[...]ou 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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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


="large lg1" stl="font-size:127%"> ='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


,


‘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'>~= ='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'>==> 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'>~/=='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'>~~> ="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'>~~> 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'>==> 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'>==> a poly="trms">morphous ="trms">monster (mistrustful mobile elusive being)
='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)


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


="large lg14" stl="font-size:127%"> 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'>==> 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


='lgc'>[='strcls'>*='lgc'>]="trms">trap='lgc'> = poly="trms">morphism (the op="trms">posite of what it seems to be)
dolos mechanos


(Detienne's research='lgc'>: recognize and explain ='lgc'>='lgc'>-->) stability of terminology


="trms">world of appearance ='lgc'>+ Becoming


by means of ="trms">rhetorical ploys sophist can make the weaker argument triumph over the strong ='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to Kelile Demne cunning intelligence


(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)


pliability انعطاف
poly="trms">morphism
duplicity ='lgc'>+ equivocality
inversion ='lgc'>+ reversal
='lgc'>}='lgc'>='lgc'>--> ='strcls'>*attributes of curve='strcls'>*


ultimate expression of curve ='lgc'>='lgc'>--> the “O”, circle='lgc'>: the bond that is perfect because it completely turns back on itself, is closed in on itself, with neither beginning nor end, front nor rear, and which in rotation becomes both mobile and immobile, moving in both directions at once
='lgc'>='lgc'>--> giving birth to its op="trms">posite
“machines” ='lgc'>='lgc'>--> properties of the circle


="prgrph">-gu ='lgc'>='lgc'>--> used to indicate curving
="prgrph">-kamp ='lgc'>='lgc'>--> used to refer to whatever is curved, p="trms">liable or ="trms">articulated ="brkr">
the fossil of fire goes back before the ="trms">wild-life

the ="trms">history of fire related to the ="trms">history of forest

In the 1950s, government officials in Sierra Juarez of Oaxaca='lgc'>--in southern Mexico='lgc'>--blamed forest destruction upon the local indigenous ="trms">communities. Fire, as a ="trms">symbol of disorder, became the target of state control and the subject of a state-sponsored discourse of environmental degradation. ='lgc'>[...='lgc'>] Fire suppression frequently has been part of state policies of ="trms">social control. ='lgc'>[...='lgc'>] The vision of fire as destructive, part of the state ="trms">narrative ='lgc'>[...='lgc'>] How has the ="trms">memory of the traditional use of fire by indigenous ="trms">communities been suppressed='qstn'>? ='lgc'>[...='lgc'>]State political myth has obscured ="trms">community ="trms">memories of fire as a force in the forest, and as a tool for human use. ='lgc'>[...='lgc'>] Why the indigenous ="trms">communities of the Sierra Juarez no longer talk about the long-term ="trms">history of their forests. Clearly, the ="trms">communities ="trms">internalized parts of the state-sponsored degradation discourse. (However, discourse analysis is not enough; it is all too easy to treat discourse as a monolithic structure of ideas='lgc'>[...='lgc'>] ) ='lgc'>[...='lgc'>] These discourses require a threat, a source of chaos and disorder to which the moral regeneration of the progressive discourse can provide a solution. In the case of the Sierra juarez, forest fires provide this op="trms">position. ='lgc'>[...='lgc'>] It is exactly this resistance of the ="trms">natural ="trms">world to discursive domination that is one of the themes of this article. ='lgc'>[1='lgc'>]

='lgc'>[1='lgc'>]ANDREWSA LVADORMA THEWS - suppressing FIRE AND MEMORY='lgc'>: ENVIRONMENTALDE GRADATIONAN D POLITICALRE STORATION INT HES IERRAJ UAREZO F OAXACA, 1887-2001

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Jinn older and Man

="trms">ecology of the Jinn


(Qur'an)
raging fire
scorched by burning fire
striking sparks of fire
and roasting at hell-fire
the fire of Allah, kindled
...



