[...]/> ='lgc'>{projective ideals ='lgc'>=/= actual experiential realities of ="trms">socialism='lgc'>}='lgc'>='lgc'>==> layer of ironic distance between ='lgc'>[media (television) and its viewers='lgc'>]

(1990s following the Soviet empire's dis="trms">integration ='lgc'>='lgc'>-->) ironic overidentification ='lgc'>='lgc'>==> nostalgia
='lgc'>--Imre='lgc'>='lgc'>--> evasion of television allows for nostalgia to be misframed and misappropriated as a sentiment that marks the end of ="trms">socialism ='lgc'>[temporally and clearly demarcates backward-looking post="trms">socia="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list populations from forward-looking (Western) observers='lgc'>]
='lgc'>-='lgc'>-='lgc'>='lgc'>--> takes into account television's (and ="trms">internet ="trms">social media) relevance to collective ="trms">memory

post-X nostalgia='lgc'>: a near-="trms">visceral yearning for the false sense of safety derived from the ="trms">memory of X (fetishistically attached to public personas or ="trms">consumer products of the ="trms">past)


nostalgia='lgc'>: an ="trms">interpretive framework ='lgc'>}='lgc'><='lgc'>-- ='strcls'>**sense of intimate ="trms">sociality disrupted by the collapse of a centralized ="trms">system of governance and the influx of globalization='strcls'>**

nostalgia is a discourse (that is not ="trms">specific to Eastern Europe) populations disappointed with and un="trms">="trms">equipped to deal with the advent of ="trms">market democracy

="large lg2" stl="font-size:111%">
there are more than one way of (content of) longing

television='lgc'>: a medium whose chief mode of operation is in reruns, recombinations, circulating formats and generic adaptations that constantly ="trms">interweave national, regional and global scales ='lgc'>='lgc'>~= digital ="trms">social media

(Imre > Boyer) to trace nostalgia back to the intellectual o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigins of European cultural nationalisms

...diverse and contradictory sentiments that make us see European cultures conjoined in ="trms">mutual ="trms">relationships of dependence, rather than separation

(Imre ='lgc'>='lgc'>-->) ='strcls'>*nostalgia as something by de="trms">finition national at its core='strcls'>*

nostalgia ='lgc'>--foreground='lgc'>='lgc'>--> coexistence of ="trms">different temporalities in the ="trms">present

post="trms">socia="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list nostalgia in Romania is similar in structure to late ="trms">socia="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list nostalgia of the 1980s in Hungary

="large lg26" stl="font-size:110%"> manage feelings of dislocation ='lgc'>='lgc'>==> longing for national homes
='lgc'>='lgc'>~='lgc'>~='lgc'>='lgc'>--> preference for ="trms">literature and high art as expressions of what has been identified as cultural nationalism (“national tradition='lgc'> = tradition invested in high art”) ='lgc'>+ perceived illegitimacy of popular cultural production and ="trms">consumption (concealed by the allegedly rebellious “dissident” status of intellectuals) ='lgc'>==organize='lgc'>='lgc'>==> the contents of collective ="trms">memory

="large lg38" stl="font-size:104%">
Imre ='lgc'>='lgc'>--> racialized underpinnings of allegedly “pure” ="trms">aesthetic judgments


inherently nostalgic and pre-="trms">modern post="trms">socia="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list population ='lgc'><='lgc'>='lgc'>==> Western Europe as the epicentre of progressive ="trms">scientific ="trms">modernity


television's capacity for personalization and ="trms">narrativization

='strcls'>*demi="trms">world of popular culture='strcls'>*
television’s dominant ="trms">position within the domestic environment and its special appeal to an emotionally available female or feminine ="trms">consumer ='lgc'>='lgc'>--> television='lgc'>: the mass medium of the ="trms">socia="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list period ='lgc'>--pose='lgc'>='lgc'>--> the d="trms"nttrm="danger,stranger">anger of a passive mindless ="trms">consumption of ="trms">formulaic ="trms">narratives (a d="trms"nttrm="danger,stranger">anger that has been ascribed to women’s inferior psycho="trms">social needs and tastes ='lgc'>=/= cerebral ="trms">modernist masculinity of art) ='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="ppl">Baxstrom's realizing the witch


Western European cultural nationalisms

='thdf'>the notion of nostalgic and pre="trms">modern post="trms">socia="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list population ='lgc'>='lgc'>==> Western Europe as the epicentre of progressive ="trms">scientific ="trms">modernity


West’s fanning of East European nostalgia ='lgc'>='lgc'>--> a post-imperial ="trms">symptom='lgc'> = (expression of a growing Western European awareness that) ="trms">modernity is p="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurinodal rather than centred in European metropolitan headquarters


(postimperial European dimension of) ='strcls'>*cultural nationalism ='lgc'><='lgc'>~÷='lgc'>+='lgc'>-> nostalgia='strcls'>*
...utopian national rebirth scenarios for a united Germany ='lgc'>='lgc'>--> (promoted by intellectual artists) the bad idea that suppression of German nationalism ='lgc'>==open='lgc'>='lgc'>==> influx of American audio-visual culture (that muat be resisted in order to preserve and nourish German culture in its purest ="trms">literary manifestation)
= logocentric return to the ethos of German Romanticism ='lgc'>[Kulturnation ='lgc'>='lgc'>--> certain cultural identity ='lgc'>='lgc'>--> cliche-ridden elitist racist implications='lgc'>] ='lgc'>+ new nationalism ='lgc'>=/= results of Western ="trms">integration over the last forty years


aspirational ="trms">narrative (of nation...)

postimperial power dynamic='lgc'>:
="lsts lst1">•western rese="trms"nttrm="search">archer ='lgc'>='lgc'>--> has the political capital to afford studying popular media
="lsts lst1">•eastern rese="trms"nttrm="search">archer ='lgc'>='lgc'>--> has to faithfully fulfill the role to re="trms">present their national culture (elite achievement)


(Bourdon >Imre) the most obvious European commonality ='lgc'>='lgc'>--> ='strcls'>**a focus on high culture='strcls'>**


national ="trms">specificities of ="trms">memory ="trms">systems developed around television


nostalgia machine
="lsts lst1">•Putin ='lgc'>='lgc'>--> TV programming to a ="trms">literary Soviet ="trms">heritage
="lsts lst1">•Hungarian FIDESZ ='lgc'>='lgc'>--> ="trms">children’s channel of ="trms">socia="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list ="trms">children’s programmes
="lsts lst1">•showcase oeuvre of popular performers from the ="trms">past
="lsts lst1">•rerunning vintage highbrow content='lgc'>: old films, television series and documentaries
="lsts lst1">•popular music's capacity to call up depoliticized ="trms">affective ="trms">memories
="lsts lst1">•commercials (='lgc'>--t="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigger='lgc'>='lgc'>--> post="trms">socia="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list nostalgia)
="lsts lst1">•
='lgc'>}='lgc'>='lgc'>--> depoliticized reminiscences ='lgc'>='lgc'>==> an image of (="trms">socia="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list) ="trms">sociality as a ="trms">natural connecting glue among citizens gathered around the warm glow of their favourite singers and cabaret actors

FIDESZ='lgc'> = alarming racism ='lgc'>+ anti-Semitism ='lgc'>+ drastic neoliberal economic restructuring ='lgc'>='lgc'>--> television='lgc'> = ="trms">interfaces of official state nationalism ='lgc'>+ commercial purposes of a nostalgia industry


(ghost of ="trms">dictators in) humorous commercial context='lgc'>:
="lsts lst1">•Tito in post-Yugoslav republic commercials (as anti-capita="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list and anti-commercia="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list hero)
="lsts lst1">•Ceausescu in commercials in Romania (old footage of him walking his dog in car tires ads)
="lsts lst1">•
='lgc'>}='lgc'>--Imre='lgc'>='lgc'>--> (blending) ='strcls'>*top-down ="trms">history lessons='strcls'>* ='lgc'>+ the work of ='strcls'>*popular ="trms">memory='strcls'>* ='lgc'>='lgc'>==> punctuate contemporary continuities with the ="trms">communist regime that are taboo in official ="trms">narratives but prevalent in popular perceptions of ="trms">history
(='lgc'>==Georgescu='lgc'>='lgc'>==> counter-="trms">memory ='lgc'><='lgc'>-- does it assist coming to terms with the ="trms">past, processing the paralyzing ="trms">past and the humiliating ="trms">present of globalization coupled with reactionary state control)

="trms">socia="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list advertising (='lgc'>='lgc'>--> promoted products and services that had not competition in the absence of a real ="trms">market) ='lgc'>==now='lgc'>='lgc'>==> a sense of awkwardness (absurdity of an era) ='lgc'>='lgc'>--> an oxymoron ='lgc'>='lgc'>==> (the ads’) appeal ='lgc'>==guarantee='lgc'>='lgc'>==> the authenticity of re="trms">membering ='lgc'>+ ="trms">mutual recognition (among ="trms">members of the nostalgic ="trms">community) ='lgc'>-='lgc'>-='lgc'>='lgc'>--> ='strcls'>*longing for a bond ="trms">specific to an elusive era='strcls'>*


(for late ="trms">socialism ='lgc'>--Imre='lgc'>='lgc'>-->) ='lgc'>[='strcls'>*='lgc'>]nostalgia='lgc'>: a popular and essential compensatory ="trms">gesture to make up for the loss of a contradictory temporality
='lgc'>+
a mode of continuity with an era that was al="trms"nttrm="already,spread">ready nostalgic for the unrealized transformative potential (of real ="trms">socialism)


