>? in ="nms">apass for example ='lgc'>--='qstn'>?='lgc'>='lgc'>--> use your body to make them ="trms">respond ='lgc'>=/= react)
='lgc'>--="ppl">="ppl">Haraway='lgc'>='lgc'>--> a “good” (actually bad) ="trms">scientist='lgc'> = learning to be invisible, like a rock to be unavailable, as if ="trms">data-collecting humankind were not ="trms">present, seeing the s="trms">cene of ="trms">nature close up through a peep-hole, remove from the subject ="trms">animals’ ="trms">social environment
="lsts lst1">•(ignoring ="trms">animal ="trms">social cues) ="trms">imagining the baboons as seeing somebody off-="trms">category, not something ='lgc'>='lgc'>--> to be a ='strcls'>*nonentity='strcls'>* (tolerated but unobtrusive!!)
='lgc'>='lgc'>--> ='lgc'>[='strcls'>*='lgc'>]distance='lgc'>: a cognitive and ="trms">relational perspective ='lgc'>{what kind of distance, aesop ="trms">fables, Kelile Demne, or ="nms">ajayeb takes or keeps='qstn'>?='lgc'>}
='lgc'>='lgc'>--> learn to be ='lgc'>[='strcls'>*='lgc'>]polite='lgc'>: (in the ethical, political, and ="trms">epistemological senses of the word) to ="trms">respond, to acknowl="trms"nttrm="knowledge,Knowledge">edge, to look back, and ='strcls'>*to ="trms">greet='strcls'>*
='strcls'>****politeness ='lgc'>='lgc'>==> transforms you ='lgc'>='lgc'>--> in the way of those you are being polite to='strcls'>**** (='lgc'><='lgc'>--='qstn'>?='lgc'>-- ="nms">Cinderella's politeness)
companion ="trms">story ='lgc'>='lgc'>--> wich who we share food ='lgc'>{='lgc'>=/= with who we cook together ='lgc'><='lgc'>-- generated protocols ='lgc'>='lgc'>==> host, guest, house, power='lgc'>}
='lgc'>[(="ppl">Annemarie's) praxiographic enquiry into the='lgc'>] (="ppl">="ppl">Despret's) ="trms">embodied practices of knowing ='lgc'>[of (="frds">Sina's) ="nms">Cinderella='lgc'>]
='strcls'>**bodies enact ='lgc'>=/= perform='strcls'>**
='at'>@="frds scrmbld">Chloe, Mette ='lgc'>='lgc'>--> (ironic) performing a protocol ='lgc'>=/= ="trms">embodied choreography
(contemporary choreography ='lgc'>=/= ="trms">embodiment)
(="trms">scientists and ="trms">animals are fleshy creatures which are) enacted and enacting through their ='strcls'>*="trms">embodied choreography='strcls'>* (='lgc'><='lgc'>-- ="trms">epistemological, political, ="trms">ontological)
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="trms">scientist work ='lgc'>[observing, collecting events, meeting them, ="trms">writing about, inscribing them into theories ='lgc'>='lgc'>--> explain why they do what they do='lgc'>] ='lgc'>='lgc'>==> ='strcls'>*makes their ="trms">animals more real='strcls'>*
='lgc'>--="ppl">="ppl">Despret='lgc'>='lgc'>--> a praxiographic account ='lgc'>[='lgc'>='lgc'>~= feedback='lgc'>] (paying attention to the way ="trms">scientists ="trms">embody their work) ='lgc'>='lgc'>==> ='strcls'>*make ="trms">scientists more real='strcls'>*
(for ="nms">apass) we need praxiography ='lgc'>=/= philosophy or theory ='lgc'>[of artistic research='lgc'>]
="frds">Sina's note taking in ="nms">apass ='lgc'>='lgc'>--> how ='strcls'>*practices at some point become words='strcls'>*
='at'>#feedback in ="nms">apass ='lgc'>==make='lgc'>='lgc'>==> artists and their work more real
feedback ='lgc'>='lgc'>==> ="trms">interpretive version ='lgc'>='lgc'>--> coexistence of the various versions of a multiple object (='lgc'><='lgc'>-- this is localized or ='strcls'>*="trms">situated='strcls'>* ='lgc'>: it happens “there” and nowhere else)
work of observation in ="nms">apass='lgc'>:
="lsts lst1">•conceptualizations of short-term ="trms">social exchanges
="lsts lst1">•conceptualizations of ="trms">agency-structure dynamics
="lsts lst1">•getting closer to the everyday activities of those speaking
="lsts lst1">•(context driven='qstn'>?) forms of analysis
="lsts lst1">•="trms">methodological repertoire
="lsts lst1">•note='lgc'>: com="trms">posites of ="trms">linguistic repertoires that are embedded in meanings (is part of what happens in ="nms">apass, not after what happens.) ='lgc'>='lgc'>--> a form of di="trms">gestion='strcls'>***
='strcls'>*praxiography='lgc'>: forms of analysis produced by practice rese="trms"nttrm="search">archers, a type of ethnographic ="trms">method that converses with multiplicity (='lgc'>='lgc'>--> following a trail, walking a path ='lgc'>=/= map out a field ='lgc'>='lgc'>~= philosophy of artistic research), doctors ='lgc'>[analyst='lgc'>] and patients ='lgc'>[analysand, artist='lgc'>] ascribe meaning in ="trms">different ways ='lgc'>--="ppl">Annemarie='lgc'>='lgc'>--> yet they perform or enact reality together ='lgc'>='lgc'>--> they ='strcls'>*do the reality of a disease ='lgc'>[problem, artwork='lgc'>]='strcls'>*
='lgc'>+='lgc'>+='lgc'>{="ppl">Annemarie uses the term “enact” to show that objects (such as body and disease) exist as ="trms">articulations of the practices that produce them (='lgc'>='lgc'>~= ="ppl">Butler's performance), enacting (not explained by what went before, ="trms">present remains unstable, patterns and ="trms">routines and surprises) ='lgc'>=/= making (‘causes’ lie when ‘making’ happened)='lgc'>}
