This year we are very pleased to be presenting an integrated Screen/Media/Art strand of the conference, featuring talks, performances, panel discussions, and screenings that will draw together anthropologists, artists, cultural custodians, curators, art writers, filmmakers and photographers to discuss some of the pressing questions emerging from a range of old and new technologies, research partnerships and creative collaborations.
The Screen/Media/Art strand is divided into three labs taking place across four days. These are summarised below and then the full program follows.
Lab01 art :: anthropology :: art - a symposium on new directions in creating and curating contemporary Indigenous art and culture in Australia (opens at 09:00 on Tuesday, 12 Dec)
This symposium is a day-long public event produced in collaboration
with the Art Gallery of South Australia and the South Australian Museum
and taking place in both locations. Over five sessions*, 12 invited
presenters will discuss the ‘shifting states’ of artists,
anthropologists, institutional and community curators and others
co-creating and exhibiting new Indigenous art and culture in Australia
today, including current major shows in Adelaide’s TARNANTHI festival.
*please note the specific timings of the schedule for this day.
Lab02 Film, photography and new digital media in anthropology today (starts at 09:00 on Wednesday, 13 Dec, continues at 09:00 on Friday, 15 Dec)
Two days (and lunchtimes) of screenings, talks and conversations about films and photography, screen experimentation and installations, sensory anthropology, mimesis, drone cinematography and other mobile technologies, uses of fiction in ethnographic film, ‘cli-fi’, the ethics and aesthetics of collaborative research and production, the migration of aura, Indigenous disapora, filmic documentation of political process, the social life of photographs and more.
Featuring stories and work from 16 countries, these sessions have been curated to suggest new dialogues between selected student films, experimental works, award-winning feature films and community projects, around questions of cultural survival and transformation in multiple zones of the digital Anthropocene and on the post-colonial edges of early 21st century modernities.
Lab03 Dialogues in sound and listening: acoustemology and acoustic ecology (starts at 09:00 on Thursday, Dec 14)
Featuring Australian acoustic ecologist/sound artist Leah Barclay and acclaimed U.S. anthropologist/ethnomusicologist/musician Steve Feld, individually and in conversation with U.S. sound/voice/media anthropologist Daniel Fisher. Steve Feld will present a special 25th anniversary keynote performance of his iconic soundscape composition ‘Voices of the Rainforest’, re-mixed in 7.1 surround sound. Look out for instructions for accessing Leah Barclay’s virtual soundscape installations that will be available throughout all conference spaces via smartphones.
Presented in partnership with the Electronic Music Unit, University of
Adelaide and sponsored by the Australian Foundation for Acoustic
Seating is limited for all Lab sessions. Please arrive early to ensure
We look forward to your company for lively and inspiring sessions and discussions.
Convenors: Lisa Stefanoff (NIEA, UNSW Art & Design) and Naomi Offler (University of Adelaide)
The programme in detail
Lab01 art :: anthropology :: art - a symposium on new directions in creating and curating contemporary Indigenous art and culture in Australia
Convenor: Lisa Stefanoff (UNSW Art & Design)
Discussant: Jennifer Deger (James Cook University and Miyarrka Media)
South Australian Museum, NGURRA exhibit and Radford Auditorium, Art Gallery of South Australia: Tue 12th Dec, 09:00-09:30, 09:45-10:45, 11:00-12:30, 13:30-14:15, 14:45-16:15
A special public symposium in collaboration with the Art Gallery of South Australia and the South Australian Museum, exploring major 2017 TARNANTHI Festival exhibitions and a range of other current Australian Indigenous art and media projects, exhibitions, initiatives and research undertakings.
Meet outside the front doors of the South Australian Museum for a prompt 09:00 start
09:00-09:30, South Australian Museum
John Carty (South Australian Museum); Glenn Iseger-Pilkington (South Australian Museum)
South Australian Museum Indigenous curator and Museum Anthropologist discuss the making of the 'NGURRA: Home in the Ngaanyatjarra Lands' exhibition, part of the TARNANTHI Festival, through a floor talk inside the show.
Ngurra means home in the languages of Australia's Western Desert people. But it is more than that: Ngurra encompasses of history, memory and relationships. It is the sedimentation of human experience through the prism of place. 'NGURRA: Home in the Ngaanyatjarra Lands' is an exhibition that explores this foundational concept in contemporary desert life and art. It is therefore not simply an exhibition of art, but an exploration of where that art comes from and the world it expresses. The exhibition explores dynamic shifts in material culture and changing relationships to the materiality of 'home'. Through exploring youth culture, the exhibition also unpicks museum conventions in which the practices and traditions of older generations are commonly essentialised or prioritised as 'cultural'.