(Yurchak's) ='strcls'>*frozen ="trms">present='strcls'>*='lgc'> = the time of nostalgia
='lgc'>}='lgc'><='lgc'>== late ="trms">socia="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list culture itself lived in a nostalgic mode, at a certain ironic, knowing distance from what it was ="trms">supposed to be ="trms">according to the ="trms">memories of the heroic 40s-50s and the remnants of ="trms">socia="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list propaganda ='lgc'>='lgc'>--> ='strcls'>*a familiar ironic mode of experiencing ="trms">history vicariously='strcls'>* (in a way that is experienced in the ="trms">imagination through the actions of another person)


(looking at televisual nostalgia ='lgc'>='lgc'>-->) late ="trms">socialism ='lgc'>='lgc'>==> an ="trms">affect ='and'>& ="trms">epistemology that can only access the “authentic” through contra="trms">diction ambivalence self-reflective irony
='lgc'><='lgc'>--Holdsworth='lgc'>-- expression of ="trms">present ="trms">anxieties about ="trms">history and ="trms">memory in general

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

___='lgc'>[notes ="nms">Tehran 2023='lgc'>]___

="trms">semiotics='lgc'>: study of the differnce between “what you say ='lgc'>='lgc'>~/= what they understand”

(my fundamentals='lgc'>:)
='strcls'>*sharing ='lgc'>=/= ="trms">communicating='strcls'>*


آشپز دیو سپید
it is said that the White Div had a cook ='lgc'>='lgc'>--> exploring the ="trms">cosmology of Div (in Shahnameh) with food, hunting for eating, ="trms">bestiary, cooking ="trms">technology, taste
(inspired by anime JYfdfDU9JUY)
='at'>#short ="trms">story='lgc'>: narrartor describes the ="trms">story after the defeat of the White Div (Div-e Sefid) by Rostam. “rather than worring about the kingsmen X, he was more ="trms">interested in what is for dinner...”. there is another being. a baby ="nms">hayula (non-formity)... what other beings Div hunts for meat='qstn'>? (="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list, ="trms">bestiary) “he would think about the next hunt X and get ex="trms">cited about the kabab of X...”  “immediately asked for more”

dungeons and dragons ='lgc'>='lgc'>--> a non-cartographic space, there are no maps and one only learns by dying many times
dungeon has nothing to do with the medieval prison, it is a deterritorialized habitat, defined precisely by not having a map (or guide) ='lgc'>='lgc'>--> are we in a dungeon='qstn'>?

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

journalism='lgc'>: professional discursive pursuit (of truth, of propaganda, etc.)
='lgc'>=/= journalism='lgc'>: proximity to the event ='lgc'>+ the risks that that entails

(Ghazzi's notion of) ='strcls'>*="trms">affective proximity='strcls'>* ='lgc'>: (a mode of consideration, a way) to make sense of local media practitioners’ reporting and witnessing of suffering in their country
='lgc'>='lgc'>--> a media practitioner ='lgc'>=/= the event they are re="trms">presenting and participating in
="trms">affective proximity ='lgc'>: what locals navigate to reconcile their emotional and ="trms">embodied entanglement within events in their country ='lgc'>=/= discursive

='strcls'>*emotional labour='strcls'>* of media practices of local reporters and witnesses

what the word “revolution” mediates (in Syria, ="nms">Iran, etc.) ='lgc'>[='lgc'>~/='qstn'>?= civil war='lgc'>]
="lstsrd">1. an indication of commitment to a desired goal
="lstsrd">2. an identity marker based on a ="trms">past-oriented lament over what was sought but not achieved

study of ="trms">affect and emotion in global news ='lgc'>--(contextualized within)='lgc'>='lgc'>--> unequal power ="trms">relations (='lgc'>='lgc'>==> journa="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic roles ='and'>& modes ofre="trms">presentaiton)

user-generated-content
political economy of global war reporting
living with violence

journalism ='lgc'><='lgc'>--='qstn'>?='lgc'>-='lgc'>='lgc'>--> ="trms">affect

="trms">affective proximity
='lgc'>==shape='lgc'>='lgc'>==> the boundaries of journ0alism and activism
='lgc'>='lgc'>--> captures the feeling of being close to violence='lgc'>:
="lsts lst1">•fear for one's life and that of others
="lsts lst1">•having to deal emotionally logistically with deaths of ="trms">loved ones (escape, exile) ='lgc'>[='lgc'>='lgc'>--> ='thdf'>that is why we need an ='strcls'>*="trms">anthropology of the exile='strcls'>*='lgc'>]
='lgc'>}='lgc'>='lgc'>--> living-in-violence ='lgc'>=/= encounter, exposure

(Ghazzi is too fast in favoring “="trms">affective proximity ='lgc'>=/= western rationalism”, as an ="nms">iranian I am more exposed to an ='strcls'>*="trms">affective jurnalism='strcls'>* ='lgc'>[='lgc'>='lgc'>~= activism='lgc'>: politically motivated and highly emotive role='lgc'>] ='lgc'>=/= journalism as a ="trms">modernist and rationa="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list institution)
“activism ='lgc'>='lgc'>~= jurnalism” ='lgc'>='lgc'>='lgc'>~=> they need to='lgc'>:
="lstsrd">1. project authenticity and emotion ="trms">onto news ="trms">narratives
="lstsrd">2. act as objective witnesses able to produce truthful accounts

(more and more i feel the ="nms">iranians need for ‘activism ='lgc'>=/= jurnalism’ ='lgc'>='lgc'>--> what one wants to happen ='lgc'>=/= understanding what is happening)='lgc'>='lgc'>--> ="trms">epistemology ='lgc'>[the ="trms">question of how one makes sense of one's practices ='lgc'>='lgc'>--> in the case of Syria (also ="nms">Iran)='lgc'>: ='strcls'>*="trms">affective proximity to violence='strcls'>* ='lgc'>='lgc'>==> sense='lgc'>]

...negotiating the distance of mediation when viewers and producers in the Global North are witnessing the suffering of others

(in ="nms">Iran) activism ='lgc'>+ art='lgc'> = the human body as tool, medium, ="trms">symbol, ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor

='lgc'>[='strcls'>*='lgc'>]="trms">affect='lgc'>: circulation ='lgc'>+ stickiness of emotion (="trms">onto and between bodies, texts, objects, experiences) (="ppl">Ahmed)

journalism='lgc'> = re="trms">present ='lgc'>+ ="trms">narrate

(the ‘trick’ of) relying on the ='strcls'>*outsourcing of emotional labour='strcls'>* to non-journa="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists (by='lgc'>:)
="lsts lst1">•having them express their emotions
="lsts lst1">•having the journa="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list describe them

(Ghazzi conceptualising the emotional field in journalism ='lgc'>='lgc'>-->) ='strcls'>***unequal power ="trms">relations ='lgc'>='lgc'>==> emotioal labor='strcls'>***

proximity (='lgc'>='lgc'>--> what i heard so much when i went back to ="nms">iran='lgc'>: to ke inja insti nemiduni تو که اینجا نیستی نمیدونی)

='strcls'>*="trms">aesthetic of authenticity='strcls'>* in news reports (='lgc'><='lgc'>-- mobile phones)
political economy of foreign reporting
politics of hope (with an ambition to inspire all Syrians to rebel)
...emotional attachment to political goals


='strcls'>*revolution='lgc'>: the event that changes people's lives and in ="trms">relation to which they locate themselves politically
="lsts lst1">•conflict in Syria began as an uprising, it ended up an ="trms">international war, which in 2020 appears to have mostly con="trms"nttrm="cluster,club">cluded in the favour of the regime ='lgc'>=/= revolution
="lsts lst1">•the word “revolution” means something else to activists in Syria (how the meanings projected on the term changed in ="trms">accordance to circumstances)
="lsts lst2">◦(most of the time, artists and activists) ='strcls'>****use a word to galvanise their emotions and bodies='strcls'>**** and inspired them to take actions they would not have ="trms">imagined to pursue ='lgc'>[use of words ='lgc'>='lgc'>--> what people hope ='lgc'>=/= descriptive='lgc'>]
="lsts lst2">◦word (for example “revolution”)='lgc'>: a marker of an ='strcls'>*inward-looking description='strcls'>* of belonging to a broad political ="trms">community defined by op="trms">position
="lsts lst1">•“the revolution” ='lgc'>='lgc'>--> ="trms">affectively ="trms">consumed the pursuit of truth
="lsts lst1">•an identity-marker (based on a political orientation) ='lgc'>='lgc'>--> an inward-looking signifier to mark who one is ='lgc'>+ what political ="trms">community they belong to ='lgc'>[='lgc'>='lgc'>--> a politics of what one had wanted ='lgc'>=/= describe what one observes='lgc'>]
="lsts lst1">•(revolution='lgc'>:) personified and humanised as a well-meaning political ="trms">agent (that sometimes strays from its goals by committing errors)
="lsts lst1">•motivating people to get involved in activism
="lsts lst1">•

(Said's Orientalism ='lgc'>='lgc'>-->) subaltern others (are typically considered) living within a constant state of violence ='lgc'><='lgc'>-- much older Western regime of re="trms">presentation perceived them as culturally close to violence