bringing together of two homogeneous blocks of ="trms">material in a given, al="trms"nttrm="already,spread">ready-inhabited space

as if we knew what space and time mean



“the desert bighorn is an ="trms">animal shaped by ice. ='lgc'>[...='lgc'>] the design of ="trms">wild sheep is very much an expression of arctic cold.” (="ppl">Meloy)
(what the design of fire is as expression of='qstn'>? what shaped fire='qstn'>? ice='qstn'>?)
(we are shaped also by fire)

how you go from lizard to ="trms">bird='qstn'>?
it must have been through the behavior of lizard that ‘="trms">birdness’ has come to be possible. a certain trait of behavior have allowed the lizard find itself in the air.


ice age
="trms">story of fire, ="trms">story of grass, ...

after the establishment of a land-based flora (Middle Ordovician period, 470 million years ago) and permitting the accumulation of oxygen in the atmosphere it permitted the possibility of ="trms">wildfire.

Fire also became more abundant when grasses radiated and became the dominant component of many eco="trms">systems, around 6 to 7 million years ago;

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electrical fire



conflict between the “junk” and the “text” that seemed to fascinate

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how to ="trms">write cold with fire='qstn'>? the medium of fire is incompatible with that of the paper. paper burns fire off! the combustion emerging elements energized by their contact fuels a sudden blow of increase in their ex="trms">cited entropy. flame. action is the breeze that death digs. foam knows no halt. the focus is noised and seeds location. place penetrates in shattery nozzles o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginating from thousands of nowheres. inferno's insurance is about aggression of hot.

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A) Accident, Action, Adrenaline, Aggressive, Aid, Air="trms">craft, Alarm, ="frds scrmbld"nttrm="Alex,Alert,Aleph,Alessi">Alert, Ambulance, Apprehension, Arson, Ash, Assess, Assist
B) Bad, Barricades, Battle, Blacken, Blame, Blanket, Blast, Blaze, B="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lister, Blow out, Breeze, Burning, Burns, Bystander
C) Car, Careless, Catastrophe, Caution, Challenge, Char, Chimney, Choice, Claim, Conflagration, ="trms">Consume, ="trms">Consumption, Contain, Control, Coordination, Crackle, Crash
D) Damage, Death, Destruction, Detect, Dig, Direction, Dirty, Dispatch, Drama
E) Electrical, Embers, Emergency, EMT, Engulf, Experience, Explode, Extinguish
F) Facts, Fai="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure, Fared, Fascination, Fell, Fierce, Fire-break, Firefighter, Fireplace, Flames, Flammable, Flash, Foam, Focus, F="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right, Fuel
G)
H) Halt, Happening, Holocaust, Home, Hose, Hot, Hot spot, House, Hydrant
I) Inaccessible, Inferno, Injury, Insurance, ="trms">Interfere, Investigation
J) Judgment, Juris="trms">diction
K) Kindle, Knowl="trms"nttrm="knowledge,Knowledge">edge
L) Laboring, Life-threatening, Lightening strike, Limitations, Lives, Location, Losses, Luck
M) Malfunction, Matches, Mechanical, Medical attention, ="trms">Memory, Mesmerize, Misery
N) Needs, Nine-one-one, Noise, Nozzle
O) Observe, Odor, Ordeal, O="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin
P) Paramedic, Penetration, Place, Police, Potency, Potential, Prevention, Progress, Prone, Pumps
Q) Quench, Quick
R) Reaction, Repellent, Requirement, Residue, Risk
S) Safety, Scenario, Set, Shatter, Shelter, Siren fire truck, ="trms">Situation, Smell, Smoke, Smoke jumper, Smokey the Bear, Smoldering, Smother, Sprinkler ="trms">system, Statement, Stop, Strategy, Strength, Stressful, Stretcher, Suffering, Susceptible, Swath
T) Tactic, Target, Terror, ="trms">Thick, Threaten, Trailer, Training, Trees, Trench
U) Uncontrolled, Urgent
V) Victim, Vigilant, Volunteers
W) Watch, Water, Weakness, Weather, ="trms">Wilderness, Wind, Worse
X) X-ray
Y) Yelling
Z) Zone