='lgc'>[='strcls'>*='lgc'>]theory='lgc'>: conversations about the realities our words help to explore (='lgc'>=/= seeking to fix concepts)
in knowl="trms"nttrm="knowledge,Knowledge">edge practice realities are various brought into being (='lgc'>+ limits of that adaptability) ='lgc'>='lgc'>--> ='strcls'>*="trms">ontology='lgc'>:
='lgc'>--="trms">anthropology='lgc'>='lgc'>--> people order “reality” ="trms">seriously ="trms">differently
='lgc'>--biomedical='lgc'>='lgc'>--> why, when, where is this truth realized='qstn'>? what does it depend on='qstn'>? what are its alternatives='qstn'>? ='lgc'>='lgc'>--> ='strcls'>*="trms">ontology does not precede knowl="trms"nttrm="knowledge,Knowledge">edge practices='strcls'>* (various practices are closely linked ='lgc'>='lgc'>==> ="trms">ontologies are linked ='lgc'>[='thdf'>for example a patient who talks to a doctor in a consulting room may receive a clinical diagnosis, while laboratory ="trms">measurements ‘do’ her disease in a ="trms">different way. or in artistic research environments such as ="nms">apass.='lgc'>])
(="ppl">Annemarie's) praxiography ='lgc'>='lgc'>--> asking what are the ="trms">techniques that make things (their ="trms">="trms">empirical, ="trms">epistemological found objects) visible, audible, tangible, knowable (for this artist in front of me ='at'>#feedback ='at'>@="nms">apass)='strcls'>**
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‘empathy’ is a word that is often ="trms">recruited when bodies are involved ='lgc'>='lgc'>--> resonances with troublesome romantic meanings (magic, ="trms">fold knowl="trms"nttrm="knowledge,Knowledge">edge)
="trms">embodied empathy shifts its meaning from one ="trms">situation to another ='lgc'>='lgc'>--> ="trms">different meanings ='lgc'>='lgc'>==> ="trms">different outcomes
='lgc'>[='strcls'>*='lgc'>]empathy='lgc'>: the process by which one delegates to one's body a ="trms">question, or a problem, that ="trms">matters and that involves other beings’ bodies ='lgc'>='lgc'>--> bodies are ="trms">articulating and become ="trms">articulated in the asking and in its ="trms">responses
= making the body available for the ="trms">response of another being (='lgc'>=/= feeling what the other feels)
='lgc'>==create='lgc'>='lgc'>==> possibility of an ="trms">embodied ="trms">communication (='lgc'>=/= experiencing with one's body what the other experiences)
='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="nms">Cinderella's empathy='lgc'>: make one think with ='and'>& with the body
='lgc'>--="ppl">="ppl">Despret='lgc'>='lgc'>--> ='strcls'>*empathy becomes a ="trms">scientific tool='strcls'>* that need to be shaped, forged, refined, ="trms">embodied, a tool that attunes bodies
='lgc'>[='strcls'>*='lgc'>]care='lgc'>: it ="trms">matters for them that it ="trms">matters for their ="trms">animals (='strcls'>***what ="trms">matters for the other person becomes your ="trms">matters='strcls'>***)
how to act in a polite manner in a baboon's ="trms">world='qstn'>? (or in an artist's ="trms">world, when we give feedbacks)
='lgc'>{seeing like a baboon ='lgc'>=/= acting like a baboon='lgc'> = cor="trms">responding with a baboon='lgc'>}='lgc'>='lgc'>--> ='strcls'>*they transform themselves in order to create partial connections='strcls'>* (James’ “acting as if”) ='lgc'>=/= performative
="lsts lst1">•to act with the baboons (learn how a tree gives you dirty looks, how it resists the pro="trms">position of your ="trms">presence)
="lsts lst1">•Lorenz's “becoming with”
="lsts lst1">•="ppl">="ppl">Despret's “the miracle of the attunement”
="trms">embodied ="trms">communication ='lgc'>='lgc'>--> ="trms">responsible ="trms">relation ='lgc'>='lgc'>--> constructing the possibility of engagement
='lgc'>[='strcls'>*='lgc'>]="trms">responsible='lgc'>: the one who constructs him/herself in order to be available to a ="trms">respond
='lgc'>--="ppl">="ppl">Despret='lgc'>='lgc'>--> (to ="trms">imagine that we can actually) cor="trms">respond through the choreographic ="trms">language of our bodies
“traying to get knowl="trms"nttrm="knowledge,Knowledge">edge"='lgc'> = knowing for the sake of knowing ='lgc'>}='lgc'><='lgc'>-- 19th century adventure hunter ="trms"nttrm="search">archeologist imperialism
='strcls'>***(for James) ='lgc'>[='strcls'>*='lgc'>]emotion='lgc'>: what makes us feel (='lgc'>=/= what is felt), an experience of making available ='lgc'>='lgc'>==> an occasion for others ='lgc'>: ='strcls'>****emotions ='lgc'>='lgc'>==> dispose our bodies='strcls'>**** (='lgc'>+ our bodies dispose our emotions) ='at'>@="frds scrmbld">Chloe
="prgrph">-if we want to feel an emotion, we can dispose our body to produce it (='lgc'><='lgc'>-- this was my ="trms">method in my early performances in 2014)
Lorenz, Strum, Smuts, ="ppl">="ppl">Despret
learn to become what it becames when it acts ‘as if’ ='lgc'>='lgc'>--> ='strcls'>*stakes of re="trms">liable knowl="trms"nttrm="knowledge,Knowledge">edge ='lgc'>: to thing with='strcls'>*
="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................