(Ghazzi > ="ppl">Badiou >) some events are felt as ="trms">historic as they galvanise the energies of political actors who ="trms">imagine themselves as ‘mounting the ="trms">stage of ="trms">history’ ='lgc'>--Koselleck='lgc'>='lgc'>--> acts of information dissemination are engulfed by the event and are aimed at bridging the temporal distance between the desired and experienced ='lgc'>='lgc'>==> “journalism ='lgc'>='lgc'>~= activism”

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

collective ="trms">memory ='lgc'>='lgc'>--> ="trms">historical victimhood ='lgc'>='lgc'>--> consolidating power
(="trms"nttrm="metaph,metamorph,metabol,metal">meta-="trms">history ='lgc'>='lgc'>-->) a view of ="trms">history as a series of junctures where good fought evil ='lgc'>==Ghazzi='lgc'>='lgc'>==> ="trms">historical victimhood

global rise of popu="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list politics ='lgc'>='lgc'>==> ="trms">tropes of self-victimisation
="lsts lst1">•revolutionary
="lsts lst1">•resistance
="lsts lst1">•nationalism
="lsts lst1">•populism
="lsts lst1">•neo-fascism
='lgc'>}='lgc'>='lgc'>--> operationalize victimhood (by whom / against whom)

one is wronged, targeted, injured (by the elite, the media, external enemies)
="lsts lst1">•self='lgc'> = true underdog ='lgc'>='lgc'>--> victim
="lsts lst1">•opponents='lgc'> = inauthentic adversary ='lgc'>='lgc'>--> oppressor
= homogeneous ='lgc'>+ antagonistic
='lgc'>--="ppl">Laclau='lgc'>='lgc'>--> chain of equivalence='lgc'>: (from) corruptions ='lgc'>=/= o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigins ='lgc'>--to='lgc'>='lgc'>--> traitors ='lgc'>=/= patriots ='lgc'>--to='lgc'>='lgc'>--> intruders ='lgc'>=/= natives ='lgc'>--to='lgc'>='lgc'>--> faithless ='lgc'>=/= faithful ='lgc'>--to='lgc'>='lgc'>--> ='strcls'>*sub="trms">mission  ='lgc'>=/= heroism='strcls'>* and ...
='lgc'>}= ='strcls'>*populism='strcls'>* (political dialectic)

(="trms">storytelling)
="lsts lst1">•the ="trms">question of ='strcls'>*what='strcls'>* a ="trms">society re="trms">members ='lgc'>='lgc'>-->='lgc'>{highly ="trms">formulaic plot structures ='lgc'>--for='lgc'>='lgc'>--> ="trms">narrating the ="trms">past='lgc'>}
="lsts lst1">•the ="trms">question of ='strcls'>*how='strcls'>* a ="trms">society re="trms">members ='lgc'>='lgc'>-->='lgc'>{powerful actors push for particular kinds of ="trms">story forms that shape the ways they tell all ="trms">stories='lgc'>}

zigzag structures of a rise and fall and/or fall and rise of the nation
='lgc'>='lgc'>--> future dramatically takes one of two routes='lgc'>: (in the direction of) either a golden age or the dark ages
='lgc'>}='lgc'>--Ghazzi='lgc'>='lgc'>--> forked ="trms">historical consciousness ='lgc'>: (an understanding ='and'>& speaking of) “="trms">history='lgc'> = a series of junctures scattered across time”


(the problem is) ='strcls'>***="trms">historical consciousness='strcls'>*** ='lgc'>='lgc'>--> orientational
“bestows upon actuality a temporal direction, an orientation that can guide action intentionally by the ="trms">agency of ="trms">historical ="trms">memory” (Rüsen)
="lstsrd">1. make ="trms">specific references to ="trms">historic events (compare them to the ="trms">present ='lgc'>[='lgc'>==guide='lgc'>='lgc'>==> political action='lgc'>])
="lstsrd">2. ='strcls'>*making references to “="trms">history” at large='strcls'>*

='lgc'>[='strcls'>*='lgc'>]zigzag ="trms">memory structure='lgc'>: deploy mnemonic spins to reframe ="trms">historic events
="lsts lst1">•establish equivalent between the ="trms">present and the ="trms">past ='lgc'>[='lgc'>--!='lgc'>='lgc'>--> (fundamentally despotic='qstn'>?) ="trms">technique that i also use in ="trms">lecture performances='lgc'>]


="trms">authoritarian populism


(="ppl">Hegelian) ='lgc'>[='strcls'>*='lgc'>]action='lgc'>: pursue one aspect of ="trms">history ='lgc'>+ breaking away from away from another
="lstsrd">1. (="trms">modern) revolutionary='lgc'>: telling a new ="trms">story, (='lgc'>--popu="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list='lgc'>='lgc'>--> focus on) ='strcls'>*ex="trms">="trms"nttrm="cluster,club">clusionary politics='strcls'>*, once the leader is in power the objective is to prolong ='thdf'>the idea of ="trms">historic juncture ='lgc'>--justify='lgc'>='lgc'>--> continued ex="trms">="trms"nttrm="cluster,club">clusion

popu="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list ='lgc'>--="ppl">Laclau='lgc'>='lgc'>--> (invocation of)
="lsts lst1">•people='lgc'> = empty signifier
="lsts lst1">•leader='lgc'> = ="trms">embodiment of people's ="trms">agency

='strcls'>***="trms">rhetoric of resentment='strcls'>*** ='lgc'>='lgc'>--> victimhood
='lgc'>[='strcls'>*='lgc'>]resentment='lgc'>: an emotional-moral framework ='lgc'>--aim='lgc'>='lgc'>--> continuously regenerate the felt intensities ='lgc'>--under="trms">write='lgc'>='lgc'>--> ="trms">demands for revenge ='lgc'>+ lamentations (of victimhood)


='strcls'>***nationalism ='lgc'>='lgc'>==> populism='strcls'>***

(many countries) national identity (& militancy) is ="trms">intertwined with='lgc'>:
="lsts lst1">•="trms">narrative of self-victimization ='lgc'>--
="lsts lst1">•invocation of trauma

victorious victimhood ='lgc'>==fuels='lgc'>='lgc'>==> aggressive militancy
for example ='lgc'>='lgc'>--> Israel='lgc'>: nothing counts as evidence as one's own empowerment, one is always under threat, if Israel cannot maintain the omnipotent ="trms">position that its victory offered (1967) it would be under existential threat

anticolonial nationalism (or postcolonial populism)
="lsts lst1">•="trms">past injury (“We have been oppressed” ='lgc'>='lgc'>==> “re-empower ourselves again”)
="lsts lst1">•decades after independence ='lgc'>--still='lgc'>='lgc'>--> fixated on the anticolonial moment ='lgc'>='lgc'>==> perpetuate a sense of victimhood ='lgc'>}='lgc'>='lgc'>--> to mask ="trms">authoritarianism

victimhood
="lsts lst1">•Hindu nationalism ='lgc'>='lgc'>--> re="trms">formulated ="trms">history from a focus on colonialism and postcolonial nation-building into a ="trms">narrative of victimhood that blames ="trms">historic Muslim invasions for the decline of Hindu civilisation and nationhood
="lsts lst1">•China ='lgc'>='lgc'>--> re="trms">formulated its school ="trms">history text="trms">books to stress victimhood and humiliation through ='thdf'>the idea of China's “100 years of humiliation” in reference to Western and Japanese invasions
="lsts lst1">•United States ='lgc'>='lgc'>--> nationalism often takes the shape of antipathy to government that is enmeshed with an ideology of liberal individualism
="lsts lst1">•
='lgc'>}='lgc'>='lgc'>--> ='strcls'>***logic of empowerment='strcls'>*** (='lgc'>--permeate='lgc'>='lgc'>--> economies of visibility)


='strcls'>***="trms">memory ="trms">narrative='strcls'>***


="nms">iran ='lgc'>='lgc'>--> shohada شهدا martyrs of ="nms">iran-iraq war ='lgc'>='lgc'>--> after the war became the picture of collective victimhood (“heroes='lgc'> = us”)

Erdogan's speech
“we have been tested by fire” (='lgc'>--='qstn'>?='lgc'>='lgc'>--> Siavash's fire trial is popu="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list='qstn'>?)
='lgc'>='lgc'>~= “we have been tested by enemy”
='lgc'>='lgc'>~= “evil forces”


(from) populism ='lgc'>--to='lgc'>='lgc'>--> neofascism
(from) generic ="trms">rhetoric of an unidentified enemy ='lgc'>--to='lgc'>='lgc'>--> ="trms">articulation of an identifiable foe (who is met with political violence)

="trms">authoritarian state ="trms">apparatus ='lgc'>[= political ="trms">system ='lgc'>+ culture ='lgc'>+ institutions ='lgc'>+ ='qstn'>?='lgc'>] ='lgc'>--allow='lgc'>='lgc'>--> smoother way of operationalisation of ="trms">narratives (about the d="trms"nttrm="danger,stranger">angers of adversaries)
="prgrph">-exactly what kind of state ="trms">apparatus we have in ="nms">iran='qstn'>?


