[...]eframe historic events
•establish equivalent between the present and the past [--!--> (fundamentally despotic?) technique that i also use in lecture performances]


authoritarian populism


(Hegelian) [*]action: pursue one aspect of history + breaking away from away from another
1. (modern) revolutionary: telling a new story, (--populist--> focus on) *exclusionary politics*, once the leader is in power the objective is to prolong the idea of historic juncture --justify--> continued exclusion

populist --Laclau--> (invocation of)
•people = empty signifier
•leader = embodiment of people's agency

***rhetoric of resentment*** --> victimhood
[*]resentment: an emotional-moral framework --aim--> continuously regenerate the felt intensities --underwrite--> demands for revenge + lamentations (of victimhood)


***nationalism ==> populism***

(many countries) national identity (& militancy) is intertwined with:
•narrative of self-victimization --
•invocation of trauma

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

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

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


***memory narrative***


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

Erdogan's speech
“we have been tested by fire” (--?--> Siavash's fire trial is populist?)
~= “we have been tested by enemy”
~= “evil forces”


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

authoritarian state apparatus [= political system + culture + institutions + ?] --allow--> smoother way of operationalisation of narratives (about the dangers of adversaries)
-exactly what kind of state apparatus we have in iran?


historical victimhood --> resurgent populist discourse
•people have been enduring victimhood for too long
•fateful junctures throughout history
•authentic great path
•urgency of message
•

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



exclusionary politics <-- homogeneous community (=/= alien intrusion, outside forces, immigrants, minorities, etc.)

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Kundera
is humor modern?
*humor is not ancient* (?!)
“whatever humor touches it ambiguites”
humor = ambiguitor

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

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

cold war = a meaningfull relation between ideology & power [==give==> orientation + identity --> normative approach to global phenomena]
geopolitc + ideologic borders
=/=
globalization --> completly different political behaivor (definitions of national goals, friend and enemy, etc.) --> pluralist democracy (differences + contrasts) =/= social democracy (erasing differences)

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

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

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

two points
•artistic research: a form of art that uses knowledge as its main medium
•artistic research has no relation to the unknown (=/= an idea of research im in which one faces something unknown or new therefore needs to research)
•my work (in general) has been about the critique of engineering (the talent of engineering)


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

thinking with traps [working title]
Allow me to make you a trap. I think traps and lures are 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 [*call it research] where your subject does not speak plain to you, and you, nor your work, do not intend to transform them. The question of “what is interesting for them?” raises up immediately. This question emerges in all sorts of domains of social life. As a bullshiter [*a technical term for performance-lecture: an art of interweaving logos] and program-coordinator and educator in the art sector (ZUYD Toneelacademie Maastricht), I am permanently positioned to ask this question. For this I have found the notion of trap particularly useful to think with, especially in environments where participants entice each other in their subjects of knowledge by means of an adaptable cunning intelligence.


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


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


Cinderella lives with the precarity of a family who torment and insult her on a[...]