This article aims to further Alfred Gell’s assertion (‘Vogel’s net: Traps as artworks and artworks as traps’, Journal of Material Culture, 1996) that traps be considered as functional artworks and vice versa, and builds on this foundation for an even bolder approach to practical exchange between art and anthropology. The trap is explored as a particular kind of technology that enables analytical play between species perspectives and disciplines which might at first appear to be ontologically distinct from one another, but are in fact recursively shaped and shape one another. Particular emphasis is placed on the ‘craftiness’ of animal traps as adaptable structures with a playful (if combative) propensity, by way of parallel examples of artistic forms and engagements that are ‘tricky’ in relation to existing norms of consumption and production – or even in regards to the label of Art itself. Gell’s initial comparison is used as a means by which traps and artworks might bear more integrally upon one another to suggest not only certain structural similarities (as Gell suggested), but further co-generative potential for new frames of anthropological engagement and more-than-human artistic production. The trap emerges as a ‘diagram of practice’ that enables visual art to locate itself in an ecologically recursive relationship with a given environment. Just as Gell suggested, the trap takes art beyond existing art-historical frameworks and aesthetic conventions. As a method for anthropology, trapping suggests an experimental approach to fieldwork that adopts unconventional media from a given context to playfully draw from its more-than-human object of study. It is for both art and anthropology alike to conjure up the question – like a well-set trap – what is it like to ‘be’ and draw into being that which one is not?

中文翻译：

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成为现实：陷阱是艺术与人类学之间生态交流的示意图

本文旨在进一步阐述阿尔弗雷德·盖尔（Alfred Gell）的断言（“陷阱的陷阱：艺术品既陷阱又艺术品的陷阱”，《物质文化》，1996年），陷阱被认为是功能艺术品，反之亦然，并以此为基础采取了更大胆的方法。艺术与人类学之间的实践交流。圈套技术是一种特殊的技术，可在物种观点和学科之间进行分析，而这些观点起初在本体论上似乎彼此不同，但实际上是递归地形成的。特别强调将动物陷阱的“狡猾性”作为具有俏皮（如果好斗）倾向的适应性结构，通过与现有的消费和生产规范有关的艺术形式和活动的平行示例，甚至与艺术本身的标签有关的示例，来进行“微妙的”讨论。盖尔（Gell）的初步比较被用作一种手段，使陷阱和艺术品之间可以更完整地相互支撑，不仅暗示某些结构上的相似性（如盖尔（Gell）所暗示的），而且还为人类学新框架和更多的潜在共生潜力提供了潜在的共生潜力。人类的艺术作品。陷阱以“实践图”的形式出现，使视觉艺术能够与给定环境处于生态递归关系中。正如盖尔（Gell）所建议的那样，陷阱将艺术超越了现有的艺术历史框架和美学惯例。作为人类学的一种方法，诱捕暗示了一种野外工作的实验方法，该方法采用给定背景下的非常规媒体来嬉戏地借鉴其非人类的研究对象。无论是艺术还是人类学，都想出一个问题-就像一个固定的陷阱-“成为”并吸引那些不是的是什么感觉？