="trms">historical victimhood ='lgc'>='lgc'>--> resurgent popu="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list discourse
="lsts lst1">•people have been enduring victimhood for too long
="lsts lst1">•fateful junctures throughout ="trms">history
="lsts lst1">•authentic great path
="lsts lst1">•urgency of message
="lsts lst1">•

animating ="trms">rhetoric with self-victimhood ='lgc'>==produce='lgc'>='lgc'>==> divisions (men ='lgc'>=/= women, us ='lgc'>=/= enemy, etc.)



ex="trms">="trms"nttrm="cluster,club">clusionary politics ='lgc'><='lgc'>-- homogeneous ="trms">community (='lgc'>=/= alien intrusion, outside forces, immigrants, minorities, etc.)

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Kundera
is humor ="trms">modern='qstn'>?
='strcls'>*humor is not ancient='strcls'>* (='qstn'>?!)
“whatever humor touches it ambiguites”
humor='lgc'> = ambiguitor

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globalization ='lgc'>=/= cold war
globalization ='lgc'>=/= enlightenment (“universal humanism ='lgc'>+ rationalized tech ='lgc'>='lgc'>==> freedom for all”)

cold war='lgc'> = a meaningfull ="trms">relation between ideology ='and'>& power ='lgc'>[='lgc'>==give='lgc'>='lgc'>==> orientation ='lgc'>+ identity ='lgc'>='lgc'>--> normative approach to global ="trms">phenomena='lgc'>]
geopolitc ='lgc'>+ ideologic borders
='lgc'>=/=
globalization ='lgc'>='lgc'>--> completly ="trms">different political behaivor (de="trms">finitions of national goals, friend and enemy, etc.) ='lgc'>='lgc'>--> p="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lura="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list democracy (="trms">differences ='lgc'>+ contrasts) ='lgc'>=/= ="trms">social democracy (erasing ="trms">differences)

globalization='lgc'> = attitude حالت ='lgc'>=/= meaning
='lgc'>[cold war='lgc'>: “="trms">world ='lgc'>='lgc'>~= (a ="trms">sort of) problem” ='lgc'>='lgc'>--> behaviors had='lgc'>] meaning ='lgc'>='lgc'>==> (base for) power

cold war='lgc'>: war ='lgc'>='lgc'>==> identities
globalization='lgc'>: conflits ='lgc'>='lgc'>=/=> identities

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two points
="lsts lst1">•artistic research='lgc'>: a form of art that uses knowl="trms"nttrm="knowledge,Knowledge">edge as its main medium
="lsts lst1">•artistic research has no ="trms">relation to the unknown (='lgc'>=/= an idea of research im in which one faces something unknown or new therefore needs to research)
="lsts lst1">•='mywrk'>my work (in general) has been about the critique of engineering (the talent of engineering)

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thinking with ="trms">traps ='lgc'>[working title='lgc'>]
Allow me to make you a ="trms">trap. I think ="trms">traps and ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lures are ="trms">interesting to think with when one is oriented toward a nontransportive investigative work. What I mean by nontransportive investigative work is a mode of approach to “getting to know” something ='lgc'>[='strcls'>*call it research='lgc'>] where your subject does not speak plain to you, and you, nor your work, do not intend to transform them. The ="trms">question of “what is ="trms">interesting for them='qstn'>?” raises up immediately. This ="trms">question emerges in all ="trms">sorts of domains of ="trms">social life. As a bullshiter ='lgc'>[='strcls'>*a ="trms">technical term for performance-="trms">lecture='lgc'>: an art of ="trms">interweaving logos='lgc'>] and program-coordinator and educator in the art sector (ZUYD Toneelacademie ="ppl">Maastricht), I am permanently ="trms">positioned to ask this ="trms">question. For this I have found ='thdf'>the notion of ="trms">trap particularly useful to think with, especially in environments where participants entice each other in their subjects of knowl="trms"nttrm="knowledge,Knowledge">edge by means of an adaptable cunning intelligence.


Somewhere between fairytale findings, ="trms">animal as="trms">sociations, and ="trms">dictations from ="ppl">Benjamin ="ppl">Alberti, Eva ="ppl">="ppl">Hayward, Marcel Detienne, and ="ppl">Vinciane ="ppl">="ppl">Despret, I am thinking about ="trms">traps as ="trms">zoo-="trms">anthropo-bio="trms">morphic artifacts, made-up things that entice meaning across ="trms">species. ="trms">Trap-making is the forms of knowl="trms"nttrm="knowledge,Knowledge">edge of the back-tracking of a fox, of building a fishing net, ="trms">skills of a weaver, a carpenter, poly="trms">morphism of an octopus, and the ="trms">rhetorical tricks of a ="trms">crafty charlatan. The ="trms">trap-maker ="trms">imagines what is the perspective of a radically ="trms">different being. If you make a ="trms">trap for other ="trms">animals you are fully engaged in multi-="trms">species perspectival game. You think about their bodies engaged in a perspectival ="trms">communication. I argue, ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lures are needed to convey meaning. In this sense, ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lures and ="trms">traps are ="trms">mimetic devices, they are enticements of meaning, and we have ="trms">mimetic participation with them. ="trms">Mimetic is the op="trms">posite of ="trms">semiotic. In ="trms">mimetic participation, one does not ponder about the ="trms">symbolic ="trms">relations hidden in the game, but rather one is caught in its form. But this form can still be ="trms"nttrm="metaph,metamorph,metabol,metal">meta and not ="trms">literal. In my understanding and use of ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure one is not necessarily fossilized by this seizure. It is a form of ="trms">figuration by trying to enact. It ="trms">demands enacting something outside of you. A ="trms">mimetic preoccupation is something that you cannot stop following. ='lgc'>[='strcls'>*The ="trms">fashion industry, ="trms">marketing, conspiracy theories, art, psychology, and hunting, are all about ="trms">mimesis.='lgc'>]


One ="trms">mimetic form that I have been caught in is an old figure of ="trms">children's fairy tale, ="nms">Cinderella='lgc'>--during her confinement with the evil step-mother and two step-sisters. ="nms">Cinderella is my ="trms">ancestor and ="trms">heritage. I was exposed as a ="trms">child to Disney’s version of Grimm’s recollection of the ="trms">story, which was the very last Disney movie that was officially dubbed in ="trms">Farsi before the ="nms">Iranian revolution. ="nms">Cinderella’s voiceover in ="trms">Farsi was the continuum of an actor-training that o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginated in the ="nms">Tehrani cabaret voice-performances. Her voice has a radically ="trms">different feeling than its English o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal. In contrast to how “="trms">childish” the mice sounds in the movie, ="nms">Cinderella's ="trms">articulations are perceived much more “adult,” sexually textured, of how a young female sounded like in the ="nms">Iranian ="trms">consumer culture of the 1950s. Recollecting that ="nms">Cinderella now reveals something else that cor="trms">responds with ='mywrk'>my research, an attic ="trms">bestiary, a mini universe of meanings and beings with whom she is in conversation with and in a permanent collaboration of ="trms">worlding.


="nms">Cinderella lives with the precarity of a family who torment and insult her on a daily basis. I kept asking myself, why doesn't she become estranged='qstn'>? ="nms">Cinderella is circumscribed in all ="trms">sorts of ways, yet she is capable of knowing new things about the ="trms">animals she lives. She incorporates a form of transhumanity that lies in (1) the way she is inhabiting and ="trms">composing with a place that she is not a master of nor can she escape from, and (2) in the way ="trms">animals give her power and meaning. Can we think of ="nms">Cinderella as an amateur ethologist='qstn'>? A ="trms">skilled practitioner of attention to ="trms">animals, for whom the ways that attention is addressed ="trms">matters. A ="nms">Cinderella who does her job is bizarre. It engages us in a totally ="trms">different manner than a ="nms">Cinderella who is the victim of evil circumstances. Not considered as a victim, she becomes much more ="trms">present, inviting more ="trms">interesting ="trms">questions about her labor of knowl="trms"nttrm="knowledge,Knowledge">edge production. This opened for me a space to think about her inhuman ="trms">gesture of endurance, her know-how of being in a ="trms">world that proliferates with chaotic zones of improvisation with ="trms">animals. From ="nms">Cinderella one can learn cross-="trms">species politeness and exploring ways of ="trms">imagining what ="trms">animals are capable of, with and because of her labor. This is her mice-="trms">trap. Steeped in ="trms">routines of ="trms">schizo-="trms">affective ="trms">hallucinating with talking ="trms">animals, her ="trms">technique of ="trms">trap-making is not a ="trms">category of human behavior, but a model for a form of intelligence. I argue that as a ="trms">lover and ="trms">interlocutor of mice, her ="trms">traps are in the form of a net in which her subject becomes entangled. ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">Lures are frequently needed to prompt meaning to an ="trms">animal. ="nms">Cinderella to the mice, is an al="trms"nttrm="failure,blur,plur,lurk,tallur,slur">luring producer of ="trms">sociality. Her mice-="trms">trap produces the meaning of the ="trms">social. The mouse is captured not as prey but as ="trms">material comrade and ally.