NGURRA is the product of a multi-year collaboration between the museum and the Ngaanyatjarra artists, and this presentation will explore the curatorial and creative processes that emerged in that relationship.
Walk to AGSA and meet in AGSA Foyer
09:45-10:45, Gallery floortalks, Art Gallery of South Australia
What does curating look like at the Art Gallery of South
Lisa Slade (Art Gallery of South Australia); Raymond Zada
Collaborative curatorial practices lie at the heart of the Art Gallery of South Australia's engagements with all exhibiting artists. In this presentation Lisa Slade, Assistant Director, Artistic Programs will discuss the creation of some of the Gallery's TARNANTHI Festival exhibits through a floor talk in the exhibition spaces. Artist Raymond Zada will discuss his work currently on show in the TARNANTHI exhibits 'Cicada Press: Under Pressure' and 'New Light'.
11:00-12:30, ‘Curating, designing, affecting’, Radford Auditorium, Art Gallery of South Australia
Paul Gurrumuruwuy (Miyarrka Media); Jennifer Deger (James Cook University and Miyarrka Media); Enid Gurunulmiwuy (Miyarrka Media)
The Miyarrka Media collective create screen-based installations for museums and art galleries. Based in the Yolngu community of Gapuwiyak, Miyarrka Media has exhibited in the US, Europe, and most recently in Taiwan. In this presentation three members of the collective will describe how they approach curation in terms of creating a field of attraction, sensation and surprise and why they claim this work as a yuta, or new, anthropology.
Community curating: Desart's role in developing desert curators
Philip Watkins (Desert Inc.)
Desart supports community art centre artworkers to develop their curatorial skills and knowledge through a range of programs, from photography and writing workshops, to museum and gallery internships and participation in national Indigenous curatorial training initiatives. Some of the key objectives of this support are to broaden Aboriginal community artworkers' undertandings of the possibilities for art when it leaves the community and to equip them with the skills necessary to take on greater roles and decision-making agency within management of their art centres, especially in relation to special projects and exhibitions. Desart CEO Philip Watkins will share some stories from the organisation's past and current work in this area.
Sizzling in the intersections: the Dome theatre, a hot zone of
contact that brings alive the Seven Sisters by digitising the dreaming
at the National Museum of Australia.
Margo Neale (National Museum Australia); Inawinytji Williamson (Australian National University)
The 7m Dome theatre is animated by photogrammetry which projects 360-degree vision of ancient renderings in Walinynga (Cave Hill) in the APY Lands, the only Seven Sisters rock art of its kind. All who lie beneath the Dome are transported and immersed in its intricate 3400-year old images. Paintings, voice and animations track the sisters across the western and central deserts. Snakes slither, appear and disappear; boulders come to life and the eyes of the Sister's relentless pursuer blink in ever-watchfulness, while the quirky tjanpi Sisters twirl and swirl in playful readiness.
The exhibition responded to an urgent plea echoed by David Miller (2010), that 'the songlines have all been broken up' and Anangu needed 'help to put them back together.' How communities use museums rather than how museums use communities defined the curatorial approach, resulting in a curatorium which bought together knowledge holders from Indigenous and western spheres. Cultural, curatorial and anthro/archaeological knowledges were seen as equally relevant.
Apart from the preservation of sites along the Seven Sisters songlines, the trans-generational relaying of knowledge was of acute concern to elders, resulting in an archive for the next generation. New technologies make culture cool. As Mary Louise Pratt says, 'the colonised might not control what emanates from the dominant culture' but they can fashion it to their own purposes and shape it through their encounters. And they did!
Co-presented by Inawinytji Williamson, senior law woman and a custodian of the Seven Sisters songlines.
Discussant: Lisa Stefanoff (UNSW Art & Design)
13:30-14:15, ‘The work-to-be-done’, Radford Auditorium, Art Gallery of South Australia
'Instauring' Aboriginal Art
Stephen Muecke (University of Adelaide)
'Instauring' is a concept from Etienne Souriau (Professor of Aesthetics at the Sorbonne in the early 20th century), picked up recently by Isabelle Stengers and Bruno Latour.* It refers to the 'oeuvre à faire' (the work-to-be-done), trying to capture the impetus that a work has for its own completion, a spark that is already there in its first moments of creation. In that, from a curatorial point of view, it is in contrast with 'installation', which is the presentation of works deemed complete.
