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data-work-id="127404154"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/127404154/Due%C3%B1os_del_agua_due%C3%B1os_de_la_m%C3%BAsica_Ecos_del_piedemonte_amaz%C3%B3nico_en_territorio_moset%C3%A9n_Comentario_Sonorismo_ind%C3%ADgena_y_la_est%C3%A9tica_de_sonido_de_los_no_humanos"><img alt="Research paper thumbnail of Dueños del agua, dueños de la música? Ecos del piedemonte amazónico en territorio mosetén/Comentario: Sonorismo indígena y la estética de sonido de los no-humanos" class="work-thumbnail" src="https://attachments.academia-assets.com/121140224/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/127404154/Due%C3%B1os_del_agua_due%C3%B1os_de_la_m%C3%BAsica_Ecos_del_piedemonte_amaz%C3%B3nico_en_territorio_moset%C3%A9n_Comentario_Sonorismo_ind%C3%ADgena_y_la_est%C3%A9tica_de_sonido_de_los_no_humanos">Dueños del agua, dueños de la música? Ecos del piedemonte amazónico en territorio mosetén/Comentario: Sonorismo indígena y la estética de sonido de los no-humanos</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://hslu.academia.edu/MatthiasLewy">Matthias Lewy</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://umsa-bo.academia.edu/AlejandroBarrientos">Alejandro Barrientos</a></span></div><div class="wp-workCard_item"><span>Contrapunto Revista de musicología del Programa de Licenciatura en Música</span><span>, 2022</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c89f79e71bb517a1702da4f9af753105" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":121140224,"asset_id":127404154,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/121140224/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="127404154"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="127404154"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 127404154; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=127404154]").text(description); $(".js-view-count[data-work-id=127404154]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 127404154; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='127404154']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c89f79e71bb517a1702da4f9af753105" } } $('.js-work-strip[data-work-id=127404154]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":127404154,"title":"Dueños del agua, dueños de la música? 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Approach to a Symmetrical Auditory Anthropology (2017)" class="work-thumbnail" src="https://attachments.academia-assets.com/54149602/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/34234862/About_Indigenous_Perspectivism_Indigenous_Sonorism_and_the_Audible_Stance_Approach_to_a_Symmetrical_Auditory_Anthropology_2017_">About Indigenous Perspectivism, Indigenous Sonorism and the Audible Stance. Approach to a Symmetrical Auditory Anthropology (2017)</a></div><div class="wp-workCard_item"><span>El oído pensante</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The present contribution aims to reveal some ideas about methods and theories in ethnomusicology ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The present contribution aims to reveal some ideas about methods and theories in ethnomusicology on the basis of Eduardo Viveiros de Castros's (EVC) concepts in cultural anthropology. In the first part the focus is on EVC's "metaphysics of predation" and its three subdivisions of interspecific perspectivism, multinaturalism and cannibal alterity, whereby a particular focus is on "perspectivism" and the different forms of critical receptions and/or equivocations of that concept 2 . In the second part it will be demonstrated how, at a first glance, EVC's non fitting anthropological theory to sound, nevertheless serves for an understanding of sound phenomena when counter-interpreting some of his theoretical and methodological concepts and applying them a symmetrical auditory anthropology. Therefore, trans-specific communications between human and non-humans will be discussed when analyzing first EVC's data on Araweté war and shaman songs and later, my own data on Pemón songs and magic formulas. This analysis aims to reveal how sound in its formalized mode of song defines the interaction between humans and non-humans by transcending the mythical and non-mythical 1</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="dec1be8cfa5b12f2d7bd75cef9093bff" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":54149602,"asset_id":34234862,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/54149602/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="34234862"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="34234862"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 34234862; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=34234862]").text(description); $(".js-view-count[data-work-id=34234862]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 34234862; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='34234862']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "dec1be8cfa5b12f2d7bd75cef9093bff" } } $('.js-work-strip[data-work-id=34234862]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":34234862,"title":"About Indigenous Perspectivism, Indigenous Sonorism and the Audible Stance. 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Interculturality, Intercollectivity, and Transmutation as Method" class="work-thumbnail" src="https://attachments.academia-assets.com/58695413/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38618714/Generating_Ontologies_of_Historical_Sound_Recordings_Interculturality_Intercollectivity_and_Transmutation_as_Method">Generating Ontologies of Historical Sound Recordings. Interculturality, Intercollectivity, and Transmutation as Method</a></div><div class="wp-workCard_item"><span>El oido pensante</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The article focuses on historical sound recordings and how they are perceived by several actors, ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The article focuses on historical sound recordings and how they are perceived by several actors, showing the limits of interculturality when dealing only with human/human interactions. Inter-collectivity is suggested as a concept that includes human/non-human relations taking these ontologies as certain and as a serious basis for an analysis. In the second part, problems of translation in inter-collective interactions are discussed, leading to the method of "transmutation". The concept refers to Roman Jakobson's (1959) idea of an intersemiotic translation, defined as "an interpretation of verbal signs by means of signs of nonverbal sign system". Furthermore, it demonstrates how transmutation is a general practice in Pemón shaman and ipukenak (wise person) interactions with spirits. Therefore, the ritual song genre murúa (Pemón) is chosen as an example. Finally, the present study shows how transmutation in indigenous translation practices can be applied as a method to analyse historical recordings. I argue that sound as sound itself and the material that contains it have to be understood as a new ontological unit that is continuously generated. The process of that generation is defined by several entities (e.g. thoughts, practices, relations) and their semiotic systems.