[...]reated 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'>]


="large lg2" stl="font-size:110%"> 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


(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)


="large lg6" stl="font-size:129%"> 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'>]

="large lg14" stl="font-size:134%"> ='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)


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'>♥

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

='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

="large lg10" stl="font-size:108%"> (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

="large lg1" stl="font-size:121%">
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.”


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'>*

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

='strcls'>*='lgc'>~._

all the familiar landmarks of your thoughts that you find in somebody else's


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 lg14" stl="font-size:123%"> (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

biological essentialism ='lgc'>: a d="trms"nttrm="danger,stranger">angerous and reactionary basis upon which to build a politic

...racial and colonial violence of slavery

prison='lgc'>: anti-trans necropolitical institution
='lgc'>+ its abolition='lgc'>: a critique of anti-black legal/sovereign violence and for the radical potentiality of ="trms">social tranformation
(='lgc'>=/= prison in Orange Is the New Black TV series)

='lgc'>[='strcls'>*='lgc'>]trans='lgc'>: an effect of white supremacist thinking that needs incoherent genders to make gender ="trms">matter at all='strcls'>****
='lgc'>--="ppl">="ppl">Hayward='lgc'>='lgc'>--> when trans becomes ‘this’ (an effect of gender) then it can only serve regimes of power


="large lg3" stl="font-size:112%"> ='lgc'>[="ppl">="ppl">Hayward's (expected and a bit cliche)='lgc'>] trans="trms">figurations='lgc'>: (cascading provocations) sug="trms">gesting ="trms">questions without answering them, to break from an ="trms">interpretive paradigm that ="trms">demands solution-making over and against problem-generating


native
a ="trms">zoological term

="ppl">Derrida's blackness (skin color)='lgc'>: unsovereign and stateless, criminal and ="trms">beast

="large lg4" stl="font-size:112%"> (promise of ="trms">love ='lgc'>='lgc'>-->) relinquishing the body to ='lgc'>[='strcls'>*='lgc'>]flesh='lgc'>: pre-discoursive ="trms">material, a zone of non-personhood, a state of anjection (='lgc'><='lgc'>-- ="trms">according to ="ppl">="ppl">Hayward)
anatomo-political)

soma-politics of the body (of the racial-colonial ="trms">category of the human)

carno-political ="trms">question of flesh (under the regime of racial capitalism) ='lgc'>='lgc'>--> human/="trms">animal divide
="lsts lst1">•="trms">animals in the afterlife of slavery are rendered as flesh (under the regime carno-political regimes of racial capita="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list valuation) ='lgc'>[='lgc'><='lgc'>-- ="ppl">="ppl">Hayward's misrecognition of contemporary ="trms">society as [...]