This talk explores the utility of the concept of instauration for Aboriginal Australia, where the 'work-to-be-done' might exist virtually as a dreaming that is always-already poised for realisation in object, icon, song, dance, etc. When art objects are extracted from the context of performance, for instance from country to city, does 'instauration' offer a focus to think again about their installation?
* Étienne Souriau, The Different Modes of Existence, Introduction by Isabelle Stengers and Bruno Latour, Minnesota, 2015.
Discussant: Melinda Hinkson (Deakin University)
14:45-16:15, Symposium plenary, Radford Auditorium, Art Gallery of South Australia
The shifting states of curating Indigenous art and culture in
The art :: anthropology :: art symposium was designed to canvas questions linking and repositioning artists, curators, anthropologists and major public galleries and museums involved in collaborative curating of Indigenous art and culture today.
Join all symposium presenters for a discussion of the major themes that have emerged throughout the day.
Moderators: Lisa Stefanoff (UNSW Art & Design); Jennifer Deger (James Cook University and Miyarrka Media)
Lab02 Film, photography and new digital media in anthropology today
Convenors: Lisa Stefanoff (UNSW Art & Design); Naomi Offler
(University of Adelaide)
Napier 209: Wed 13th Dec, 09:00-10:30, 11:00-12:30, 13:00-13:30, 13:30-15:00, 15:30-17:00; Fri 15th Dec, 09:00-10:30, 11:00-12-30, 13:00-13:30, 13:30-15:00
Two of the four curated days in the conference's Screen/Media/Art program feature screenings of short and feature documentaries, student and experimental films from around the world, talks on Australian collaborative media projects and a special session on photography in anthropology.
09:00-10:30, Session 1: Desert Stories 1: Singing history
The Song Keepers
Documentary / 84 mins / Australia / 2017
In the small Lutheran churches of Central Australia, a hidden musical legacy of ancient Aboriginal languages, sacred poetry and baroque music is being preserved by four generations of song women who make up the Central Australian Aboriginal Women's Choir. Against all odds and with the help of their charismatic conductor, the choir embarks on a historic tour of Germany to take back the hymns that were given to their great grandparents by missionaries, now sung in their own languages. Together they share their music and stories of cultural survival, identity and cross-cultural collaboration. Audience hit at the 2017 Melbourne International Film Festival. Special conference screening before International festival release. Producers: Rachel Clements and Trisha Morton-Thomas. Brindle Films / Sacred Song Productions.
Discussant: Ute Eickelkamp (University of Sydney)
11:00-12:30, Session 2: Desert Stories 2: Songlines and flight lines
Maru munu piranpa tjungu nyinara wangkara kulilkatinyi
and acts of translation in the performance space of film
Diana James (Australian National University)
The creation of the multi-media presentations of ancient Western Desert Kungkarangkalpa song, story and performances in the national exhibition ‘Songlines Tracking the Seven Sisters’ involved recursive acts of translation. The Aboriginal elder storytellers and the ethnographic researchers, the filmmakers and the exhibition curators used the NPY Women's Council action research model Maru munu piranpa tjungu nyinara wangkara kulilkatinyi – Black and White sitting together discussing and considering over a long period of time – to make Kungkarangkalpa films and other media.
Thinking and talking over the ever present dilemmas of translation across culturally different spiritual and scientific conceptualisation of creation, time, place, person and ownership or custodianship of knowledge is a complex recursive process of translation and retranslation for different audiences. The Elders' vision was to enhance intergenerational transmission of oral and ephemeral performance knowledge to written and multimedia communication modalities accessible and attractive to future generations. The researchers and filmmakers were tasked with translating the Elders' vision of sharing their Tjukurpa stories, song, dance and art into films that convey the integrity of their cultural knowledge and the beauty and power of their Kungkarangkalpa performance tradition with their descendants and the wider world.
Co-presentation with Inawinytji Williamson and Lee Brady from the APY lands, co-researchers in the Songlines of the Western Desert ARC Project.