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9b3de8645a2b78b3c740434af63a88ed" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58695413,"asset_id":38618714,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58695413/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38618714"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38618714"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38618714; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38618714]").text(description); $(".js-view-count[data-work-id=38618714]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38618714; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='38618714']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "9b3de8645a2b78b3c740434af63a88ed" } } $('.js-work-strip[data-work-id=38618714]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":38618714,"title":"Generating Ontologies of Historical Sound Recordings. 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Ritual and sound among the Pemón (2012)" class="work-thumbnail" src="https://attachments.academia-assets.com/34161452/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/7614364/Different_seeing_similar_hearing_Ritual_and_sound_among_the_Pem%C3%B3n_2012_">Different "seeing" - similar "hearing". Ritual and sound among the Pemón (2012)</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This paper discusses the theory of "perspectivism" (Viveiros de Castro) and its application to in...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This paper discusses the theory of "perspectivism" (Viveiros de Castro) and its application to interpretation of the myths of the Pemón-speaking groups of the Gran Sabana (Arekuna, Kamarakoto, Taurepán); the paper aims to compare ontological conceptions of "seeing" and "hearing". Performances of the shamanic healing ritual, the hunting ritual (parishara), and recent orekotón rituals (areruya, cho'chiman) serve as examples for understanding "hearing" and related practices of sound production (speech, singing, imitation of animal sounds, etc.). Whereas the particular representations of yaukarü (spirit/ Arekuna) or yekatón (spirit/ Taurepán, Kamarakoto), such as enek (animal), pemón (human being), and mawarí (spirit of the tepuy), illustrate different concepts of "seeing", the use of the same communicative devices consisting of intelligible (speech, singing) and/ or unintelligible sound structures demonstrates the possibilities of communicative interaction between these representations. Along with my own material, contemporary indigenous discourses concerning Koch-Grünberg's recordings from 1911 will be presented in an attempt to (re-) construct, or rather (re-)interpret, the healing ritual and the parishara and orekotón performances.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e54b4e0f71004e300397fe1950796bb7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":34161452,"asset_id":7614364,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/34161452/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7614364"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7614364"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7614364; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7614364]").text(description); $(".js-view-count[data-work-id=7614364]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7614364; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7614364']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e54b4e0f71004e300397fe1950796bb7" } } $('.js-work-strip[data-work-id=7614364]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7614364,"title":"Different \"seeing\" - similar \"hearing\". 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="37516933"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/37516933/Los_Cantos_de_Kanaima"><img alt="Research paper thumbnail of Los Cantos de Kanaima" class="work-thumbnail" src="https://attachments.academia-assets.com/57489844/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37516933/Los_Cantos_de_Kanaima">Los Cantos de Kanaima</a></div><div class="wp-workCard_item"><span>ILHA Revista de Antropologia</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Firstly, the focus is on the classification of the entity Kanaima in the multiverse of the indige...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Firstly, the focus is on the classification of the entity Kanaima in the multiverse of the indigenous group of Pemón (Venezuela / Brazil). Secondly, the historical and current recordings of Kanaima songs are presented, whereby the functions of these songs are examined with regard to the body/soul administration and the associated (re)-transformation processes. Finally, the peculiarity of this anti-human entity in the Guianas is discussed in comparison to the animistic ontologies of the Amazon.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="fc8a2c9f903dc9b13b8a36bd50dd5763" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57489844,"asset_id":37516933,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57489844/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37516933"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37516933"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37516933; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="102598392"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/102598392/Resocializing_recordings_Collaborative_archiving_and_curating_of_sound_as_an_agent_of_knowledge_transfer_with_Matthias_Lewy_2023_"><img alt="Research paper thumbnail of Resocializing recordings: Collaborative archiving and curating of sound as an agent of knowledge transfer (with Matthias Lewy, 2023)" class="work-thumbnail" src="https://attachments.academia-assets.com/103809808/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/102598392/Resocializing_recordings_Collaborative_archiving_and_curating_of_sound_as_an_agent_of_knowledge_transfer_with_Matthias_Lewy_2023_">Resocializing recordings: Collaborative archiving and curating of sound as an agent of knowledge transfer (with Matthias Lewy, 2023)</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://hslu.academia.edu/MatthiasLewy">Matthias Lewy</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uibk.academia.edu/BerndBrabecdeMori">Bernd Brabec</a></span></div><div class="wp-workCard_item"><span>The Journal of Latin American and Caribbean Anthropology</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">[resumen en español abajo] The authors discuss their methodologies for creating and relistening t...