The project enquires into the conditions of humans as biological beings at the margins of human settlement. It is an audio-visual portrayal of the mountain landscape of Hallingskarvet mountain range in Norway that includes subtle indications of people´s presence.

The project counters modes of prior classification on humans in/and nature by rejecting stereotypes that frame mountain landscapes as "wasteland" or "sublime" and the hegemonic ideals of conquest and mastery.

Bodily practices and sensory engagement are ways for people to deepen awareness of their connection with the nature they are embedded in. The aim is to evoke these sensory textured experiences of connectedness by emphasising affect, the non-verbal and non-cognitive.

The landscape and "weather-world" is continually changing through daily cycles, seasons and weather conditions. People interact with the landscape in ways that engage their body and senses, like walking, climbing, skiing and resting, and their experiences may range between joy, comfort, threat and pain.

The project engages in processes of mapping, recording and production of multi-media artworks. The visuals are recorded with long shots of still frame, which set the soundscape to the foreground of attention.

It is also a reflection on the possibility to mediate physical reality, body practices and sensory experiences through a representational virtual medium like a two-dimensional screen. The suggestion is that sound may have a stronger impact than the visual.

Main theoretical inspirations are Massumi, Ingold, Næss and Schafer.

Working from the interstices of contemporary art and ecology, this paper grounded in an anthropological inquiry into how art came to be made in forests and debates around 'environmental' art and ways of producing 'nature'. It will focus on one of many 'creative' workshops I ran, experiments in alternative 'messy' methods (cf Law, 2010) and research into correspondences between art and anthropology. It developed from frictions I encountered, owing to the ambiguity of my role with the Forestry Commission, as well as around my status as artist or anthropologist. The workshop drew diverse perspectives of artists and foresters together within a deliberately poetic space - also an installation - to explore the value of forests, the role of art, and policy governing art's commissioning.

Foresters manage landscapes and negotiate publics over remarkably long time frames, using 'best practice' policy and 'tool kits' to 'balance' 'constraints and opportunities'. Sometimes these entail incongruous categorisations, eg of artist 'types' I argue that, rather than a providing guide for future projects, this legitimises past actions, circumscribing perceived failures. I suggest another way of thinking using 'ecologies of practice, aimed at " the construction of new possibilities [...], in other words, to connect." (Stengers,2005) to make space for creative interventions in decision making,what I call 'speed-bumps' attempts to 're-function' ethnography, through working with art (cf Marcus &Rabinow, 2008). This is part of working towards a more accepting approach to ecology, which incorporates friction, and failure, but works to keep conversations going.

This paper discusses a range of methodologies and strategies I use in my film, Memory Objects, Memory Dialogues (26', 2011), to explore the complex nature of remembrance work in contemporary post-communist Romania. This experimental film (directed in collaboration with visual artist Selena Kimball) attempts to evoke Benjaminian "thought images" of the past, through 16mm stop motion animation, split-screen projection, and visually interrupted, non-linear narratives. By juxtaposing a looping sequence of animated objects with a series of fragmented talking-heads interviews, it aims to destabilize the idea of collective memory as a coherent, single, over-arching account. Rather than documenting or illustrating people's memories, it evokes the partial, non-linear, elusive, and often-contradictory nature of the act of remembering in itself. In this split screen installtion, individual and collective memories diverge and intersect, giving a poignant and humorous glimpse into how people are currently looking back at 45 years of communist rule in Romania.

The increasing complexity of transnational migrations inevitably has led to considerable shifts in anthropological theory, in the discipline´s conceptuation of space and time. Cultural interactions in today´s postcolonial world inevitably involve a multiplicity of places and different temporal and spatial scales. For their migrant subjects, this results an overall feeling of dislocation and asynchronism. Diasporan worlds have emerged, shaped by, but independent from the mere movement of people.

This paper is concerned with the problem of how to represent these migratory movements, how to find adequate images for transnational mobility. Therefore, it explores novel ways of exhibiting ethnography. I specifically engage with the constructivist representational practice of montage that recently has received renewed attention among anthropologists as an analytical tool to compare, juxtapose, and relate different cultural geographies (Suhr/Villerslev in press).

I will discuss recent multi-screen video installations as an aesthetic form that puts forward non-linear arguments by expanding the cinematic technique of montage into the physical exhibition space. The works of artists Ursula Biemann, Angela Melitopoulos, or Multiplicity Group all render visible global relations in their systemic complexity and thus articulate spatial and temporal heterogeneity beyond the misé en scene of the single field site.

I further present my own two-screen installation " A Tale of Two Islands", a work that focusses on the border regime separating the French island Mayotte from its African sister island Anjouan, both geographically part of the Comoros. It renders visible the lifeworlds on both islands on two opposing screens thereby exploring this postcolonial space by giving the spectator access to a multiplicity of perspectives.

