[...]tion 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

="large lg2" stl="font-size:110%"> 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'>~= “we have been tested by enemy”
='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'>~= (a ="trms">sort of) problem” ='lgc'>='lgc'>--> behaviors had='lgc'>] meaning ='lgc'>='lgc'>==> (base for) power

="large lg3" stl="font-size:112%"> 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)

="large lg4" stl="font-size:110%">
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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.


="large lg5" stl="font-size:148%"> 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 an[...]