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">[resumen en español abajo] The authors discuss their methodologies for creating and relistening to recordings in collaboration with Indigenous People in Peru and Venezuela and contextualize them within the discourse about overcoming power structures that shape divides between the Global North and South, in both urban and rural trajectories, and in Western and Indigenous knowledges. When it comes to giving back or sharing sound recordings, we suggest the term resocialization rather than restitution or repatriation. In Indigenous lifeworlds, sound works much differently than in modern conceptualizations of music as art or entertainment. Indigenous theories of sound complement frameworks of copyright, which are still mainly based on modern views of human creativity. Working in archives and exhibitions, we seek collaboration with Indigenous experts when archiving, publishing, displaying, or playing recordings. We show how Indigenous and European specialists can foster eye-level bilateral knowledge transfer by fruitfully cocurating sound and multimedia installations in exhibition contexts. <br /> <br />Enmarcados en el discurso sobre la superación de las estructuras de poder que dan forma a las brechas entre el Norte y el Sur globales, entre las trayectorias urbanas y rurales, y entre los saberes occidentales e indígenas; los autores estudian las metodologías de creación y reescucha de grabaciones en colaboración con indígenas de Perú y Venezuela. Cuando se trata de restituir o compartir grabaciones sonoras, sugerimos utilizar el término “resocialización” en vez de “restitución” o “repatriación”. En los mundos de vida indígenas, el sonido funciona de forma muy diferente a las conceptualizaciones modernas de la música como arte o entretenimiento. Las teorías indígenas sobre el sonido complementan los marcos de derechos de autor, que siguen basándose principalmente en los puntos de vista modernos sobre la creatividad humana. Por ello, al trabajar en archivos y exposiciones, buscamos la colaboración de expertos indígenas a la hora de archivar, publicar, mostrar o reproducir grabaciones. Mostramos cómo las instalaciones sonoras y de multimedia en exposiciones artísticas pueden ser comisariadas conjuntamente por especialistas indígenas y europeos, fomentando así la transferencia bilateral de los conocimientos.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="56c09120f77cbb2846f936e951573516" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":103809808,"asset_id":102598392,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/103809808/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="102598392"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="102598392"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 102598392; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="124830821"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/124830821/Plant_Agency_in_the_Guianas_Attraction_Assault_and_Animacy"><img alt="Research paper thumbnail of Plant Agency in the Guianas: Attraction, Assault, and Animacy" class="work-thumbnail" src="https://attachments.academia-assets.com/118984327/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/124830821/Plant_Agency_in_the_Guianas_Attraction_Assault_and_Animacy">Plant Agency in the Guianas: Attraction, Assault, and Animacy</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://hslu.academia.edu/MatthiasLewy">Matthias Lewy</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://troy.academia.edu/JamesAndrewWhitaker">James Andrew Whitaker</a></span></div><div class="wp-workCard_item"><span>Journal of Ethnobiology</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This article uses ethnographic and ethnobotanical methods to examine relationships between animat...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This article uses ethnographic and ethnobotanical methods to examine relationships between animate and agentive plants and human beings among the Makushi, Pemon, Karinya, and other Indigenous and mixed-Indigenous peoples in the Guianas. It considers representations of these plants and related ontologies in the archival record and contrasts these accounts with more recent ethnographic descriptions based on the authors' fieldwork across Guyana and Venezuela. It thinks about these plants as agentive beings (with regard to animist ontologies and sometimes physical properties) within a variety of contexts. Today, the territories of these Indigenous peoples tessellate with extractive frontiers, which center around gold, diamond, and bauxite mining, as well as oil prospecting, forestry, and plantation agriculture. In this context, these plants emerge as active and animate agents. They also emerge as such agents in contexts of subsistence, shamanism, and assault sorcery, as well as sexual and romantic attraction, which can act with or without human impetus. The question arises as to the nature of the relationships between such plants and their users, for example, shamans (piaimen), assault sorcerers (kanaima), hunters, gardeners, and miners, within a variety of contexts. Based on the authors' long-term fieldwork, the article examines animate plants and argues that they evince special botanical agencies among the Indigenous communities with whom the authors have worked in the Guianas. How are animate plants positioned within these practices and contexts? And how do they exert agency therein as plant persons?</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="744d56fbec04fdf9951e66f8baf831aa" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":118984327,"asset_id":124830821,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/118984327/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124830821"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124830821"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124830821; 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El estudio de los pueblos originarios ha sido ignorado en buena parte debido a una ideología positivista que niega un pasado a la diversidad humana antes del encuentro con Europa. Un enfoque de macroevolución cultural que no se basa en ideas de progreso en evolución sino en nuevas herramientas analíticas y una consideración intensa y crítica de datos etnoarqueológicos promete una reconstrucción de una compleja historia en una gran diversidad geográfica. Durante décadas, diferentes contribuciones de la arqueología en Venezuela han proporcionado data y análisis. Tradicionalmente se había considerado que la Orinoquia es el hogar de grupos relativamente "simples" y homogéneos, pero trabajos arqueológicos y genéticos recientes demuestran la diversidad de humana de la región, destacando la presencia de diferentes antiguas construcciones y tipos de sociedades. Una mayor integración con diversas corrientes académicas en el continente es necesaria. A menudo Venezuela es vista simplemente como un lugar de paso, sin ser ni Amazonas ni Caribe y sólo una porción marginal de los Andes, faltante de arquitectura monumental u otros percibidos logros culturales de otras regiones. La arqueología puede jugar un papel como un promotor de voces en la creación participativa del diálogo constructor de otras historias, a partir de la interacción comunidad-academia-estado. La crisis ambiental y de desigualdad humana que vive el mundo invita a una contemplación intensa del pasado y del presente de distintas formas de ser humano, formas que no llevaron a la posible autodestrucción como si lo ha hecho la civilización occidental. Consideraciones sobre la diversidad de culturas y sus ontologías sirven como base para comprender las formas de entender e interactuar con el ambiente de los pueblos originarios.