[...]
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
='lgc'>[='strcls'>*='lgc'>]="trms">trap
(enigma of the apparently inexplicable behavior) ='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'>--> ‘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'><-- 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'><-- ='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'>[="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'>--> 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'>--> 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'>--> 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'>--> ="trms">trap to abstract thought='qstn'>? ='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 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[...]