="ppl">Baxstrom ='lgc'>='lgc'>--> ="trms">anthropology of the ="trms">anthropologist
="ppl">="ppl">Despret ='lgc'>='lgc'>--> ethology of the ethologist
اشعیا Isaiah provides a vivid ="trms">imaginary of multi="trms">species bonds and flourishing='lgc'>: the wold will live with the lamb, the leopard will lie down with the goat, the calf and the lion and the yearling together; and a little ="trms">child will lead them
='strcls'>*nonhuman ="trms">animals are as much subjects of ="trms">history as humans are='strcls'>*
="prgrph">-why do we ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listen to prohpets='qstn'>?
quasi-theological and ="trms">anthropocentric notions such as that of the great chain of being
(the importance of) changing ourselves as humans ='lgc'>='lgc'>==> change ="trms">animals
="lsts lst1">•how changing human habits also gives other ="trms">animals a chance to change theirs='qstn'>?
='lgc'>[='strcls'>*='lgc'>]ethology='lgc'>: a practice of habits involving distance, knowing activity, politeness, milieu, alliance
(i am ="trms">interested in women) not because of gender ='lgc'>[= identity politics, political correctness='lgc'>], but because of ='strcls'>*their practice and the ="trms">question they pursue='strcls'>*
what parrots talk about
talking ="trms">birds and primates as subjective ="trms">interlocutors who can become persons in the exchanges allowed by ="trms">language
='strcls'>*they never posed the ="trms">question of knowing what a raven could, through this somewhat maniacal behavior, teach them about what ="trms">interested it='strcls'>*
="prgrph">-(curious) being always teach you what that being is ="trms">interested in
very bottom of the ladder of choices...
for ="nms">Tehran='lgc'>:
="lstsrd">1. ="trms">memory studies
="lstsrd">2. kalagh shenasi (raven studies) کلاغ شناسی
ravens, evidently, do not want to obey any of the rules that make research possible='lgc'>: the incivility that ex="trms">communicated them from the laboratoies of the behaviorists having al="trms"nttrm="already,spread">ready been stigmatized from the time of the Flood (in Noah's ark)
ravens are by all account unre="trms">liable ='lgc'><='lgc'>-- calling into ="trms">question the intelligence of their rese="trms"nttrm="search">archers, the pertinence of their models, and the solidity of their dis="trms">positives
='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to Kelile Demne
='strcls'>*the ravens ="trms">literally ="trms">recruit their rese="trms"nttrm="search">archer='strcls'>*
to ='lgc'>[='strcls'>*='lgc'>]="trms">recruit='lgc'>: they will reveal to him the resolution of an enigma the difficulty and the ="trms">interest of which would be in ="trms">accord with what makes them impossible to study
(from) season ='lgc'>--to='lgc'>='lgc'>--> season
(from) enigma ='lgc'>--to='lgc'>='lgc'>--> findings
(from) hypothesis ='lgc'>--to='lgc'>='lgc'>--> tests
suspense and sudden turns ='lgc'>='lgc'>==> transform all that we know about ravens
the ravens ="trms">present a behavior that has no sense from the point of view of evolution
the “guilty” of the ="trms">story are given from the beginning
='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ='lgc'>[="ppl">Daston's='lgc'>] ="trms">historian of ="trms">science (always knew how the ="trms">story ended)='lgc'>: ="trms">imagine you are the kind of a person who cheats when ="trms"nttrm="already,spread">reading mystery novels, and you ="trms"nttrm="already,spread">read the last page first to know who did it, and then when you ="trms"nttrm="already,spread">read the rest of mystery ="trms">story, you know everything is building towards this climax, you ="trms"nttrm="already,spread">read it in a very ="trms">different way than the person who has to retrace all that have been implanted in your way by the ="trms">author to throw you off the scent of the real villain ='lgc'>{='lgc'>='lgc'>==> you lose the ="trms">past in the image of the ="trms">present='lgc'>}
='lgc'>+ ="trms">scientist (who wish to have a) ="trms">story about ='strcls'>*why we believe what we believe now and why it is ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right='strcls'>* ='lgc'>[knowing that everything we know now will be overturned if not now later='lgc'>]='lgc'>='lgc'>--> pathos and progress of ="trms">science ='lgc'>{='lgc'>='lgc'>==> negates ="trms">science's enormous creativity and capacity for renovation='lgc'>}
="prgrph">-='strcls'>*="ppl">="ppl">Foucault showed how many more objects ='lgc'>[sexuality, etc.='lgc'>] have ="trms">histories (that we thought they don't, that they are constant for all humanity for all time for all cultures)
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ravens are capable of being silent when they don't care to be noticed
="large lg1" stl="font-size:126%">