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="dec4a3138fb8592cf511c4f76680cab8" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":116821466,"asset_id":122088280,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/116821466/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="122088280"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="122088280"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 122088280; 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The exhibition's primary objective was to convey the research processes and findings of a project that explored human-nature connections, with a particular emphasis on the auditory, sonic, and musical dimensions of people's interactions with their physical environment. The paper underscores the potential for expanding similar initiatives beyond academic boundaries and highlights the importance of integrating sound installations and objects within museum spaces while also fostering critical reflections.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e54061cd48507dd69ba46f94382f9565" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":120277725,"asset_id":126395086,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/120277725/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="126395086"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="126395086"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 126395086; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="126412101"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/126412101/Captured_Birdscapes_Artistic_Research_Research_Art_and_Living_Cultural_Heritage"><img alt="Research paper thumbnail of Captured Birdscapes: Artistic Research, Research Art, and Living Cultural Heritage" class="work-thumbnail" src="https://attachments.academia-assets.com/120292361/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/126412101/Captured_Birdscapes_Artistic_Research_Research_Art_and_Living_Cultural_Heritage">Captured Birdscapes: Artistic Research, Research Art, and Living Cultural Heritage</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/SwissJournalofMusicology">Swiss Journal of Musicology</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://hslu.academia.edu/MatthiasLewy">Matthias Lewy</a></span></div><div class="wp-workCard_item"><span>Schweizer Jahrbuch für Musikwissenschaft, Neue Folge 41</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This article centres on the Birdscapes exhibition held in 2022 at the Nature Museum in Lucerne, S...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This article centres on the Birdscapes exhibition held in 2022 at the Nature Museum in Lucerne, Switzerland. The exhibition’s primary objective was to convey the research processes and findings of a project that explored human-nature connections, with a particular emphasis on the auditory, sonic, and musical dimensions of people’s interactions with their physical environment. The paper underscores the potential for expanding similar initiatives beyond academic boundaries and highlights the importance of integrating sound installations and objects within museum spaces while also fostering critical reflections.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c62e148b1a9dff359301864c3745d640" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":120292361,"asset_id":126412101,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/120292361/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="126412101"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="126412101"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 126412101; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="120961429"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/120961429/_Warum_singen_die_Geister_Klangontologien_und_Autorit%C3%A4tenbildung_bei_den_Pem%C3%B3n"><img alt="Research paper thumbnail of «Warum singen die Geister?» Klangontologien und Autoritätenbildung bei den Pemón" class="work-thumbnail" src="https://attachments.academia-assets.com/115952676/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/120961429/_Warum_singen_die_Geister_Klangontologien_und_Autorit%C3%A4tenbildung_bei_den_Pem%C3%B3n">«Warum singen die Geister?» Klangontologien und Autoritätenbildung bei den Pemón</a></div><div class="wp-workCard_item"><span>Autoritätsbildungen in der Musik</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This chapter is based on the indigenous certainty (Wittgenstein) of the existence of worlds among...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This chapter is based on the indigenous certainty (Wittgenstein) of the existence of worlds among the Pemón (Taurepán, Arekuna, Kamarakoto) who inhabit parts of the Guiana Shield (Brazil, Venezuela, Guyana). Sound ontologies play a special role here in considering the interaction between these worlds, which, to put it simply, are inhabited by human and non-human beings. The most important ontological axiom is the origin of sound composition for trans-specific communication, which is mostly attributed to non-humans – spirits, animals, plants.<br />Structured sounds, such as songs or magical incantations (tarén), are brought to humans by non-humans. The question is therefore why and how this transmission takes place. This is attempted to be answered by means of selected examples. Individual sound agents (songs, magic formulas, sound symbols) and their structures are presented in order to work out and present the special features of the indigenous listening point of view.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="6516c01753540c6a7c8f3fb742c118d9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":115952676,"asset_id":120961429,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/115952676/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="120961429"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="120961429"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 120961429; 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CRxftE *'fr't-üF-I#-'EI N. elooz-s: +lEft[AEfltH crp W.+EM....