Fiction, filmic tropes and the sensory: experimenting with
film in anthropology
Whilst the stylistic mode of observational / participant observational filmmaking is still entrenched in ethnographic filmmaking practice, the world of generalist documentary filmmaking is experiencing a surge of stylistic experimentation, pushing the boundaries of what makes a documentary. This paper looks at the anthropological possibilities of experimenting with filmic tropes and fictional modes, including new technologies, within contemporary ethnographic film. The paper poses that anthropological knowledge can still be conveyed with a self-conscious embrace of filmic and fictional devices, however that this type of anthropological knowledge may be qualitatively different, serving different research questions and different ethnographic contexts. Presentation includes a screening of the short film 'Waters of the Songline: Minyipuru Seven Sisters' in Martu Country as an example of practice.
13:00-13:30, Lunchtime screening 1
Sarah Riccardi-Swartz (New York University)
Documentary / 15 mins / USA / 2017
Icons, sacred religious art, are vital to Russian Orthodox religious practice and culture. Traditionally, icons are images of religious figures, such as the saints and Christ, which are hand painted by highly trained artists. In recent years, the method of producing icons has changed to include digitally produced icons. Father Jonah Campbell, an outgoing, spirited priest and family man based in Wayne, West Virginia is leading that change in the American landscape. This documentary wrestles with what happens when the sacred is transformed into megapixels, and ancient forms of religious art are brought into the digital age.
A student film from the NYU Program in Culture and Media. Filmmaker will join session by Skype for Q&A.
13:30-15:00, Session 3: Photography’s intimate powers
Photography and Life
Enid Gurunulmiwuy (Miyarrka Media); Paul Gurrumuruwuy (Miyarrka Media); Jennifer Deger (James Cook University and Miyarrka Media)
In this talk we will show how Yolngu use mobile phones, and the photographs we make with them, to renew our law and connections to country. This is a new way to feel alive and full of energy: to see our past and future coming together, full of meaning and power. Our collective, Miyarrka Media, is now also using photography to share Yolngu life with others. We are making digital collages that show how wide and deep we can see, to reveal a shared world of pattern, colour, story, family and feeling.
Photographs as catalysts for connection, agency and
remembering - exploring the use of photography and photographs in the
building of relationships with Ngarrindjeri people
Naomi Offler (University of Adelaide)
The discussion in this paper is framed by my fieldwork which spanned just over ten years and involved building close working partnerships and friendships with a group of Ngarrindjeri men and women who live in and around The Coorong in south eastern South Australia. My role as a photographer and our work with photographs catalyzed these relationships.
This paper explores how a series of black and white photographs taken during the early part of my fieldwork that document the reburial of the skeletal remains of Ngarrindjeri 'old people', repatriated from museums around the world became an entry point for connection and the building of key relationships. The reburial was a very significant event for the Ngarrindjeri people involved and the images that came from it became important markers for the reinforcement of relationships with the living and those that had passed away. This series of photographs provides a map for charting how particular photographs were used by people in multiple forums to reinforce specific relationships —with myself, with people who had recently passed away and with the 'old people' who had been returned to 'country' in the reburial ceremony who it was important to remember. The multiple ways in which photographs were used during my fieldwork points to the significance of the role played by photography in anthropology.
Photography in and of the city: three moments from the past
and present of an Indian city
Marcus Banks (University of Oxford)
Over the past thirty years I have been visiting the city of Jamnagar in western India. During the 1980s I took many photographs in the city and its inhabitants, and on a recent visit (February 2017) I asked some of my research informants from the 1980s what they thought about my photographs from that period. I also showed them a selection of images of the city taken in the 1920s. Finally, I observed and asked them about their own digital (camera phone) photographic practices today. My aim in the paper is to explore photography as both practice and representation, but more importantly as a means of history-making and history-denying in the colonial and post-colonial state.
Discussant: Lisa Stefanoff (UNSW Art & Design)
15:30-17:00, Session 4: Observing Politics
Camilla Nielsson (Upfront Films)
Documentary / 100 mins / Denmark/Zimbabwe / 2014
Over the course of more than three years Camilla Nielsson, a graduate of the NYU Department of Anthropology Program in Culture and Media (2001), was up close in the inner circles of politics in politically unstable Zimbabwe as the only European filmmaker with permission to shoot in the country at that time. DEMOCRATS closely observes a new constitution being put together by the ruling ZANU-PF party of strongman Robert Mugabe and the divided opposition headed by Morgan Tsvangirai. Various political, local and personal interests try to bog down the process. Winner Best Feature Documentary 2015 Tribeca Film Festival and many other international film and human rights awards and prizes. Filmmaker will join session by Skype for a Q&A.