='lgc'>[....='lgc'>]


Sometimes there is no maker behind the ="trms">trap. They are created by the ="trms">world, by random, emergent, coalescence of elements in the environment. In a witness-="trms">fable by Kelileh o Demneh we have a moment of problematization of cunning intelligence. The ="trms">story goes, once a fox was walking down his forest when he noticed ="trms">animals were escaping from something. Upon further investigation he found out they were running from a special sound that scared them, a loud drum. At this ="trms">stage, he is curious but vigilance and not afraid, because he knows the forest is all deceit and trickery. His inner thought is opportunistic or playful, he thinks there must be something juicy there that I can get my hands on. ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">Lured in the other direction than other ="trms">animals, he goes to the source of the sound, and puts his paws in it. He realizes that the sound was created by the force of wind moving a tree branch to hit the remains of an ="trms">animal fat and skin caught in the branches. Disappointed and victorious, he calls the illusion and moves on. Here we have the fox revealing the ="trms">techne of the lie='lgc'>: an assemblage of skin, fat, tree, and wind, that others are ="trms">trapped in. What is the problem with the fox='qstn'>? What kind of wit or intelligence does he possess='qstn'>? Is the fox detached from the ="trms">mimesis of the forest='qstn'>? How do we not get caught in certain ="trms">traps='qstn'>? My ="trms">question here is, in which context do you say yes to the ="trms">trap='qstn'>?


The fox of Kelileh o Demneh is smart, someone who ="trms">embodies “metis.” Metis is ancient ="trms">Greek for wiley intelligence. Metis ='lgc'>[pointed out by Detienne='lgc'>] refers to patterns of thought relating to an effective adaptable cunning, the exact op="trms">posite of contemplating about unchanging essences. The art of metis encompasses a coherent body of mental attitudes and intellectual behaviors that cultivates shohood (intuition شهود), makr (cunning مکر), ferasat (perspicacity فراست), farib (dissimulation فریب), badiheh (improvisation بدیهه), hushiar (vigilant attention هوشيار), be-ja (timeliness بجا). In the ="trms">world of Kelileh o Demneh you are a hunter and the ="trms">world is made of ="trms">traps and ="trms">animals are full of cunning. This is precisely the metis’ field of operation, a ="trms">world of movement and ambiguity in the battle of perspectival will. For the ="trms">Greeks and Kelileh o Demneh, continuous ="trms"nttrm="metaph,metamorph,metabol,metal">meta="trms">morphoses is the name of the game. A disconcerting divided shifting ="trms">world of multiplicity that creates (1) poly="trms">morphous ="trms">monsters (mistrustful mobile elusive beings) and (2) ="trms"nttrm="metaph,metamorph,metabol,metal">meta="trms">morphing minds (mistrustful mobile elusive minds).


The notion of metis that we have is ="trms">articulated in ="trms">Greek deities powers. It is the form of knowl="trms"nttrm="knowledge,Knowledge">edge of Athena, Hephaestus, Hermes, Aphrodite, Zeus, and Prometheus. The ="trms">Greek gods often found themselves in either ="trms">position of victory or as vanquished. Metis is the power of binding in ="trms">situations of confrontation.

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The fox and octopus master of bonds


="trms">Trap is poly="trms">morphism, the op="trms">posite of what it seems to be, in ="trms">Greek, dolos mechanos. Dolos ="trms"nttrm="already,spread">readers to cunning, that which is woven, braided or ="trms">interlacing. It is about the ancient ="trms">techniques of fitting together ="trms">different pieces that ="trms">articulates a whole. A ="trms">skill of making knots, meshes and nets that surprise, ="trms">trap and bind. A net is the invisible (mesh of) bonds, the favorite ="trms">technique of metis. Bond is the combination of two things, weave and twist.

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="large lg6" stl="font-size:132%">
='lgc'>[='strcls'>*='lgc'>]bond='lgc'> = weave ='lgc'>+ twist
='lgc'>[='strcls'>*='lgc'>]net='lgc'>: invisible (mesh of) bonds ='lgc'><='lgc'>-- favorite ="trms">technique of metis


arm='lgc'> = bond
every part of its body is a ='strcls'>*bond='strcls'>* which can secure anything (but nothing can seize)


='strcls'>*fox='lgc'> = a living bond='strcls'>* (can bend, unbend, reverse its own ="trms">position at will)


Oppian is all about bonds, ropes, cords

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="nms">Cinderella’s ="trms">position neither victorious nor vanquished.


I use the word “="trms">trap” because it is more problematic and d="trms"nttrm="danger,stranger">angerous than ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lures


='lgc'>[For the record, ="ppl">Plato completely opposed ='thdf'>the idea of hunting with ="trms">traps, because these ="trms">techniques were thought to cultivate cunning and duplicity which were against what a virtuous political man should be. For ="ppl">Plato ="trms">embodiment was a form of distraction to true knowl="trms"nttrm="knowledge,Knowledge">edge.='lgc'>]

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The cunning of “getting to know them” ='lgc'>[...='lgc'>]
You politely approach in order to get to know them, research as a ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure for yourself to be transformed by the encounter. The nontransportive investigation is in fact full of transformations.


It is important to think about ="trms">traps not as something great and necessary, but in a sense that we should be able to recognize and choose sometimes not to do it. I think we need ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lures, because the ="trms">world is transient, shifting, disconcerting, ambiguous, and so are we. The ="trms">question always is which ="trms">trap are you caught in='qstn'>? How does it look like='qstn'>? Are you alone in it='qstn'>? Which ="nms">Cinderella is making you a ="trms">trap='qstn'>?

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________________

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points
='strcls'>* define cunning intelligence
   ='strcls'>* ="trms">greek notion of “metis” (you are a hunter='lgc'>: the ="trms">world is made of ="trms">traps and ="trms">animals are full of cunning)
   ='strcls'>* bonds ='lgc'>='lgc'>--> fox ='lgc'>+ octopus
   ='strcls'>* fox forest ="trms">story ="nms">kelile demne
      ='strcls'>* is fox detached from the ="trms">mimesis of the forest='qstn'>? Is this what critical intelligence looks like='qstn'>? by putting his paw and breaking that fragile assemble of skin, fat, tree, and wind. he reveals a lie. what other ="trms">animals are ="trms">trap engagers='qstn'>?
      ='strcls'>* in which context you say yes to the ="trms">trap='qstn'>?
='strcls'>* ="trms">differentiate metis from ="nms">Cinderella’s mouse ="trms">trap (mechane, ="trms">techne)
   ='strcls'>* ='strcls'>* ="trms">trap as research ="trms">method, but it has a double bind, it is as much as a ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure for oneself as for the other
   ='strcls'>*



my ="trms">mimetic preoccupations ='lgc'>='lgc'>--> with ="trms">memory


(from mnemonic devices) to ="trms">mimetic devices (="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure)
="trms">mimetic participation with X
(with ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lures and ="trms">traps we have ="trms">mimetic participation)


a useful and necessary ="trms">difference, synthesized by the ="trms">Greeks='lgc'>--="ppl">Plato and ="ppl">Aristotle
diegesis ='lgc'>=/=='qstn'>? ="trms">mimesis
(telling) ='lgc'>-- (showing)
(recounted) ='lgc'>-- (enacted)


you don’t get necessarily fossilized by it


="trms">mimetic ='lgc'>=/= ="trms">semiotic
enacted showing other than you (='lgc'>=/= telling)
="trms">figuration by trying to imitate
to copy='lgc'> = ="trms">mimesis ='lgc'>+ ="trms">techne
(summoning ='lgc'>=/= ="trms">mimesis)
getting caught in a form
it is form, but it is not about form
industry of ="trms">fashion is about ="trms">mimesis
problem of realism ='lgc'>=/= problem of ="trms">mimesis

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________________

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="lstsrd">2. a better mouse ="trms">trap
="nms">Cinderella

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and now I tell you...
what exactly a ="trms">trap is made of...
text='lgc'>: con="trms">densed, everything

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="lstsrd">1. mouse ="trms">trap
="lsts lst2">◦diary of ="nms">Cinderella, a ="trms">lover and ="trms">interlocutor of mice
who is a mouse ="trms">lover, a mouse career, a mouse ="trms">interlocutor (somebody who ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listens and tells ="trms">stories), but she is also a shepherd.
="lsts lst2">◦“which ="trms">trap are you caught in='qstn'>?” is always relevant ="trms">question
="lstsrd">2. spider web




="lstsrd">1. ="ppl">Benjamin ="ppl">Alberti
="lsts lst2">◦minoan culture (pottery in ancient ="trms">Greek)
="lsts lst2">◦artifacts and appendices ='lgc'>='lgc'>--> ="trms">traps
="lstsrd">2. Eva ="ppl">="ppl">Hayward
="lsts lst4">◽="trms">animal thinker
="lsts lst4">◽trans="trms">animality
="lsts lst4">◽='lgc'>[='strcls'>*='lgc'>]="trms">trap='lgc'>: a mouth, a mode of utterance, the “O” curve of lips and throat that sounds out and names the apprehension of being ="trms">embodied
='lgc'>='lgc'>--> ='strcls'>***="trms">positionality ='lgc'>='lgc'>~/= ="trms">situatedness='lgc'> = to be ="trms">trapped='strcls'>*** (to speak and receive ranges of ="trms">sensuous input from one's environment) ='lgc'>='lgc'>--> ='strcls'>*our bodies are not endlessly available to intentionality='strcls'>*
="lstsrd">3. Marcel Detienne
="lsts lst2">◦='lgc'>[='strcls'>*='lgc'>]metis='lgc'>: intelligence which operates in the ="trms">world of becoming, in circumstances of conflict='lgc'> = forethought perspicacity ='lgc'>+ quickness and acuteness of understanding ='lgc'>+ trickery ='lgc'>+ deceit
="lsts lst2">◦='lgc'>[='strcls'>*='lgc'>]="trms">trap='lgc'> = poly="trms">morphism (the op="trms">posite of what it seems to be)
="lsts lst2">◦dolos mechanos
="lsts lst2">◦(dolos ='lgc'>='lgc'>-->) ='lgc'>[='strcls'>*='lgc'>]cunning='lgc'>: woven, braiding or ="trms">interlacing, ='strcls'>*fitted together='strcls'>* ='lgc'><='lgc'>-- ='strcls'>***ancient ="trms">techniques that use the pliability and torsion of plant fibers to make knots, ropes, meshes and nets to surprise, ="trms">trap and bind='strcls'>*** ='lgc'><='lgc'>-- ='thdf'>the idea that ='strcls'>***many pieces can be fitted together to produce a well-="trms">articulated whole='strcls'>*** (='lgc'>='lgc'>~=='qstn'>? art)
="lstsrd">4. ="ppl">Vinciane ="ppl">="ppl">Despret




