[...]s 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.

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

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

='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

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

="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'>]

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

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'>?

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

________________

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

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

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

________________

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

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

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

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

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

="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'>~/= ="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'>~=='qstn'>? art)
="lstsrd">4. ="ppl">Vinciane ="ppl">="ppl">Despret




="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.

="large lg3" stl="font-size:110%">
teasing with the negativity of ="trms">traps (the en="trms">trapment)

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

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

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

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


="large lg5" stl="font-size:152%"> 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
[...]