Since the 1980s/1990s, Indigenous filmmaking and Community based Video ( Visual) Education Projects are becoming more and more the focus of media activities by Indigenous ethnic groups as part of their struggle against hegemonic media representations of their own culture.Over more than two decades,anthropologists, communication scholars, documentary filmmakers and indigenous media activists have started to work together with local indigenous groups and communities,to technically support and to develop a common platform for human rights and indigenous rights advocacy and to develop indigenous filmmaking activities.Indigenous filmmaking activities and Community based Visual Education and Communication projects amongst the so-called "National Minorities" in China only started in the early 21st century. Scholarly work on these indigenous media projects in China was also completely inexistant. This paper tries to fill this gap by introducing the Yunnan & Vietnam Community Based Visual

Education and Communication ( CBV) Project 2006-2009, the first of its kind in China.

Inside "Deaf culture" the theatre has significant importance, as defined by social actors "deaf people have a particular skill for perfomance". During the ethnographic research some associated within the National Community of Deaf in Perugia (Italy) decided to start a lab that can investigate the everyday life and experiences of the protagonists. Through continual negotiation and redefinition of "others" and "self" central aim is the narrative and the transmission of sensory skills, in particular the vision and tactical. The cooperation between social actors and researcher - investigate the social context, the senses and narrative style - allows to go into deepness on the variety of practices and experiences related to issues of the fieldwork. The representation of sensory experience and the constant research for hybrid forms of visual and tactical representation of sounds and vision, personal and sharing, are among the fundamental interests of the social actors. My paper is based on ethnography started on 2010 and still in progress, on the interactions practices and construction of culture of the Deaf. In this paper I will discuss the possibilities of visual methodology focused on collaborative film work within the field of deafness. Filming the lab and using the theatrical performance in cooperation with social actor I will focus the attention about the anthropological methodology to investigate the social life and sensory experience. Given the particular sensory attention inside the fieldwork, experiments in narrative forms and methodology through the "sharing" is a fundamental requirement to show the everyday social life of deaf.

I address, from my participation both as an anthropologist and a visual artist, the roles of collaboration, art and imagination in leveling power imbalances created during ethnographic representation by examining the making of the installation Geographies of the Imagination that I created with the collaboration of nine Chilean political exiles. As Artist in Residence at the Center for Art and Public Life at the California College of the Arts (2007-2008) the exiles and I created 23 mono-prints depicting their memories of migration to the United States, and nine videos of their reflections about places that caused nostalgia for their homeland. Their role in the creative process was that of recalling memories and editing the images I had made so that they better represented their memories. They also collaborated in editing the videos. These participatory methods of making images involved emotional, imaginative and cognitive stages that are also involved in the empathetic process, which often is presumed but seldom addressed in anthropological writing. The images themselves became checking points for verifying the emotional attunement between ethnographer and informant. As the images were created and revised they became the ground for the sharing of imagination—theirs and mine, and led to the creation of additional images and memories, and finally to the assertion of different forms of moral wishes. Making this project highlighted knowledge in process, empathy and the exercise of moral agency.

The paper I would like to present is a review of an experimental project I conducted in collaboration with 7 people, practicing shared anthropology. I intend to analyse the process of this experiment, and to reflect on the issues that led me to apply some conceptual changes compared to what was practiced by Jean Rouch specifically in his film "Chronicle of a Summer" and the notion of "Shared Anthropology" introduced by him.

In this project I shared my concerns and dilemmas about the meaning of "home" in a transcultural condition and how I perceive its role and presence in my personal life, with some people who found their interest in this exploration. In reply, they also reflected their own opinion, shared their ideas and experiences in regard to the subject of this project.

These reflective interactions and the phenomenological investigations, as a striving towards a self-aware insight into the conditions of presence of "home" in our lives, helped each of collaborators (including me) to crystallize our points of view and develop a concept expressing, what "home" means to us.

These concepts both simultaneously or subsequently have been interpreted and articulated by each of us as the author and creator of our own concept which (collaboratively with me as the director of the whole process) depicted into audio-visual forms.

The outcome of this project, has been turned into a film called "Parallax" (the name is borrowed from the term "Parallax effect", suggested by Faye Ginsburg). The screening feedbacks of the collaborators, as an important element of shared anthropology, have also been recorded and are accessible through www.sharedanthropology.org.

"LA VIE DU RAIL. A railway line in Mali as transitory space" retraces the Malian part of the former Dakar-Niger railway line integrating diverse forms of media. Based on anthropological fieldwork, it draws out the interaction of individuals and circumstances as participants of constant transit. Audio-visual methods are being combined with text in order to preserve the complexity found in the field. The depiction that is being created avoids to decide for a prioritary form of approach but is only structured by the linearity of the train tracks. An individual travel through the material can be perceived by traversing various stations of the train. The permanent movement of transit at the same time results in the stability of the people working in the train. The lives of these such as the inhabitants along the railway line are the central moment of the project. Personal narratives and observations feed the reflections on spaces, non-spaces and transitory spaces. The potential of non-linear linkage between the media elements through html-programming has been sought as a substantial factor for dehierarchizing representation aswell as interactive perception. In a short film at the beginning of the interactive website the camera converges with a form of life that is subject to rifts of loss and nostalgia as well as renewal and dynamics.

LA VIE DU RAIL reflects on those issues of transitoriness while submerging into the quest of positioning oneself as anthropologist within a tradition of scientific work.