Fri 15th Dec, 09:00-10:30, Session 1: Mimesis and experimentation
Drawing From Memory
Vicente Cueto (New York University)
Documentary / 12 mins / USA/Peru / 2017
More than 15,000 people were disappeared during the Internal Armed Conflict in Peru (1980-2000), and their relatives are still looking for them. In this film, they explore new ways of remembering their loved ones, fighting impunity and indifference, and demanding justice. A student film from the NYU Gallatin program. Filmmaker and protagonist will join session by skype for Q&A.
Te Ao Nui O Ngā Hui (The Wide World of the Gourd)
Sebastian Lowe; Alistair Fraser
'Te Ao Nui O Ngā Hui' (The Wide World of the Gourd) (2016) explores mimetic empathy as a method of musical composition used by taonga pūoro musicians (Māori musical instruments). Emphasising the players' awareness of the natural environment and how they harness and utilise empathy to create music, this short film looks at how the musicians come into contact with and subsequently connect to the natural world through Māori whakapapa (genealogy), both human and non-human, such as rivers, rocks, trees and birds. 'Te Ao Nui O Ngā Hui' (The Wide World of the Gourd) (2016) accentuates how the musicians utilise their senses to imagine and furthermore empathise with something, before punctuating these mimetic experiences into music.
This project was made in collaboration with taonga pūoro practitioner Alistair Fraser and visual artist Russell G. Shaw, as part of a wider audiovisual ethnomusicological research project on musical composition and perception with taonga pūoro in Aotearoa/New Zealand (2016/2017). A previous cut of this film was part of Lowe's master's thesis at Aarhus University. Filmmaker will be present for a Q&A following screening.
11:00-12:30, Session 2: Anthroposcenic Cli-Fi
Nightfall on Gaia
Juan Francisco Salazar (Western Sydney University)
Documentary / 92 mins / Australia/Antarctica / 2015
In April 2043, Dr. Xue Noon finds herself stranded in the GAiA International Antarctic Station. As the polar night closes in she connects herself to the Ai-system to scavenge digital memories and archives. 'Nightfall on Gaia' is a speculative ethnographic film that depicts the lives and visions of human communities living in the Antarctic Peninsula. Grounded in ethnographic fieldwork conducted in Antarctica, the film is an experimental meditation on the future of the Antarctic as a new extreme frontier for human inhabitation, the complexities of a fragile planet at the verge of ecological collapse, and the vicissitudes of an uncertain geopolitical future for the region. Filmmaker will join session by Skype for a Q&A.
13:00-13:30, Lunchtime Screening 2
Island to Island
Jacqueline Hazen (Department of Anthropology, Program in Culture and Media, New York University)
Documentary /24 mins / USA / 2016
In the fall of 2015, Kris Kato, an emerging filmmaker, and Keoni DeFranco, the founder of a communications technology start-up, were initiated as kahu oli, caretakers of Hawaiian chant. Both young men live and work in New York City—but now, with the dual responsibilities to safeguard and to share this indigenous, familial tradition. This short documentary highlights the voices of Kris, Keoni, and other members of the Hawaiian diaspora community who are integrating oli into the sounds of the island of Manhattan.
A student film from the NYU Program in Culture and Media. Filmmaker will join the session by Skype for a Q&A.
13:30-15:00, Session 3
Pás ho Dame
Daniel Simiao (Universidade de Brasília)
Documentary / 80 mins / Brazil/Timor-Leste / 2015
Following two stories of broken hearts among the youth of an East-Timorese village, this film explores local forms of conflict resolution and their effects on kinship and family in contemporary Timor-Leste. The film offers a visually dynamic backdrop to understanding key anthropological issues, including the importance of gift exchanges to the making of personhood and repairing social relations among local groups; the strong relation between justice and signs of sacredness; the role of local authorities in mediating between culture and the state; the emergence of a sense of self and the ideology of romantic love; and the challenges for balancing local forms of justice and the respect for human rights in a newborn country. Filmmaker will present the film and conduct a Q&A following.
Lab03 Dialogues in sound and listening: acoustemology and acoustic ecology
Convenor: Lisa Stefanoff (UNSW Art & Design)
Discussant: Daniel Fisher (UC Berkeley)
Madley Rehearsal Studio (off Pfitzner Court), Schulz Building, Scott Theatre Entrance (Eastern Side): Thu 14th Dec, 09:00-17:00
A day of listening experiences and conversations exploring the production, politics and ethics of acoustic ecological and acoustemological research and art, featuring special performance event 'Voices of the Rainforest'. This is one of four curated days in the conference's Screen/Media/Art program, produced in collaboration with the University of Adelaide Electronic Music Unit (EMU).