(the raven inviting the others to share in the party, when food is difficult to find ='lgc'>+ they are experts in hiding food items) eyes of an ethologist ='lgc'>='lgc'>--> why do ravens do that which the logic of evolution should prohibit them from doing='qstn'>? ='lgc'>--="ppl">="ppl">Despret='lgc'>='lgc'>--> this motive will be not only a ="trms">matter of discovering but also of inscribing in the regime of proof
hierarchical ladder ='lgc'>=/= great economy of conflicts
one-upmanship
(raven's) acts that appear to be useless, pertain at once to both the game and to the affirmation of ="trms">skill
='strcls'>**reciprocity of exchanges of good conduct='strcls'>**
="lsts lst1">•you are ="trms">interested in the ="trms">differences
="lsts lst1">•you are ="trms">interested in unexpected strategies
="lsts lst1">•you take into account the fact that the ="trms">animal does not cease to transgress the rules and models ='lgc'>+ that it is unpre="trms">dictable in its choices (='lgc'><='lgc'>-- ravens ="trms">demand this) ='lgc'>='lgc'>==> you adopt other ='strcls'>***criteria of achievement='strcls'>*** ='lgc'>[='lgc'>='lgc'>--> in giving ='at'>#feedback to artists='lgc'>: understanding their ‘criteria of achievement’ (has nothing of an ambitious program about it, but) leaves their program totally open in regards to its realization='lgc'>]
="lsts lst2">◦for example (Heinrish explains) raven's criteria of achievement='lgc'>: the raven can ='strcls'>****procure resources from the environment and convert them to ="nms">a little more of itself='strcls'>**** (='lgc'><='lgc'>-- ='at'>@="nms">apass this is also what artists do, ='strcls'>*converting the environment into ="nms">a little more of itself='strcls'>*)
='lgc'>=/= theory of ="trms">sociobiology ='lgc'>{raven='lgc'> = an umpteenth ='thdf'>example of the “all purpose” model of the theory of the “selfish gene” ='lgc'>='lgc'>--> altruistic behaviors ='lgc'>='lgc'>==> transmit the greatest possible number of its genes to the population ='lgc'>='lgc'>--> ravens who are altruistic ="trms">recruiters (sharing rare resources), costly from the individual point of view, can reap benefits in regard to evolution ='lgc'>='lgc'>~= ='strcls'>*the ="trms">animal simply obeys a relatively inflexible rule='lgc'>: help your relatives, ignore others, and you will multiply the copies of yourself='strcls'>* ='lgc'>='lgc'>--> ='strcls'>*your ="trms">animal will be similar to others and all the variations be nothing but details of the same motive='strcls'>* ='lgc'>[='lgc'>=/= ="nms">Cinderella='lgc'>]='lgc'>}
how does the motive make the “crime” an achievement for the raven='qstn'>?
how (to ="trms">accord) this achievement (with that which) ="trms">translate to (the raven's everyday) survival='qstn'>?
(register of) negotiations of ="trms">interest and stakes ='lgc'>='lgc'>~/= (politeness of) “getting to know” by posing the ="trms">question, in terms of achievement, what it is that ="trms">interests the raven
='lgc'>='lgc'>--> to elucidate (not just what and how, but) why the raven does what it does
="lsts lst1">•the ravens will not show you straightforwardly what counts for them ='lgc'>='lgc'>--> you have to create ="trms">situations that permit the ravens to help you decide (among all the contesting ="trms">fictions) the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right ="trms">fiction ='lgc'>[='at'>#artistic feedback as ="trms">fictioning='lgc'>]
dance of hesitation
(a cadaver لاشه, once a preditor, waiting for an imprudent raven) to reverse the ="trms">situation='lgc'>: to convert the ="trms">bird into ="nms">a little more of itself
='lgc'>='lgc'>==> salutary egoism='lgc'>: it would be better to be with many others in the case of this type of error
organization
cooperation
i find, you open
='strcls'>*work of the rese="trms"nttrm="search">archer='lgc'> = leading the ravens to take a ="trms">position in ="trms">relation to his ="trms">fictions and hypothesis='strcls'>* (resisting those that don't explain, clarifying those that do) ='lgc'>--="ppl">="ppl">Despret='lgc'>='lgc'>--> ='strcls'>**the rese="trms"nttrm="search">archer must create a dis="trms">positive that confers on the ravens “the power not to submit to his ="trms">interpretations”='strcls'>** ='lgc'><='lgc'>-- politeness of “getting to know” ='lgc'>{"getting to know you” does not necessarily turn on an attentive benevolence but on the art of finding the forces, and exchanging them, in an exercise of ='lgc'>[='strcls'>*='lgc'>]rivalry='lgc'>: (constituted by) a clever mixture of complicity ='and'>& op="trms">position='lgc'>}
test of the intelligence and cunning (of each other)
(in the case of ravens ='lgc'>[and ='at'>#feedback in art='lgc'>])
theoretically ='lgc'>='lgc'>--> we understand nothing
practically ='lgc'>='lgc'>--> we have to learn their tricks to be able to approach them