(Ajayeb)
Know! That I saw in fire many benefits, insomuch benefits that ‘he’ set in fire, the intellects of India and Greece erred and prostrated this fire-thing and this betrayal stayed in magus ='lgc'>[Zoroastrians='lgc'>] and they became fire-worshiper until it became certain that the God's guidance offers and just with reason alone work cannot be done fully and if they worship fire of its benefits then in mud there is more benefits than that and in water more benefits than there is in fire and if The Creator wants to make wanderers of a folk he infects them with a substance as he infected the Indians with worshiping cow and ="frds scrmbld"nttrm="Christianson">Christians with worshiping the hoof of Christ's donkey and the pagans with worshiping idol and ="trms">matter
and we shall mention the attributes of fire and its properties='lgc'>:
Know! That fire has taken the whole ="trms">world of universe and no stone and no wood is not uncharged with fire. If a fool takes a piece of wood and asks “where is fire='qstn'>?” I say the way of everything is in manifestation as when two woods strike together made of Margh and Afar,='lgc'>[1='lgc'>] fire will appear or hit stone to ="trms"nttrm="metaph,metamorph,metabol,metal">metal

='lgc'>[1='lgc'>] ="trms">According to Jashn-e Sadeh recalls the importance of light, fire and energy; light which comes from God is found in the hearts of his creatures. ='lgc'>='lgc'>--> Hushang and the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of fire

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we are too abstract, we are thinking yes there are things out there ="trms">wild or whatever. then we must be surprise to see that the abstract far thing is made of flesh, quartz, or fire.

unlike camels and rats and sheep, other four legged or mammals, fire is not designed for something, the way organisms evolved to have meanings and re="trms">presentations to each other. fire ="trms">embodies a vast place in our ="trms">material and industrial and ="trms">semiotic ="trms">world but itself is not a creature of evolution. it knows nothing of ="trms">symbiogensis nor of molecular compartmenship. fire is an elementary radical reaction to closeness. the third person. pure manifestation.

every mountain range have personalities. rock is arrange by evolution. it tells you about itself when you feel it firm in your hand pressing to your ear, asking thousands of ="trms">questions, exploring with ="trms">imagination. stone is not a ="trms">social creature, maybe that's why we ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listen to them. fires are ="trms">social beings, death sentences.
their ="trms">society and ="trms">ecology
reaching access to the ="trms">literacy of fire-work

