[...]br />
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'>*
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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)
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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'>~/= ="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.
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
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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
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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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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'>==> 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'>~= 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'>~= to let himself be ="trms">recruited by them
='lgc'>[from Latin “cresc-” grow, rise ='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
,
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‘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 fr[...]