='strcls'>**a ="trms">matter of finding the procedures that attest to the pertinence of explanations='strcls'>** (='lgc'>=/= a ="trms">matter of explaining/understanding them)
enigma ='lgc'>--='lgc'>{(like good detective ="trms">stories) inscribes the protagonists in a ="trms">relation of='lgc'>}='lgc'>='lgc'>--> rivalry هم اورى ='lgc'>: if you want to understand them you must try to be as smart and cunning than they are (not letting oneself be duped by appearances)
politeness ='lgc'>='lgc'>--> suspicion ='lgc'>='lgc'>~= respect (‘re-="trms">spectare’ to look twice)
="lsts lst1">•confidence without verification offers little guarantee as to its robustness
we want to witness in a re="trms">liable manner='lgc'> = we want that which we learn from the ravens is to be treated with confidence='lgc'> = we want to define ourselves as ="trms">authorized by them to speak in their names='lgc'> = we want to (required to) offer them the opportunity to show what they can do (with the ='strcls'>*great flexibility of our ="trms">interpretation='strcls'>*)
='lgc'>[='strcls'>*='lgc'>]="trms">trap
(enigma of the apparently inexplicable behavior) ='lgc'>='lgc'>--> ='strcls'>*how to ask the ravens, with the same politeness, to take a ="trms">position in ="trms">relations to all the possible conjectures of the investigation='qstn'>?='strcls'>* how to ask them to teach us the good explanation, the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right motive='qstn'>? ='lgc'>='lgc'>==> the rese="trms"nttrm="search">archer will have to learn the ='strcls'>***art of the ="trms">trap and the net='strcls'>***='lgc'> = the art of the ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure and the trick='lgc'> = ='strcls'>***the art of learning from those whose enigma you are trying to solve='strcls'>*** (and have no intention of helping you) ='lgc'>='lgc'>--> ‘how that which counts can count for them’
="lsts lst1">•='strcls'>*the art of metis / cunning intelligence='strcls'>* ='lgc'>: the particular form of intelligence that the ="trms">greeks (learning from hunters and fishermen) cultivated='lgc'> = intuition شهود ='lgc'>+ cunning مکر ='lgc'>+ perspicacity فراست ='lgc'>+ dissimulation فریب ='lgc'>+ improvisation بدیهه ='lgc'>+ vigilant attention هوشيار ='lgc'>+ sense of timeliness بجا (='lgc'><='lgc'>-- this type of “getting to know” was constituted exaclty to be found in a domain where human intelligence is constantly at grips with the land or sea ="trms">animals in an are where humans saw their intelligence and ="trms">techniques transform in learning from ="trms">animals='strcls'>**** ='lgc'>[-how to prolong the possibility of this transformation='qstn'>?='lgc'>]) ='lgc'><='lgc'>-- ='strcls'>*it is the only way of getting to know that can hope to address intelligent highly flexible='strcls'>* (="ppl">="ppl">Despret > Heinrish)='lgc'> = ravens who require of those who want to know them the same flexibility and the same intelligence
='lgc'>}='lgc'>='lgc'>-->='lgc'>[="trms"nttrm="already,spread">reading ="nms">ajayeb ="trms">bestiary as enigma; ="nms">Bambi's mother studies; little mermaid; (using ="ppl">="ppl">Despret's ethological research to think about) art of feedback ='lgc'>='lgc'>~= getting to know you ='lgc'>=/= audience engagement='lgc'>]
strange politeness
art of cunning (="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lures ='lgc'>+ manipulation) ='lgc'>='lgc'>--> enticing ravens
='strcls'>*seeing without being seen='strcls'>*
="trms">obliging them ='lgc'>: ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">luring them to actualize the choices ='lgc'>: ='strcls'>***creating ="trms">situations as if they were ="trms">natural='strcls'>*** (so as to let the ="trms">birds do the talking)
(it is a ="trms">matter of) rendering them more robust ='lgc'>[giving them the occasion to resists, of giving them ='strcls'>*the power to send the rese="trms"nttrm="search">archer/="trms">storyteller to work='strcls'>* ='lgc'>=/= to dis="trms">articulate (what ="ppl">Ferdosi does in Shahnameh to the Div)='lgc'>]
to find an enticement that ="trms">interests them ='lgc'>='lgc'>~= to let himself be ="trms">recruited by them
='lgc'>[from Latin “cresc-” grow, rise ='lgc'>='lgc'>==> crescent, crew, decrease, crescendo, ="trms">recruit='lgc'>]
to trust them='lgc'> = to act like them
='at'>@="nms">apass feedback (="trms">differential knowl="trms"nttrm="knowledge,Knowledge">edge that is created because of not trusting)
the ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure could be used to ="trms">respond to this ="trms">question='lgc'>: the ravens fall for the trick
...not only do the ravens not ="trms">respond to ="trms">questions but they pose new ones
="prgrph">-how could we ask them (the ravens, trees, etc.) to verify our hypothesis (about them)='qstn'>?