="large lg14" stl="font-size:118%"> ="trms">dictionary of ="trms">crafts and arts (D='lgc'>+A)
extraordinary ="trms">gesture of collecting and describing in details the ="trms">skills and ="trms">techniques of not the elite but the ordinary ="trms">craftsman
older styles of ="trms">trap-making
it is important to in="trms"nttrm="cluster,club">clude the violence (a="trms">symmetry) of ="trms">trap-making, that it is not a con="trms">sensual ="trms">relation to the other


="nms">kelile demne
indian courts to teach the young princes the art of cunning
putting your paw in the source of the thing (fat)
what is the problem with the fox='qstn'>?
what kind of wit or intelligence is that='qstn'>?
are there other ways of ="trms"nttrm="already,spread">reading random combination of environmental elements that signal something accidental to you and orient the other ="trms">animals in the forest='qstn'>?


once you starting thinking with ="trms">trap, you start to see them everywhere='qstn'>?


you are always ="trms">trapped, the ="trms">question is which ="trms">trap are you caught in='qstn'>?
can it be dismantled='qstn'>? do you bring others in it='qstn'>?
do you move with the ="trms">trap while being stuck in it='qstn'>?
which ="nms">Cinderella is making you a ="trms">trap='qstn'>?


='lgc'>='lgc'>--> a way of thinking about ways of being with ="trms">technical objects without mastery or understanding them or being an engineer. we are not in a engineering ="trms">relationship with ="trms">traps, we are in heuristic ="trms">relation with something that catches you long enough.


teasing with the negativity of ="trms">traps (the en="trms">trapment)

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we are not having engineering knowl="trms"nttrm="knowledge,Knowledge">edge about the ="trms">technicality of the object (="trms">trap), we are moved by the heuristic fascination for it.
temporarily
“the negativity of the ="trms">trap” ='lgc'>:
violence of ="trms">trapping
not voluntary
surprise

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="nms">kelile demne
fox sound in forest ="trms">story


we are always related, ="trms">composed into something
the bullshit of “freedom”='lgc'>: if you’d be free, you’d have no ="trms">story, no connections, no ="trms">memory.
it is a kind of ="trms">story that more than anyone the ="trms">marketing industries today wants us to be free ='lgc'>='lgc'>--> freedom is the cornerstone of ="trms">consumer culture


for me='lgc'>: ="trms">trap is at the core of understanding knowl="trms"nttrm="knowledge,Knowledge">edge, of the ="trms">relationship to the other, to ="trms">crafts, to art


="trms">trap='lgc'>: corpus of ="trms">zoo-="trms">anthropo-bio="trms">morphic artifact
the ="trms">trap-maker ="trms">imagining what is the perspective of radically ="trms">different being
if you make a ="trms">trap for other ="trms">animals you are fully engaged in multi-="trms">species perspectival game
the body is fully engaged in a perspectival ="trms">communication


perspectival battle of will
construction of ="trms">affect
being in ="trms">relation to “variety”
when you are in the business of ="trms">trap-making you are in the realm of knowing ="trms">different things (="trms">differential, ="trms">different things that have little to do with each other)


in="trms">cite, to ="trms">cite, to bring the source of others
to in="trms">cite='lgc'>: to encourage violent behavior by unorthodox behavior

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="trms">trap research
="lstsrd">1. physical body, ="trms">sensual ="trms">relationship
="lstsrd">2. (="trms">literal/virtual) abstraction='lgc'>: you turn the environment into an abstraction to construct something through it
="lstsrd">1. abstraction='lgc'>: an ="trms">erotic ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure for the soul
="lstsrd">3. ="trms">mimesis='lgc'>: how meaning is formed
(='lgc'>='lgc'>--> pro="trms">positions)


="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure
in the sense of house of candy in Hansel and Gretel


to be able to be caught in ="trms">traps, even if their are accidental, just created by random, emergent, coalescence of elements in the environment. sometimes there is no maker behind the ="trms">trap.


making images as ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lures for ='mywrk'>my research
“making” is not an expressive medium (not a medium of ="trms">communication), but a research tool
(Line) “gentle ="trms">trapping towards something you want”

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="ppl">="ppl">Despret
she asks how ="trms">scientist relate to ="trms">animals when they do field study
your test experiment is a form of a ="trms">trap that you gain knowl="trms"nttrm="knowledge,Knowledge">edge from
is there a way that we can ask the ="trms">animal what ="trms">interest them='qstn'>?


if you are investigating, how to make conjectures='qstn'>? conjecture='lgc'>: a kind of temporary hypothesis that allow you to go to the next
investigative research='lgc'>: your subject does not speak english to you ='lgc'>='lgc'>--> what is ="trms">interesting for the other


art of the ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure
art of learning from those whose enigma you are trying to solve (and have no intention in helping you)
to solve the enigma (of the raven, or the artwork of the student) ='lgc'>='lgc'>--> you have to make ="trms">interesting and radically speculative choices in how you produce knowl="trms"nttrm="knowledge,Knowledge">edge about the work of others


fishermen and hunters, at the ="trms"nttrm="knowledge,Knowledge">edge of the forest or the shore, where ="trms">animals come to check out the other realms, is where they build the ="trms">trap
='lgc'>='lgc'>--> fishermen and hunters are the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal thinkers of this kind of intelligence, you transform knowl="trms"nttrm="knowledge,Knowledge">edge by learning from ="trms">animals. it is prolonged, practical, and ="trms">crafty

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spider
expert at waiting ='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="nms">Cinderella’s waiting
building environment from body liquids ='lgc'>='lgc'>--> becoming bodily='lgc'> = the near-by-ness of things
='lgc'>=/= fox='lgc'>: suspicious

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being ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lured into desiring and trusting ='lgc'><='lgc'>-- this is basically the game (at the school)


critique is an art that tangles with what you are proposing
fox ='lgc'>='lgc'>--> ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure
octopus ='lgc'>='lgc'>--> best ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure-engagers (they ="trms">love the ="trms">trap, they can’t get enough of it)

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the O
the curved lips
apprehension of that which to be ="trms">embodies


to be ="trms">trapped='lgc'> = to be ="trms">situated
="trms">situatedness ='lgc'>=/= ="trms">positionality

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we are not fully intentionally engaged with things
what we do is not intentionally all the time

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all of this is not contextualized in adult political discourse, but I put it in ="trms">children fairy tales (the ="nms">Cinderella)
this is where I want ='thdf'>the notion of ="trms">trap to be ="trms">situated (comprehended).

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________________

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Enrica's transcription



="trms">trap in ="trms">relationship to knowl="trms"nttrm="knowledge,Knowledge">edge, art

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="trms">Trap is a ="trms">zoo ="trms">anthropo bio="trms">morphic artifact
if you make a ="trms">trap for another ="trms">animal, you think from trans ="trms">species perspective
it is a d="trms"nttrm="danger,stranger">angerous game
a body fully engaged in a perspectival ="trms">communication

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perspectival battle of wills


="trms">trap making='lgc'> = in the realm of bridging ="trms">different ="trms">sort of knowl="trms"nttrm="knowledge,Knowledge">edge that has nothing to do with you
="lsts lst1">•To ="trms">cite ='lgc'>=/= to in="trms">cite (unorthodox behavior)




Searching paths='lgc'>:
="lsts lst1">•bodily capture
="lsts lst1">•violence of the construction
="lsts lst1">•="trms">mimesis ='lgc'>: how meaning takes form




But also ="trms">traps get me ="trms">trapped
lore - hansel and gretel’s house='lgc'>: doesn’t look like a ="trms">trap but …
sometimes there is no maker behind the ="trms">trap (is this a scandal='qstn'>? is this emptiness='qstn'>?)

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how to make you ="trms">interested in my ="trms">trap/chapter='qstn'>?
images making/painting as a research tool/assemblage
gentle ="trms">trapping yourself to where you like to stay

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="ppl">Vinciane ="ppl">="ppl">Despret, “What Would ="trms">Animals Say If We Asked the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Right ="trms">Questions='qstn'>?”
a conversation between ="trms">scientist and ="trms">animals in ="trms">wild
your text experience is a ="trms">trap, something that you gain knowl="trms"nttrm="knowledge,Knowledge">edge from. Is there even a way to politely ask ="trms">animals a ="trms">question='qstn'>?
investigative research - how to deal with another subject that doesn’t even speak English to you='qstn'>? what ="trms">trap am i being constructed into='qstn'>? what is the raven ="trms">interested in='qstn'>?
and we are ="trms">different things


the art of the lore and the tricks, learning from enygma - I’m ="trms">interested in how do you produce knowl="trms"nttrm="knowledge,Knowledge">edge from the work of others='qstn'>? ='lgc'>[="frds">Sina, in the ="trms">position of coordinator of the Master/educator='lgc'>]
edgy (transsectoral ="trms">worlds)='lgc'>: the ="trms"nttrm="knowledge,Knowledge">edge of the forest, where sea and forest meet - where hunters/fishermen meet (...)