AURALITY (Augmented Reality Sound Walk)
Leah Barclay (Griffith University)
AURALITY can be experienced by downloading a free mobile app that uses GPS points throughout the conference venues to trigger audio based on location and movement. The free app for iOS and Android launched on World Listening Day 2017 with 100 soundscapes activated across the entire coastline of Queensland. AURALITY combines acoustic ecology, augmented reality and location-aware spatial audio experiences for conservation and climate action.
Once you have downloaded AURALITY, select your location and your phone will act as a sonic compass to explore Shifting States through sound. The AURALITY soundscapes will adapt and evolve throughout the conference so you can return to your favourite locations to explore different soundscapes. AURALITY is best experienced wearing headphones.
AURALITY is created by Leah Barclay, a multi-award winning Australian sound artist working at the intersection of art, science and technology.
09:00-10:30, Session 1: Acoustic Ecology on the move
Embodied listening: Exploring acoustic ecology, mobile
technologies and remote sensing in local and global communities
Leah Barclay (Griffith University)
Sound has a profound ability to make us feel present and connected to our surrounding environment. Recent years have seen a proliferation of site-specific audio works exploring the possibilities of mobile technologies and locative media in place. This means at any given moment in an urban environment, we could be moving through a sound field of voices, music, memories and sonic art dispersed invisibly throughout the places we inhabit. The advancement of new technologies and the accessibility of mobile devices mean this field presents new opportunities for exploring our social, cultural and ecological environments through sound.
As locative media and augmented reality audio shifts into mainstream culture, this presentation traces creative explorations with locative sound and acoustic ecology stretching across a decade of practice. The projects facilitate new ways of listening to the environment and novel forms of experiencing, documenting and understanding acoustic ecology through embodied surround sound technologies. This research expands acoustic ecology through social engagement and ideas adopted from cultural geography, anthropology, systems thinking, aurality, phenomenology and conservation biology.
These creative projects draw on sound walking, mobile technologies and locative media to investigate the role of sound in achieving presence and connection to place and communities. The presentation highlights the future possibilities of mobile technologies in understanding and interrogating our relationship with places and communities through sound.
11:00-12:30, Session 2: Special Lab03 Keynote
Acoustemology Re: Composition
Steven Feld (School for Advanced Research, Santa Fe, NM USA)
For this Listening and Sound keynote I’ll explore critical conjunctions of acoustemology and (re)composition.Three stories that audibly entangle the sounding and listening lives of cicadas and humans in Papua New Guinea, Japan, and Greece conjoin Philippe Descola's metaphorical use of “re-composition" in The Ecology of Others with the forms of relational listening listening research and artmaking I call acoustemology (acoustic epistemology, sound as a way of knowing). This leads to exploring how re-composition is metaphorically and literally brought together in Voices of the Rainforest, a 7.1 cinema surround sound work that will be presented in the afternoon. In an hour, Voices of the Rainforest sounds a day in the life of the Bosavi rainforest and Kaluli people of Papua New Guinea. The 1991 recording was the first commercial CD that consisted equally of environmental ambient sound and what it inspires and cohabits in human sonic expressions. The new 25th anniversary collaborative listening artwork uses immersive audio to renew and amplify how an audible "companion species mainfesto" performs ecopolitical advocacy with deep local consequences.
13:30-15:00, Session 3: Special Lab03 Performance Keynote
From Acoustemology to Sound Art: Recomposing Voices of the
Rainforest in 7.1 Surround Sound
Steven Feld (School for Advanced Research)
Performance of 25th anniversary edition of ‘Voices of the Rainforest’ (70 mins), recomposed and presented in immersive 7.1 cinema surround sound. Discussion after listening.
15:30-17:00, Session 4: A continuing conversation
Sounds and voices: listening to acoustic ecology and
Daniel Fisher (UC Berkeley); Lisa Stefanoff (UNSW Art & Design)
Reflecting on the meeting of acoustic ecological and acoustemological work and ideas throughout the day, and considering their histories in genealogies of research, art-making and community engagement, this final session will bring together Steve Feld and Leah Barclay with Daniel Fisher (Anthropology, UC Berkeley) to discuss the roles, places and powers of sound, listening and sonic arts in a contemporary critical anthropology and beyond.