='strcls'>*he has no answers ='lgc'>=/= he has nine hypothesis='strcls'>*
biological detective ="trms">stories
curiosity (for the things you discover that you don't know) ='lgc'><='lgc'>== the more you know
more cunning
more ="trms">imagination
more activities
='lgc'>--to='lgc'>='lgc'>--> ="trms">obligate ravens to choose between hypothesis
='lgc'>{ Heinrish='lgc'>: “It is still dark, and I'm al="trms"nttrm="already,spread">ready being awakened by raven calls! Several ="trms">birds are flying over Kaflunk making short, high-pitched calls that are unlike the usual quorks. These calls convey ex="trms">citement. The ="trms">birds are flying to a kill! I feel it. Even I can understand, and I too am ="trms">recruited” ='lgc'>}='lgc'>--="ppl">="ppl">Despret='lgc'>='lgc'>--> ='strcls'>***if this ="trms">recruitment by nonhumans was able to acquire such an efficacy, it is because the human was transformed by those whose enigma he was trying to understand='strcls'>*** ='lgc'>[='lgc'>=/= ="trms">animal ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rights activist ='lgc'>='lgc'>==> evidence arrive in the form of a weakened raven that has to be saved='lgc'>]
='strcls'>***letting himself be drawn into their enigma='lgc'> = converting the environment into ="nms">a little more of himself ='lgc'>='lgc'>==> he learned to become sensitive to what makes the ravens sensitive='strcls'>*** (="nms">Cinderella's mice learned that about her)
Heinrish ='lgc'>='lgc'>--> I, as a mammal for whom they are not intended, can feel ='lgc'>[...='lgc'>] I also feel I can detect a raven's surprise, happiness, bravado, and self-aggrandizement
="large lg22" stl="font-size:119%">
(recognizing one another ='lgc'>='lgc'>==>) to go by way of what the ravens ="trms">demand ='lgc'>--="nms">Cinderella='lgc'>='lgc'>--> ='strcls'>*progress often depends more on how well one follows the ="trms">situation than on how well one controls='strcls'>* (especially when control is difficult)
="lsts lst1">•one must learn to ask them to give evidence ="trms">differently and to try to understand ='strcls'>*how a raven ponders a ="trms">question='strcls'>*
and now, when everything is suddenly new, this ="trms">bird acts as if nothing is out of the ordinary! ='lgc'>[...='lgc'>] I can only guess that they see it not as an absolute but as departures from the accepted. when everything is ="trms">different, then comparisons cease, and almost anything can be accepted -Heinrish
(='lgc'>='lgc'>--> ="trms">integration)
tame
="trms">questions that the other ones do not allow to be asked
tamed and be tamed to better find out what ="trms">matters from a raven's point of view
gain the trust to ="trms">respond to the ="trms">demands of the politeness of ='strcls'>*getting to know='strcls'>*
="lsts lst1">•the dis="trms">positive of taming then proves to be a privileged access of “getting to know” ='lgc'>: it actualizes competences that have less chance of occuring in usual conditions (those of the ="trms">birds and those of the rese="trms"nttrm="search">archer) ='lgc'>='lgc'>==> transforms habits (those of the ="trms">birds and those of the one who investigate them)
aviary مرغدانی
the most adventurous ='and'>& the most curious ='lgc'>='lgc'>==> the most attached to the rese="trms"nttrm="search">archer (to ="nms">Cinderella) ='lgc'>='lgc'>==> hierarchy takes shape as a function of bravery ='lgc'>[='lgc'>=/= bravery of adventure in the shape of radical detachment and fluidity='lgc'>]
(when) ='strcls'>*investigator becomes biographer='strcls'>* (='lgc'>='lgc'>==> the ="trms">story changes)
(how when why) the fact of ="trms">recruiting must be linked to de="trms">monstrations of bravery
="trms">position in the hierarchy
manner of ="trms">recruiting
shyness='lgc'>: dancing a little dance of hesitation
(="ppl">="ppl">Despret's account of how Heinrish succeeded in) ="trms">recruiting the ravens around his problem ='lgc'><='lgc'>~='lgc'>~='lgc'>~='lgc'>~> ='strcls'>*he sufficiently ="trms">recruited himself to invent pertinent ways of addressing them='strcls'>* ='lgc'>='lgc'>==> the models are now commensurate متناسب with their unpre="trms">dictability
='at'>@="nms">apass
Heinrish becomes their expert and their re="trms">liable spokesperson ='lgc'>='lgc'>==> (like ="frds scrmbld">Pierre) he could now convince and ="trms">interest his colleagues in terms that count for them (='lgc'>='lgc'>==> enroll other rese="trms"nttrm="search">archers to pose other ="trms">questions) ='lgc'>='lgc'>==> he could bear witness for them
='lgc'>=/= Hitchcock's the ="trms">birds ='lgc'>='lgc'>--> ="trms">nature turned to ="trms">horror, based on in Germany in mid-1990s fifty ravens invaded the idyllie Swabian Alps region... ='lgc'>='lgc'>==> their killing would be necessary
(chain of ="trms">recruitment='lgc'>:) the German ravens had in thier turn succeeded in ="trms">recruiting the re="trms">presentative of the american ravens, and Heinrish was able to ="trms">recruit ="trms">ecologists, who in their turn mobilized experts and politicians, who themselves modified the habits of the owners of the cows and sheep... ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="ppl">Tsing's coalescence='lgc'>]
='strcls'>***amazing ="trms">inter="trms">specific ="trms">recruitment='strcls'>***
="frds">Sina ='lgc'>--telegram='lgc'>='lgc'>--> visual ="trms">animal ='lgc'>--inventing='lgc'>='lgc'>--> ="trms">hallucinating ='lgc'>--spoiled='lgc'>='lgc'>--> dis="trms">sociated
="frds scrmbld"nttrm="Godard">Goda ='lgc'>--Boicic='lgc'>='lgc'>--> wounded dog ='lgc'>--saving='lgc'>='lgc'>--> mothering ='lgc'>='lgc'>--> traumatized (left alone)
wolf observers
Heinrish's colleagues who study wolves in Yellowstone ="trms">Natural Park
the peaceful cohabitation between the wolves and ravens
in Yellowstone when the ravens are in the ="trms">presence of wolves, do not de="trms">monstrate any timidity and do not hesitate a second before eating ='lgc'>='lgc'>--> the wolves allow ravens to conquer their fear ='lgc'>='lgc'>--> wolves changed the constrains that hold sway over the habits of the ravens
the ravens of much more alert and vigilant than the wolves (the ="trms">birds serve the wolves as extra eyes and ears)
="large lg22" stl="font-size:107%">
the prophecy ="trms">translated in terms of ="trms">recruitment ='lgc'>--="ppl">="ppl">Despret='lgc'>='lgc'>--> who could have thought, if not no doubt a descendant of La Fontaine, that it is the ravens who protect the wolves and permit then to eat with their eyes closed='qstn'>? ='heart'>♥
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='lgc'>[title='lgc'>]
the old taghalob (تقلب cheat)
="trms">history of enumeration in the ="nms">Iran (="trms">measurement, weight, scale)
the ="trms">history of our non-mathematical practices
="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................