</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">I. eü'.. r. e)t+... @f ... @rK... il. CRxftE *'fr't-üF-I#-'EI N. elooz-s: +lEft[AEfltH crp W.+EM.+ Q02t) ffi 18t332 E central conservatory of Music Press co. Ltd. is the publishing arm of central conservatory of Music in Beijing, a leading music school in china. Its catalogue encompasses a wide selection of music scores and books, some of them conceived in collaboration with world leading publishers. http: ,/,/press. ccom. edu. cn Contents Ethnomusicology, I would like to acknowledge my two predecessors, Svanibor Pettan and Klisala Harrison, who have both done so much for the Study Group and Applied Ethnomusicology at large over the past two decades. I would also like to express my gratitude to the Central Conservatory of Music for hosting the meeting, and particularly to Boyu Zhang and his team for organizingthe event, as well as my colleagues in the Study Group, Executive, and Programme Committee (particularly our wonderful secretary Wei-Ya Lin). I would like to especially thank the three interpreters Qian Mu, Xinjie Chen and Shuo Yang, who tirelessly translated every session in the conference, and thus played a crucial role in the real-time, vivid exchange between scholars who are usually not able to exchange ideas through the Mandarin-English language divide. We hope that his volume brings to life some of the experience of how their work opened new worlds of ideas and practice for all participants.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1ff9b0f64634bca7250ab094cd3459e0" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":107271198,"asset_id":109031899,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/107271198/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="109031899"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="109031899"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 109031899; 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Indigenous Sound Ontologies, Repatriation and the Ethics of Curating Ethnographic Sounds" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/82940500/Buried_in_the_Colonial_Graveyard_Indigenous_Sound_Ontologies_Repatriation_and_the_Ethics_of_Curating_Ethnographic_Sounds">Buried in the Colonial Graveyard? 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Indus Blues: A Short Collection of Impressions on an Ethnographic Documentary. AEMR, 9: 109-112" class="work-thumbnail" src="https://attachments.academia-assets.com/88077727/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/82334523/Chaudhuri_Shubha_Joe_Peters_Chinthaka_Prageeth_Meddegoda_Fulvia_Caruso_Sukanya_Guha_Mu_Qian_Gisa_J%C3%A4hnichen_Andrej_Kocan_and_Matthias_Lewy_2022_Indus_Blues_A_Short_Collection_of_Impressions_on_an_Ethnographic_Documentary_AEMR_9_109_112">Chaudhuri, Shubha, Joe Peters, Chinthaka Prageeth Meddegoda, Fulvia Caruso, Sukanya Guha, Mu Qian, Gisa Jähnichen, Andrej Kocan, and Matthias Lewy (2022). Indus Blues: A Short Collection of Impressions on an Ethnographic Documentary. AEMR, 9: 109-112</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://shcmusic.academia.edu/GisaJaehnichen">Gisa Jähnichen</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://hslu.academia.edu/MatthiasLewy">Matthias Lewy</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/sukanyaguha2">sukanya guha</a></span></div><div class="wp-workCard_item"><span>AEMR</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This is a spontaneous review discussion about the ethnographic film 'Indus Blues', produced by Ja...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This is a spontaneous review discussion about the ethnographic film 'Indus Blues', produced by Jawad Sharif in 2018 and it has won many awards on several occasions. Nine reviewing persons were asked to write some lines about their first impressions, which were then discussed and summarized. The review discussion mainly contains the data provided.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="404fc76d24df385bd81faa7140d08c1c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":88077727,"asset_id":82334523,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/88077727/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="82334523"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="82334523"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 82334523; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=82334523]").text(description); $(".js-view-count[data-work-id=82334523]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 82334523; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='82334523']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "404fc76d24df385bd81faa7140d08c1c" } } $('.js-work-strip[data-work-id=82334523]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":82334523,"title":"Chaudhuri, Shubha, Joe Peters, Chinthaka Prageeth Meddegoda, Fulvia Caruso, Sukanya Guha, Mu Qian, Gisa Jähnichen, Andrej Kocan, and Matthias Lewy (2022). 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Vou me concentrar na comunicação transespecífica, que pode ser observada tanto na produção de sons formalizados (por exemplo, canções xamânicas) quanto na prática da escuta. Portanto, vários exemplos de ontologias sonoras em relação às aves taxonomicamente relevantes serão mostrados. Por exemplo, ao ouvir a voz da ave wantoto, especialistas indígenas explicam que o som é feito pelo maikok, seres de espírito humano que são seres invisíveis, porém audíveis. Quando o povo Pemón ouve o som do wantoto, sabe que entrou no território maikok e, portanto, tem que deixar ofertas de comida ou tomar outro caminho. Portanto, o som wantoto é considerado um agente que desencadeia um comportamento transespecífico cotidiano baseado no viés ontológico indígena. Outros exemplos demonstrarão como os sons das aves em relação às entidades kanaima (híbridos humanos/não humanos que matam humanos) assustam os humanos e, portanto, são evitados, assim como outros sons de aves que são transformados em fórmulas e cantos mágicos na prática ritual xamânica. Em comparação com a percepção do multiverso indígena e seus mundos na Amazônia, a percepção do mundo europeu pelos povos indígenas é tematizada. A vida na Europa ilustra o processo através da forma de comparação das percepções dos sons ambientais e das aves precisamente em relação à construção contínua de mundos e seus habitantes humanos e não-humanos. Este tipo de antropologia reversa ilustra a constante transformação da atribuição de significado aos sons em relação aos lugares e (in-)dependência dos indivíduos, o que pode ser entendido como uma contribuição para a descolonização da etnomusicologia.