FOX suspicious - someone who s smart
“="frds">Sina, don’t be tricked!” my mom would tell me
a lore into desire
my needs ='lgc'>=/= lores


OCTOPUS
best engagers
tentacles

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Abstraction as an ="trms">erotic lore of the soul
="trms">eroticism is here in the ="trms">book
an open ="trms">trap in the forest as an open mouth that names the apprehension that ="trms">embodies
to be ="trms">situated (how you are ="trms">trapped/="ppl">="ppl">Haraway, how do you receive ranges from the environment you are caught in) VS ="trms">positionality (i’m white, 40 years old, Italian, … and than you speak from that - it actually ex="trms"nttrm="cluster,club">cludes possibility of hybridization)
we are not available to intentionality all the time ='lgc'>[i need to take some time to think with this sentence='lgc'>]


time focuses on individual
="trms">trapping implies ="trms">relationality
a ="trms">trap/="trms">trapper/the ="trms">trapped ones

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="large lg6" stl="font-size:130%"> a ="trms">story from Kalila and Dimna='lgc'>: rabbit, mouse, frog are ="trms">trapped together and they bond about how to get rid of it. eventually they start to move from within it (not from escaping the ="trms">trap) as a ="trms">monstrous hybrid.


="trms">Fables='lgc'>: ="nms">Cinderella precarious ="trms">situation
I want to break with ="ppl">Artaud idea (“to be powerless” is a bad idea)='lgc'>: plea for ="trms">traps='lgc'>:
care, ="trms">writing, work happens when you are ="trms">trapped!

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________________

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="trms">trap


='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'>]

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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'>]

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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)

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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

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='lgc'>-='lgc'>='lgc'>--> the ="trms">story of ="trms">birds en="trms">trapped escape away with the cage

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THE prey and THE visible (both are ="trms">categories of forest life survival ="trms">stories. also have high stakes in ="nms">iranian culture, thought, and philosophy)
='lgc'>='lgc'>--> what is important for a living self='qstn'>?


(bab-e) hekayat-e dusti-e kabutar o zagh o mush o bakhe o aahu o ...
بابِ / حکایت دوستی کبوتر و زاغ و موش و باخه و آهو و ...
='lgc'>[everyone='qstn'>?='lgc'>]
='lgc'>[the ="trms">story of the friendship of these ="trms">animals; the quality, properties, and pitfalls of ="trms">relation='lgc'>]
="lsts lst1">•what is (re)activating the ='strcls'>*="trms">imaginary friend='strcls'>*='qstn'>? (is it really fully on shut-down='qstn'>?) ='lgc'>-='lgc'>='lgc'>--> ="trms">trap to abstract thought='qstn'>? ='lgc'>-='lgc'>='lgc'>--> this ‘abstract thought’ is d="trms"nttrm="danger,stranger">angerous for “sadness” to get lost in it, but it is amazing for “joy”
="lsts lst1">•how much we need sadness='qstn'>?


why jackal is so persistent and play-full (full of “plays”) in Kelile o Demne's ="trms">bestiary='qstn'>?

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="trms">bird people
,
fox people


,


‘shekar’ ='lgc'>[شکار prey='lgc'>] and ‘ashkar’ ='lgc'>[آشکار visible='lgc'>], two entities in play, like the game of stone-paper-scissors, a link in our shared ="trms">literature that relates the perceptible to the subject of hunt. in a discourse of friendship and enmity, the visible anticipating itself as target for violence, becomes meaningful when we approach it in a game-theoretic-="trms">semiotic linkage, relating and tying together issues of voyeurism, sur="trms">veillance, violence, mediation, and predation in ="trms">poetic itineraries.


="trms"nttrm="already,spread">reading and ="trms">greeting

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________________

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metis

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speeches (logos) and artifices (mechane)


dolos, mechane, ="trms">techne, kerdos, apate, aiolos, poikilos, haimulos
quick, supple, wiley, deceitful, to confront the unexpected on every occasion,


wiley intelligence='lgc'>: effective adaptable cunning ='lgc'>=/= contemplating unchanging essences
(patterns of thought relating to metis='lgc'>:)
="trms">craftsman's ="trms">skills
theogony
myth
sovereignty
="trms"nttrm="metaph,metamorph,metabol,metal">meta="trms">morphoses of a marine deity


metis='lgc'>: Zeus’ first wife


metis ='lgc'>=='qstn'>? zerang زرنگ, rend رند


='lgc'>[='strcls'>*='lgc'>]wiley='lgc'>: a mind able to twist and turn in every direction


forms of knowl="trms"nttrm="knowledge,Knowledge">edge of Athena, Hephaestus, Hermes, Aphrodite, Zeus, Prometheus ='lgc'>--='qstn'>?='lgc'>='lgc'>-->
="lsts lst1">•a hunting ="trms">trap
="lsts lst1">•a fishing net
="lsts lst1">•="trms">skills of a basket-maker
="lsts lst1">•="trms">skills of a weaver
="lsts lst1">•="trms">skills of a carpenter
="lsts lst1">•the mastery of a navigator
="lsts lst1">•the flair of a politician
="lsts lst1">•the experienced eye of a doctor
="lsts lst1">•the tricks of a ="trms">crafty character such as Odysseus
="lsts lst1">•back-tracking of a fox
="lsts lst1">•poly="trms">morphism of an octopus
="lsts lst1">•solving of enigmas and riddles
="lsts lst1">•beguiling ="trms">rhetorical illusionism of the sophists


(="trms">Greek's) ancient ="trms">technical traditions ='lgc'>='lgc'>--> particular type of intelligence='lgc'>: ='strcls'>*objects which must be dominated by cunning='strcls'>*
(Detienne's research) to define one major ="trms">category of the mind


practical intelligence manifested in the ="trms">skills of the artisan (='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to 3D hacker)


metis='lgc'>: coherent body of mental attitudes and intellectual behavior which combine flair, wisdom, forethought, subtlety of mind, deception, resourcefulness, vigilance, opportunism, various ="trms">skills, and experience acquired over the years ='lgc'>='lgc'>--> applied to ="trms">situations which are transient, shifting, disconcerting, ambiguous


="trms">routine
chancey inspiration
changeable opinion
charlatanerie


dexterity
sureness of eye
sharpwittedness
='lgc'>}='lgc'>--="ppl">Plato='lgc'>='lgc'>--> belong to a type of cognition which is alien to truth and quite separate from ="trms">episteme, knowl="trms"nttrm="knowledge,Knowledge">edge ='lgc'>=/= ="ppl">Aristotle's “practical intelligence”


="ppl">Plato
="trms">skill='lgc'>: ='strcls'>*starting from the Forms, produces in the ="trms">world of Becoming='strcls'>* creations that are as real, stable and organized as is possible


="trms">greek deity ='lgc'>='lgc'>~= ='strcls'>***Powers (power of binding) in a ="trms">situation of confrontation='strcls'>*** ='lgc'>='lgc'>--> find themselves in either ="trms">position as victors ='lgc'>=/= as vanquished (='lgc'>=/= ="nms">Cinderella’s ="trms">position neither victorious nor vanquished)


reality whose limitless poly="trms">morphic powers render it almost impossible to seize ='lgc'>='lgc'>==> cunning intelligence (='lgc'>[='strcls'>*='lgc'>]askew='lgc'>: adopt an oblique course, to bend intelligence, ="trms"nttrm="already,spread">ready to go in any direction)
='strcls'>*intelligence attempts to make contact with an object by confronting it in the guise of a rival(= connivance ='lgc'>+ op="trms">position)='strcls'>*
cunning intelligence (metis) ='lgc'>='lgc'>~/=='qstn'>? trickster, deceiver


='lgc'>[='strcls'>*='lgc'>]dominate='lgc'>: to enclose it/them within the limits of a single, unchangeable form within (his control) ='lgc'>+ he proves himself to be even more multiple, more mobile, more polyvalent than his adversary

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Zeus’ metis
nothing can surprise him
nothing can cheat his vigilance
nothing can frustrate his designs


Iliad's man of metis='lgc'>: vigilant premeditation (='lgc'>=/= impulsiveness)
="lsts lst1">•displays a greater grip of the ="trms">present (where nothing escapes him)
="lsts lst1">•more awareness of the future (several aspects of which he has al="trms"nttrm="already,spread">ready manipulated)
="lsts lst1">•richer experience accumulated from the ="trms">past


(Iliad's art of the charioteer ='lgc'>='lgc'>-->)
pukine='lgc'>: ='strcls'>*="trms">dense rich compressed experience='strcls'>*
kairos='lgc'>: fleeting opportunity
metis='lgc'>: catch kairos by surprise (to seize)
poikilos='lgc'>: shimmering sheen and shifting movement ='lgc'>[='lgc'>='lgc'>--> ='strcls'>*the fox has a mind which is poikilos='strcls'>* ='lgc'>='lgc'>~='lgc'>~> ="trms">crafty='lgc'>]
aiolos='lgc'>: many-colored (versicolor), marked with colors that overlap ='lgc'>[='lgc'>='lgc'>--> all creatures whose w="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riggling and moving mass is never still='lgc'>: worms, horseflies, wasps, swarm of bees='lgc'>] ='lgc'>='lgc'>~='lgc'>~> he whose cleverness enables him to turn his hand to anything