time ="trms">travel (in TV series or ="trms">literature) ='lgc'>='lgc'>--> (regardless if they are dystopian or not) essential for creating sensations of ="trms">historical continuity
Marzolph on pre="trms">modern middle eastern ="trms">narrative culture
seafaring merchant...
sailor's yarns
tales documented in persian ="trms">literature of the muslim period appear to be offshoots of earlier versions in either indian or arabic ="trms">literature ='lgc'>='lgc'>--> arabic as the ="trms">lingua franca of the day
Kitab ="nms">ajayeb al Hind, ="trms">wonders of india, 10th century by ="nms">iranian captain Bozorg ibn Sahriyar of Ramhormoz
(Marzolph holisitic assessment ='lgc'>[='lgc'>=/= Beyzai's parochial claims of ="nms">iranianness='lgc'>] of) middle-eastern ="trms">narrative traditions='lgc'> = arabic ='lgc'>+ persian ='lgc'>+ otaman turkish ='lgc'>+ jewish ='lgc'>+ christian (='lgc'>+ several other) ="trms">narrative traditions related to each other and none of which may claim an ex="trms">="trms"nttrm="cluster,club">clusive ="trms">position
city of Brass
the Golden City is a legendary city built in africa by Tawil, the brother of the giant Ug, both of whom were born from the incestuous ="trms">relation between Cain and his sister Anaq. having been deserted for more than a thousand years, the Golden City was later conquered by Egyptians and became the source of their ="trms">fabulous wealth.
agahi آگاهی knowl="trms"nttrm="knowledge,Knowledge">edge
na javan mard ناجوانمرد impudent one
farz فرض rite
sonat سنت manner
mardi مردی manly combat
='lgc'>[="frds">Sina, ="frds scrmbld">Ehsan ='lgc'>='lgc'>-->='lgc'>] in the manner of ='strcls'>*="trms">narrative men='strcls'>* ='lgc'>='lgc'>--> typical for the thousand and one nights='lgc'>--whose protagonists of merchants (often thrift sons of rich merchants, who embark on ="trms">travel after they have wasted their fortune with false friends)
="lsts lst1">•save himself by his inventiveness, strong determination, physical strength
="lsts lst1">•there is no single predestined future but a variety of options whose eventual practical course depends on the protagonist's active ="trms">intervention
="lsts lst1">•(="nms">Sinbad left behind on an island where) the Ruhh has laid its eggs (spirit's eggs تخم های روح 🥚🥚🥚)
="lsts lst1">•althought most of them kill other people in order to survive, their action is spontaneously motivated by the needs of the moment
="lsts lst1">•
با هزار زحمت with a thousand efforts
customary formal “hearing is obeying”
pitfalls
“='lgc'>[...='lgc'>]When I returned home, my wife had died. They lifted her up, took me along, and brought us to that cave. With a rope they let me down and blocked the entrance of the cave. After they had lowered the ='lgc'>[body of my dead='lgc'>] wife and the ='lgc'>[bundle of='lgc'>] clothes and I had regained my senses, I got up and saw a tremendously large cave. I installed the wick and lit the lamp, chose a place by the side, cleaned it and made a bedstead. And when every two days they threw somebody down there alive, I killed that person with my knife and took the supplies of three days b="trms"nttrm="already,spread">read and water, until one day they de="trms">posited in that cave my former wife’s sister alive, together with her dead husband. When she saw me, she recognized me and consented to marry me. I slept with her and had several ="trms">children with her. Some time later I started to dig the ground in a corner of the cave with my knife until I had made a ='lgc'>[large='lgc'>] hole to the side of the sea. Every day I would sit there, until I finally saw a ship. I attached a piece of cloth to a stick and waved it, until the ship came close and took me and my ="trms">children aboard. They also asked me the same ="trms">question ='lgc'>[i. e. why my ="trms">children had heads like horses='lgc'>], I told them my ="trms">story, and they delivered me to my country. I had many more ="trms">children with that woman. This is the ="trms">story of my ="trms">children and their ="trms">ancestry.”