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(...) ='lgc'>='lgc'>--> the black-box ='lgc'>='lgc'>--> ka'ba ='lgc'>='lgc'>--> an ="trms">intermediate mechanism to reach beyond the door-knob ='lgc'>='lgc'>--> dark medium of worship ='lgc'>='lgc'>--> the jinn ='lgc'>='lgc'>--> ="trms">ontology of the envelopment ='lgc'>='lgc'>--> an ="trms">interiority that is exterior ='lgc'>='lgc'>--> talking-fire ='lgc'>='lgc'>--> mediums of the beyond ='lgc'>='lgc'>--> put your ‘thing’ in the fire ='lgc'>='lgc'>--> going through the fire ='lgc'>='lgc'>--> test some fossils ='lgc'>='lgc'>--> ice age ='lgc'>='lgc'>--> ="trms">databases that survive ='lgc'>='lgc'>--> promises of futurity ='lgc'>='lgc'>--> tech ='lgc'>='lgc'>--> black-box is always about the-envelope and the-beyond ='lgc'>='lgc'>--> going back to the cave ='lgc'>='lgc'>--> monotheism invented darkness (praying in the dark marked singulaity of worship as the begining of subjectivity) ='lgc'>='lgc'>--> there is a sudden big shift from telling-stone to talking-fire (introducing the ="trms">spectacularization of truth-event, where risky ="trms">aesthetic of fire ="trms">coded as masculine is traded for a ="trms">mutuality of slower ="trms">wilderness a more feminine ="trms">trope. the telling-stone proposes a totally ="trms">different ="trms">ecological model than the survivorship ="trms">narratives en="trms">coded in the trial of the talking-fire. truth became untouchable visual ="trms">spectacle that can burn and annihilate charging off the haptic closeness of the stone to the ear. truth became the ="trms">matter of untouchable, visual. the angry truth god came with the fire both as tool of worship and punish (human taking lessens and used fire to discipline the forces of ="trms">nature) ='lgc'>='lgc'>--> the darkness that enveloped the worship, made the absence of light crucial for constructing ="trms">interiority ='lgc'>[note='lgc'>: before going to light-fire the worshipers must wash themselves in Vozu, in Namaz the worshpers wash themselvs before going to the darkness of prayers='lgc'>='lgc'>---is this water that we make vozu the same as ‘abe heyvan’='qstn'>? before going into the hyper space, the ritual plays a key role and a key hole. like all hyper spaces that forwards you yo the beyond the box as well is about deliverence (to the ="trms">lover='qstn'>?)='lgc'>: (for the sake of) salvation ‘rastgari’ is about delivering ‘you’ (='lgc'>='lgc'>--> Ma'ad ='lgc'>='lgc'>--> masaleye “enteghal” ='lgc'>[be alame digar='lgc'>] ='lgc'>[dar tarikh falsafeye eslami ="nms">irani ='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to footnote in Motakhabat 2nd volume page44='lgc'>]) ='lgc'>='lgc'>--> for ='strcls'>*="ppl">Rumi people is firewood, hizom, inflammables; fire is the ="trms">present tense, its light is about the future and its ashes about the ="trms">past='lgc'>: we like ash to perform our archiological ="trms"nttrm="already,spread">readings of old fires and we like its light becsuse it helps us to push through and constatly make-="trms">imagine-lighten the future, i this model the ="trms">present is untouchable.='lgc'>] ='lgc'>='lgc'>--> the beyond is beginning to loosen its ="trms">materiality ='lgc'>='lgc'>--> accumulation of synonyms (before ="trms">language) ='lgc'>='lgc'>--> ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphors given birth slowly ='lgc'>='lgc'>--> from the Pleisto="trms">cene to Ordovician ='lgc'>='lgc'>--> the accumulation of oxygen ='lgc'>='lgc'>--> fire was permitted to exist ='lgc'>='lgc'>--> etc.
(keeping a fire burring for a long time is a very strange thing to do. it is utterly Paleolithic to do keep fire, making it stone. it was Muhammad who turned off the lights, ="trms">literally. when he was born, one the oldest Zoroastrians fire temples suddenly extinguished for no apparent reason. the blessed dark. the box, fire, both are means to have access to the inaccessible. ='at'>#Muhammad inception/birth had to be connected to a super="trms">natural event.)

(talking) fire ='lgc'>='lgc'>--> speech
(telling) stone ='lgc'>='lgc'>--> ="trms">written

in the ="trms">history, the leg-less-stone and the lying-visage have been together. a study of apparition must in="trms"nttrm="cluster,club">clude the physical ="trms">material as well, not as counterparts, rather as its play-mate.

(fire suppressing) an older ="trms">ecology of reflection (namely the stone)

the telling stone is the same as spirit stone(='qstn'>?)='lgc'>='lgc'>---non-="trms">animal container (='at'>@="frds scrmbld">Karin)
(stone is related to the spirits of the ground. the prisoner who throw a pebble into the pit, the pebble's sound is going to tell about the depths and darknesses that the human, on death sentence, does not have a long enough rope to carry too. so the rope is never enough, the linear connection, the closed chain of links, but the throwing stone can risk a disjunction between that mother='lgc'>->king='lgc'>->prisoner='lgc'>->darkness)
='lgc'>='lgc'>--> sending a guy into the pit is not typical for the cultures of Pleisto="trms">cene='lgc'>: (using linear connection, darkness ='lgc'>~= unkown, and so on)
='lgc'>[="ppl">Shepard='lgc'>] Pre="trms">historic humans were autochthonous, that is, “native to their place.” (related to the earthly stone ='lgc'>=/= fire that perpetually evacuates) (it is not that of the introvert stone and the extrovert fire, but the op="trms">posite, stone was ="trms">social and fire allied ="trms">interiority, it sent/banished the subject to the land of the mediated, ‘from now on you are coming from mediation.’ (W[...]