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e1584cd6253c0f0ed12a603970f758e9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":80866304,"asset_id":71586577,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/80866304/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="71586577"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="71586577"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 71586577; 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Zur Handlungsmacht der Musikaufnahme" class="work-thumbnail" src="https://attachments.academia-assets.com/88470767/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/67233358/Jenseits_des_Raumes_Zur_Handlungsmacht_der_Musikaufnahme">Jenseits des Raumes. Zur Handlungsmacht der Musikaufnahme</a></div><div class="wp-workCard_item"><span>Musikethnographien im 21. Jahrhundert</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Dieser Artikel basiert auf einer über die letzten 15 Jahre gewachsenen Beziehung zwischen dem Aut...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Dieser Artikel basiert auf einer über die letzten 15 Jahre gewachsenen Beziehung zwischen dem Autor und Spezialist*innen der indigenen Gruppe der Pemón im Süden Venezuelas an der Grenze zu Brasilien. Im Mittelpunkt steht die Darstellung der ersten Feldforschungen, bei denen die klassischen Feldforschungsmethoden, wie die teilnehmende Beobachtung, das Interview, die Klangaufnahme und die Aneignung musikalischer Praktiken durch Hörsitzungen mit historischen Walzenaufnahmen Theodor Koch-Grünbergs aus dem Jahre 1911 (Berliner Phonogramm-Archiv) vor Ort nach und nach ergänzt wurden. Im Laufe der Jahre wuchs das Vertrauensverhältnis zwischen dem Autor und einigen indigenen Spezialist*innen, was einen Wechsel von der Perspektive »Forscher / Beforschte« hin zur Resonanz gemeinsam erlebter Erfahrungen bewirkte. Thematisiert wird darüber hinaus der Prozess der Revitalisierung der historischen Aufnahmen, die einerseits auf diesen Austausch und andererseits auf die Kooperation mit dem Sharing Knowledge Projekt des Berliner Museums zurückzuführen ist. Bei der Perspektive der Beschreibung wird die Handlungsmacht (Gell 1998) der historischen Musikaufnahmen Koch-Grünbergs selbst in den Fokus gestellt, da diese zunächst Interesse und Zweifel über bestehende akademische Diskurse beim Autor erzeugte. Darüber hinaus sind die historischen Walzenaufnahmen Agenten dieser Revitalisierung und (Re)-Kontextualisierung, was unter anderem anhand der Resonanzfelder der beteiligten Spezialist*innen erarbeitet wird. Als theoretisches Konzept wird der Frage nachgegangen, inwieweit welche Akteure und / oder Entitäten (Menschen, Nichtmenschen) in welcher Art von Netzwerken (Latour 2005) bzw. meshworks (Ingold 2011) und Interaktionen erkennbar sind und wie diese Entitäten die Existenzweise und die damit verbundenen Bedeutungs zuordnungen und Kontextualisierungen von Musikaufnahmen immer wieder aufs Neue generieren. Hierbei rückt die Vorstellung einer Raum-bzw. 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Ecos del piedemonte amazónico en territorio mosetén/Comentario: Sonorismo indígena y la estética de sonido de los no-humanos" class="work-thumbnail" src="https://attachments.academia-assets.com/121140224/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/127404154/Due%C3%B1os_del_agua_due%C3%B1os_de_la_m%C3%BAsica_Ecos_del_piedemonte_amaz%C3%B3nico_en_territorio_moset%C3%A9n_Comentario_Sonorismo_ind%C3%ADgena_y_la_est%C3%A9tica_de_sonido_de_los_no_humanos">Dueños del agua, dueños de la música? Ecos del piedemonte amazónico en territorio mosetén/Comentario: Sonorismo indígena y la estética de sonido de los no-humanos</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://hslu.academia.edu/MatthiasLewy">Matthias Lewy</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://umsa-bo.academia.edu/AlejandroBarrientos">Alejandro Barrientos</a></span></div><div class="wp-workCard_item"><span>Contrapunto Revista de musicología del Programa de Licenciatura en Música</span><span>, 2022</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c89f79e71bb517a1702da4f9af753105" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":121140224,"asset_id":127404154,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/121140224/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="127404154"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="127404154"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 127404154; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=127404154]").text(description); $(".js-view-count[data-work-id=127404154]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 127404154; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='127404154']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c89f79e71bb517a1702da4f9af753105" } } $('.js-work-strip[data-work-id=127404154]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":127404154,"title":"Dueños del agua, dueños de la música? Ecos del piedemonte amazónico en territorio mosetén/Comentario: Sonorismo indígena y la estética de sonido de los no-humanos","internal_url":"https://www.academia.edu/127404154/Due%C3%B1os_del_agua_due%C3%B1os_de_la_m%C3%BAsica_Ecos_del_piedemonte_amaz%C3%B3nico_en_territorio_moset%C3%A9n_Comentario_Sonorismo_ind%C3%ADgena_y_la_est%C3%A9tica_de_sonido_de_los_no_humanos","owner_id":4972314,"coauthors_can_edit":true,"owner":{"id":4972314,"first_name":"Matthias","middle_initials":"","last_name":"Lewy","page_name":"MatthiasLewy","domain_name":"hslu","created_at":"2013-07-27T21:57:51.521-07:00","display_name":"Matthias Lewy","url":"https://hslu.academia.edu/MatthiasLewy"},"attachments":[{"id":121140224,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/121140224/thumbnails/1.jpg","file_name":"Contrapunto_Barrientos_Salinas_Lewy.pdf","download_url":"https://www.academia.edu/attachments/121140224/download_file","bulk_download_file_name":"Duenos_del_agua_duenos_de_la_musica_Ecos.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/121140224/Contrapunto_Barrientos_Salinas_Lewy-libre.pdf?1738444235=\u0026response-content-disposition=attachment%3B+filename%3DDuenos_del_agua_duenos_de_la_musica_Ecos.pdf\u0026Expires=1740611245\u0026Signature=E2H1-fN98qLd9K2TAkg8KfOtLUXepk0IpviCdNCjv8~3tdPYkqwcejkB6cPtLpBelzHDhh5HJvVUdjvj1vBvTgyMBZ2BunIz7duVOMi9v40bDkJwUofLmXnc-bJk8YUzsMQYAQyvEcLC8UnXhdzGiRDUDINs5k2zWYc9vvW~weWwr7y1VzLq1trLcNiaONlfBvnYO9S3RVext7i5-o47VzqjQ~VTwHUAoTIVk2LQa2xh6SUMhUWSvlWul974YoKPfH10BQlgVhGt5I4LHf9hGqr8Oy03JhYZTCy2e6FviE3crWbc~6~~lTh4SsuBhh0VP47iL3Xma14zu9ZpvBBmIg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="34234862"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/34234862/About_Indigenous_Perspectivism_Indigenous_Sonorism_and_the_Audible_Stance_Approach_to_a_Symmetrical_Auditory_Anthropology_2017_"><img alt="Research paper thumbnail of About Indigenous Perspectivism, Indigenous Sonorism and the Audible Stance. Approach to a Symmetrical Auditory Anthropology (2017)" class="work-thumbnail" src="https://attachments.academia-assets.com/54149602/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/34234862/About_Indigenous_Perspectivism_Indigenous_Sonorism_and_the_Audible_Stance_Approach_to_a_Symmetrical_Auditory_Anthropology_2017_">About