='strcls'>*comparing the future with the ="trms">past='strcls'>*
='strcls'>*too look beyond the victory='strcls'>*


Prometheus='lgc'>: the one who reflects in advance ='lgc'>=/= Epimetheus='lgc'>: the one who understands after the event (Prometheus's twin brother, his double and op="trms">posite)
='lgc'>='lgc'>--> prometheia of man='lgc'>: radical ignorance of the future


cunning's field of application='lgc'>: the ="trms">world of movement, of multiplicity, of ambiguity (='lgc'>='lgc'>==> metis)
(for the ="trms">greeks='lgc'>:) continuous ="trms"nttrm="metaph,metamorph,metabol,metal">meta="trms">morphoses is the name of the game ='lgc'>+ only like could be ="trms">affected by like
='lgc'>='lgc'>==> a poly="trms">morphous ="trms">monster (mistrustful mobile elusive being)
='lgc'>='lgc'>==> a ="trms"nttrm="metaph,metamorph,metabol,metal">meta="trms">morphing mind (mistrustful mobile elusive mind)


shimmering ="trms">nature of metis is a mark of its kinship with the divided shifting ="trms">world of multiplicity


='lgc'>[='strcls'>*='lgc'>]poros='lgc'>: the discovery of a way out (water is very good at poros, finding passage)

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semantic field of cunning intelligence (metis of Iliad ='lgc'>+ Odyssey)
="lstsrd">1. look beyond the immediate ="trms">present
="lstsrd">2. multiple (many-coloured, shifting)
="lstsrd">3. duplicity of the ="trms">trap


dolos ='lgc'>='lgc'>--> cunning
kerde ='lgc'>='lgc'>--> tricks
kairso ='lgc'>='lgc'>--> ability to seize an opportunity

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Treatise on Fishing (Oppian)
Treatise on Hunting (Oppian2)


="large lg42" stl="font-size:118%"> hunting and fishing (o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginally) provide the model of intelligence


baits, nets, weels, nooses, snares


dolos, ="trms">techne, mechane ='lgc'>='lgc'>--> in the ="trms">world of ="trms">animal ='and'>& human


='strcls'>**="trms">relations of force are constantly upset by the ="trms">intervention of metis='strcls'>**


metis of fish can take a thousand forms


angler-fish
tongue disguised as food
fleshy appendage growing on the fishing frog is a true fishing bait and as such has a double character='lgc'>: to the little fish it looks for all the ="trms">world like food but it is food which soon changes itself into a voracious maw


fish='lgc'> = ambiguous creature
sea (...the ="trms">world of ="trms">animals)='lgc'> = ="trms">world of metis
human='lgc'> = hunter/fisherman confronted with a ="trms">world of ="trms">traps and at grips with ="trms">animals full of cunning


Oppian ='lgc'>='lgc'>--> it is by ='strcls'>*="trms">techne='strcls'>* that the octopus merges in with the rock to which it clings


hunter='lgc'>:
="lstsrd">1. agility
="lstsrd">2. dissimulation='lgc'>: the art of seeing without being seen (dokeuein='lgc'>: to be on the lookout, on the watch)
="lstsrd">3. vigilance (mind full of finesse ='lgc'>[like fine sugar='lgc'>])


="ppl">Plato violently condemns line fishing, the hunting of aquatic creatures, the use of weels, the hunting of ="trms">birds and all forms of hunting with nets and ="trms">traps, he does so because all these ="trms">techniques foster the qualities of cunning and duplicity which are diametrically opposed to the virtues that the city of the Laws ="trms">demanded from its citizen.
(Detienne)

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='strcls'>*fox='strcls'>* and ='strcls'>*octopus='strcls'>* ='lgc'>='lgc'>-->
in ="trms">Greek thought serve as models, the incarnation of cunning in the ="trms">animal ="trms">world
fox ='lgc'>='lgc'>--> reversal (="trms">technique of reversing oneself)
octopus ='lgc'>='lgc'>--> poly="trms">morphism (="trms">symbolizes the unseizability that comes from poly="trms">morphy)


reversal
="lsts lst1">•the way fox catches bustards ='lgc'>='lgc'>--> it droops its head downward and gently wags its tail, deluded bustards approach this object which they mistake for one of their own kind, fox suddenly turns round
="lsts lst1">•(foxfish='qstn'>?) fish turns itself inside out like a g="trms">love, so that the ="trms">interior becomes the exterior='lgc'>: the hook falls out


fox
='lgc'>[...='lgc'>]it lives, in its intelligence, in the depths of an earth which is admirably laid out. The dwelling that it digs itself has seven ="trms">different entrances linked by as many corridors and the openings are ="trms">situated a long way from each other.
='lgc'>[...='lgc'>]The fox is not to be captured by ambush nor by noose nor by net for it has no equal in smelling out an ambush; it is clever at severing ropes and escaping death through the subtlety of its cunning tricks.
(Oppian > Dettienne)


fox's escape='lgc'> = o="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listhcinein (in ="trms">greek='lgc'>: an athlete whose body, rubbed with oil, slips through the grasp of his adversary)


='lgc'>--Detienne='lgc'>='lgc'>--> ='strcls'>*it was not in ="trms">nature that the ="trms">Greeks found this type of reversal behavior in ="trms">animals, but rather in their own minds (in the conception that they formed of metis)='strcls'>*
(metis is not something that is “out there”='qstn'>? ='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="nms">ajayeb ="trms">bestiary)


octopus
(to the ="trms">Greeks) octopus='lgc'> = a knot made up of a thousand arms, a living, ="trms">interlacing, ="trms">network, a poluplokos being (coil چنبره snake with its coils and ="trms">folds, labyrinth, Typhon='lgc'>: multiple creature “with a hundred heads” whose trunk tapers out into its eel-like limbs)
='strcls'>*octopus mechane='lgc'>: enables it to merge with the stone to which it clings
='strcls'>*octopus logos='lgc'>: poluplokos
="prgrph">-it too knows how to disappear into the night, but it is a night which it can itself secrete (the ink, this dark cloud, this impenetrable night which defines one of the essential features of the octopus and of the cuttlefish)='lgc'>='lgc'>--> ='strcls'>*pathless night='strcls'>* ='lgc'>='lgc'>--> metis='lgc'>: only they can discover a poros
cephalopod ='lgc'>='lgc'>-->  ='strcls'>*oblique creatures='strcls'>*='lgc'>: they have neither front nor rear, they swim sideways with their eyes in front and their mouth behind, their heads haloed by their waving feet ='lgc'>='lgc'>==> confusion of directions ='lgc'>='lgc'>--> aporia (aporai)


living ="trms">traps ='lgc'>='lgc'>--> they exploit a device (that Plutarch calls) sophisma='lgc'>: fish ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurer


fox ='lgc'>+ octopus ='lgc'>--define='lgc'>='lgc'>-->
="lsts lst1">•a type of human behavior='lgc'>: ='strcls'>*="trms">present a ="trms">different aspect of yourself to each of our friends='strcls'>*(!)
="lsts lst1">•a model for a form of intelligence (i call it ='strcls'>*coiled intelligence='strcls'>* هوش مارپیچ) ='lgc'>--="trms">trap='lgc'>='lgc'>--> the net in which his adversary becomes entangled ='lgc'>[='lgc'>=/= chamaeleon='lgc'>: ="trms"nttrm="metaph,metamorph,metabol,metal">meta="trms">morphoses produced by fear='lgc'>]




fox ='lgc'>+ octopus ='lgc'>='lgc'>--> ='strcls'>*master of bonds='strcls'>*
='lgc'>[='strcls'>*='lgc'>]bond='lgc'> = weave ='lgc'>+ twist
='lgc'>[='strcls'>*='lgc'>]net='lgc'>: invisible (mesh of) bonds ='lgc'><='lgc'>-- favorite ="trms">technique of metis


arm='lgc'> = bond
every part of its body is a ='strcls'>*bond='strcls'>* which can secure anything (but nothing can seize)


='strcls'>*fox='lgc'> = a living bond='strcls'>* (can bend, unbend, reverse its own ="trms">position at will)


Oppian is all about bonds, ropes, cords
pieces are joined end to end to form the “well twisted withies” (which the good hunter always carries with him)


Hermes='lgc'>: living web of ="trms">interweaving (sumplekein), stations himself ='strcls'>*close to the door='strcls'>*, mobile as the ="trms">mime


='lgc'>[='strcls'>*='lgc'>]="trms">lecture-performance='lgc'>: art of (bending and) ="trms">interweaving logos


the fisherman's “cloud” is the unyielding answer to the “cloud” of the cuttle-fish
='strcls'>*It is only by himself becoming, by means of his net, a bond and a circle, by himself becoming deep night, endless aporia, an elusive shape, that the man of metis can triumph over the most cunning ="trms">species in the ="trms">animal ="trms">world.='strcls'>*
(Detienne)


='lgc'>[='strcls'>*='lgc'>]metis='lgc'>: intelligence which operates in the ="trms">world of becoming, in circumstances of conflict='lgc'> = forethought perspicacity ='lgc'>+ quickness and acuteness of understanding ='lgc'>+ trickery ='lgc'>+ deceit

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