="large lg18" stl="font-size:101%">
moral ="trms">obligation of contemporary ="trms">society
...the king would use the slave girl as muslim men would do='lgc'> = for entertainment of all kinds (in="trms"nttrm="cluster,club">cluding sexual ="trms">intercourse, but not eating them)
relief after hardship فرج بعد از شدت
urdu romance bagh o bahar باغ و بهار
(the considerably older) misogynous motif of the unfaithful wife
husband and sife being buried together
='lgc'>='lgc'>--> part and parcel of the ='strcls'>**="trms">narrative stock='strcls'>** talented ="trms">storytellers would exploit to construct their tales
="trms">intertextual references
="lsts lst1">•cannibal black men
="lsts lst1">•the one-eyed person whose one eye had been picked out by a ="trms">bird (a well-known ="trms">narrative from pre="trms">modern arabic and persian tradition, a one-eyed character is taken as an ill omen, whereas here he figures as a friendly advisor and helper)
="lsts lst1">•
='lgc'>='lgc'>--> ='strcls'>***stock characters='strcls'>*** of pre="trms">modern middle eastern ="trms">literature
Marzolph ='lgc'>='lgc'>--> concider texts as artful creations ="trms">composed by a talented ="trms">narrator ='lgc'>=/= taking texts as the products of an anonymous popular “="trms">fold” tradition that would indiscriminately غيرمشخص lump together all kinds of ="trms">material ='lgc'>='lgc'>==> belittling the creative act of a single individual
='strcls'>*="trms">intertextual allusions (to themes, motifs, concepts familiar to the audience) ='lgc'>: a highly effective narative ="trms">technique for linking new and unknown tales to a web of tradition the audience shares='strcls'>*
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='strcls'>*='lgc'>~._
all the familiar landmarks of your thoughts that you find in somebody else's
="large lg18" stl="font-size:131%">
عجایب نامه ="nms">ajayeb (doing it here in europe)='lgc'>: the exotic charm of another ="trms">system of thought (='lgc'>='lgc'>~= its limitation)
='lgc'>[='strcls'>*='lgc'>]="trms">zoo='lgc'>: terrible grounds that the ="trms">child ='lgc'>[= us='lgc'>] enjoys='lgc'> = primal s="trms">cene of conquest (of nation building, of state power) ='lgc'>--carceral='lgc'>='lgc'>--> s="trms">cene of sadistic pleasure, where bodies become “flesh” ='lgc'>[='lgc'><='lgc'>-- telegram is all of this='lgc'>]
(="ppl">="ppl">Hayward ='lgc'>+ Borges)
='lgc'>[='strcls'>*='lgc'>]="trms">child='lgc'>: a primal s="trms">cene='lgc'> = the promise of the ="trms">social, the human, and the future ='lgc'>='lgc'>--> ='strcls'>***="trms">child is necessary for the ="trms">ongoingness of colonialism='strcls'>*** ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to the ="trms">children in The 100 TV series ='lgc'><='lgc'>-- ='strcls'>*white ="trms">child='lgc'>: an explorer of terrible grounds='strcls'>*='lgc'>]
="lsts lst1">•conscripted labor
="lsts lst1">•enslavement
="lsts lst1">•necropolitical economy
="lsts lst1">•
='lgc'>--elaborating-proliferating='lgc'>='lgc'>--> productive engines of empire
='lgc'>}='lgc'>--="ppl">="ppl">Hayward='lgc'>='lgc'>--> how might the effects of colonialism always find ="trms">children enjoying terrible places='qstn'>?
the subtending (entgegensetzend) logic of the ="trms">zoo
sadism='lgc'>: the trouble of enjoying terribleness
(="ppl">Lacanian) ="trms">imaginary ='lgc'>--desires='lgc'>='lgc'>--> coherence (='lgc'>=/= fragmentation) ='lgc'>==generates='lgc'>='lgc'>==> a compromise ='lgc'>: an idealization of the self as whole, between the unbearability of ="trms">interiority and exteriority
='strcls'>*="trms">imaginary is unavoidable, the ="trms">obligatory state of existence (for speaking subjects) ='lgc'>==constitutes='lgc'>='lgc'>==> real effects
="lsts lst1">•Borges ='lgc'>='lgc'>--> ="trms">imaginary ='lgc'>='lgc'>--> a ="trms">world in pieces (="trms">monstrous fragmentation), impossible ="trms">world of ‘that’
="lsts lst1">•="ppl">Lacan ='lgc'>='lgc'>--> ="trms">imaginary ='lgc'>='lgc'>--> tentatively precariously constitutes a sense of self through alienation
(="ppl">="ppl">Hayward > Borgesian) ='strcls'>****="trms">zoo ='lgc'>--constitutes='lgc'>='lgc'>--> a primal s="trms">cene of colonial violence though which fantasy and ="trms">imagination, dragons and unicorns, are ="trms">articulated, organized, rendered as “elsewhere” ='lgc'>=/=='qstn'>? ="nms">ajayeb pre="trms">modern
="trms">zoo
one of the most ancient institutions
transformed by the event horizon of ="trms">modernity
="large lg3" stl="font-size:110%">
(Fanon dramatizing) colonialization is animated by ="trms">zoonomia as phantasy='lgc'>: “when the settler seeks to describe the native fully in exact terms he constantly refers to the ="trms">bestiary”
='strcls'>*we='lgc'> = sadism's ="trms">children='strcls'>*
how ="trms">imaginary beings and ='strcls'>*fantastic ="trms">zoology='strcls'>* always carry a colonial logic[...]