Indigenous Perspectivism, Indigenous Sonorism and the Audible Stance. Approach to a Symmetrical Auditory Anthropology (2017)</a></div><div class="wp-workCard_item"><span>El oído pensante</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The present contribution aims to reveal some ideas about methods and theories in ethnomusicology ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The present contribution aims to reveal some ideas about methods and theories in ethnomusicology on the basis of Eduardo Viveiros de Castros's (EVC) concepts in cultural anthropology. In the first part the focus is on EVC's "metaphysics of predation" and its three subdivisions of interspecific perspectivism, multinaturalism and cannibal alterity, whereby a particular focus is on "perspectivism" and the different forms of critical receptions and/or equivocations of that concept 2 . In the second part it will be demonstrated how, at a first glance, EVC's non fitting anthropological theory to sound, nevertheless serves for an understanding of sound phenomena when counter-interpreting some of his theoretical and methodological concepts and applying them a symmetrical auditory anthropology. Therefore, trans-specific communications between human and non-humans will be discussed when analyzing first EVC's data on Araweté war and shaman songs and later, my own data on Pemón songs and magic formulas. This analysis aims to reveal how sound in its formalized mode of song defines the interaction between humans and non-humans by transcending the mythical and non-mythical 1</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="dec1be8cfa5b12f2d7bd75cef9093bff" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":54149602,"asset_id":34234862,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/54149602/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="34234862"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="34234862"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 34234862; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=34234862]").text(description); $(".js-view-count[data-work-id=34234862]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 34234862; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='34234862']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "dec1be8cfa5b12f2d7bd75cef9093bff" } } $('.js-work-strip[data-work-id=34234862]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":34234862,"title":"About Indigenous Perspectivism, Indigenous Sonorism and the Audible Stance. 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Interculturality, Intercollectivity, and Transmutation as Method" class="work-thumbnail" src="https://attachments.academia-assets.com/58695413/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38618714/Generating_Ontologies_of_Historical_Sound_Recordings_Interculturality_Intercollectivity_and_Transmutation_as_Method">Generating Ontologies of Historical Sound Recordings. Interculturality, Intercollectivity, and Transmutation as Method</a></div><div class="wp-workCard_item"><span>El oido pensante</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The article focuses on historical sound recordings and how they are perceived by several actors, ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The article focuses on historical sound recordings and how they are perceived by several actors, showing the limits of interculturality when dealing only with human/human interactions. Inter-collectivity is suggested as a concept that includes human/non-human relations taking these ontologies as certain and as a serious basis for an analysis. In the second part, problems of translation in inter-collective interactions are discussed, leading to the method of "transmutation". The concept refers to Roman Jakobson's (1959) idea of an intersemiotic translation, defined as "an interpretation of verbal signs by means of signs of nonverbal sign system". Furthermore, it demonstrates how transmutation is a general practice in Pemón shaman and ipukenak (wise person) interactions with spirits. Therefore, the ritual song genre murúa (Pemón) is chosen as an example. Finally, the present study shows how transmutation in indigenous translation practices can be applied as a method to analyse historical recordings. I argue that sound as sound itself and the material that contains it have to be understood as a new ontological unit that is continuously generated. The process of that generation is defined by several entities (e.g. thoughts, practices, relations) and their semiotic systems.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9b3de8645a2b78b3c740434af63a88ed" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58695413,"asset_id":38618714,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58695413/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38618714"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38618714"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38618714; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38618714]").text(description); $(".js-view-count[data-work-id=38618714]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38618714; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='38618714']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "9b3de8645a2b78b3c740434af63a88ed" } } $('.js-work-strip[data-work-id=38618714]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":38618714,"title":"Generating Ontologies of Historical Sound Recordings. 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Ritual and sound among the Pemón (2012)" class="work-thumbnail" src="https://attachments.academia-assets.com/34161452/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/7614364/Different_seeing_similar_hearing_Ritual_and_sound_among_the_Pem%C3%B3n_2012_">Different "seeing" - similar "hearing". Ritual and sound among the Pemón (2012)</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This paper discusses the theory of "perspectivism" (Viveiros de Castro) and its application to in...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This paper discusses the theory of "perspectivism" (Viveiros de Castro) and its application to interpretation of the myths of the Pemón-speaking groups of the Gran Sabana (Arekuna, Kamarakoto, Taurepán); the paper aims to compare ontological conceptions of "seeing" and "hearing". Performances of the shamanic healing ritual, the hunting ritual (parishara), and recent orekotón rituals (areruya, cho'chiman) serve as examples for understanding "hearing" and related practices of sound production (speech, singing, imitation of animal sounds, etc.). Whereas the particular representations of yaukarü (spirit/ Arekuna) or yekatón (spirit/ Taurepán, Kamarakoto), such as enek (animal), pemón (human being), and mawarí (spirit of the tepuy), illustrate different concepts of "seeing", the use of the same communicative devices consisting of intelligible (speech, singing) and/ or unintelligible sound structures demonstrates the possibilities of communicative interaction between these representations. Along with my own material, contemporary indigenous discourses concerning Koch-Grünberg's recordings from 1911 will be presented in an attempt to (re-) construct, or rather (re-)interpret, the healing ritual and the parishara and orekotón performances.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e54b4e0f71004e300397fe1950796bb7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":34161452,"asset_id":7614364,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/34161452/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7614364"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7614364"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7614364; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7614364]").text(description); $(".js-view-count[data-work-id=7614364]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7614364; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7614364']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e54b4e0f71004e300397fe1950796bb7" } } $('.js-work-strip[data-work-id=7614364]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7614364,"title":"Different \"seeing\" - similar \"hearing\". 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="37516933"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/37516933/Los_Cantos_de_Kanaima"><img alt="Research paper thumbnail of Los Cantos de Kanaima" class="work-thumbnail" src="https://attachments.academia-assets.com/57489844/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37516933/Los_Cantos_de_Kanaima">Los Cantos de Kanaima</a></div><div class="wp-workCard_item"><span>ILHA Revista de Antropologia</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Firstly, the focus is on the classification of the entity Kanaima in the multiverse of the indige...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Firstly, the focus is on the classification of the entity Kanaima in the multiverse of the indigenous group of Pemón (Venezuela / Brazil). Secondly, the historical and current recordings of Kanaima songs are presented, whereby the functions of these songs are examined with regard to the body/soul administration and the associated (re)-transformation processes. Finally, the peculiarity of this anti-human entity in the Guianas is discussed in comparison to the animistic ontologies of the Amazon.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="fc8a2c9f903dc9b13b8a36bd50dd5763" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57489844,"asset_id":37516933,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57489844/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37516933"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37516933"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37516933; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="102598392"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/102598392/Resocializing_recordings_Collaborative_archiving_and_curating_of_sound_as_an_agent_of_knowledge_transfer_with_Matthias_Lewy_2023_"><img alt="Research paper thumbnail of Resocializing recordings: Collaborative archiving and curating of sound as an agent of knowledge transfer (with Matthias Lewy, 2023)" class="work-thumbnail" src="https://attachments.academia-assets.com/103809808/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/102598392/Resocializing_recordings_Collaborative_archiving_and_curating_of_sound_as_an_agent_of_knowledge_transfer_with_Matthias_Lewy_2023_">Resocializing recordings: Collaborative archiving and curating of sound as an agent of knowledge transfer (with Matthias Lewy, 2023)</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://hslu.academia.edu/MatthiasLewy">Matthias Lewy</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uibk.academia.edu/BerndBrabecdeMori">Bernd Brabec</a></span></div><div class="wp-workCard_item"><span>The Journal of Latin American and Caribbean Anthropology</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">[resumen en español abajo] The authors discuss their methodologies for creating and relistening t...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">[resumen en español abajo] The authors discuss their methodologies for creating and relistening to recordings in collaboration with Indigenous People in Peru and Venezuela and contextualize them within the discourse about overcoming power structures that shape divides between the Global North and South, in both urban and rural trajectories, and in Western and Indigenous knowledges. When it comes to giving back or sharing sound recordings, we suggest the term resocialization rather than restitution or repatriation. In Indigenous lifeworlds, sound works much differently than in modern conceptualizations of music as art or entertainment. Indigenous theories of sound complement frameworks of copyright, which are still mainly based on modern views of human creativity. Working in archives and exhibitions, we seek collaboration with Indigenous experts when archiving, publishing, displaying, or playing recordings. We show how Indigenous and European specialists can foster eye-level bilateral knowledge transfer by fruitfully cocurating sound and multimedia installations in exhibition contexts. <br /> <br />Enmarcados en el discurso sobre la superación de las estructuras de poder que dan forma a las brechas entre el Norte y el Sur globales, entre las trayectorias urbanas y rurales, y entre los saberes occidentales e indígenas; los autores estudian las metodologías de creación y reescucha de grabaciones en colaboración con indígenas de Perú y Venezuela. Cuando se trata de restituir o compartir grabaciones sonoras, sugerimos utilizar el término “resocialización” en vez de “restitución” o “repatriación”. En los mundos de vida indígenas, el sonido funciona de forma muy diferente a las conceptualizaciones modernas de la música como arte o entretenimiento. Las teorías indígenas sobre el sonido complementan los marcos de derechos de autor, que siguen basándose principalmente en los puntos de vista modernos sobre la creatividad humana. Por ello, al trabajar en archivos y exposiciones, buscamos la colaboración de expertos indígenas a la hora de archivar, publicar, mostrar o reproducir grabaciones. Mostramos cómo las instalaciones sonoras y de multimedia en exposiciones artísticas pueden ser comisariadas conjuntamente por especialistas indígenas y europeos, fomentando así la transferencia bilateral de los conocimientos.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="56c09120f77cbb2846f936e951573516" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":103809808,"asset_id":102598392,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/103809808/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="102598392"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="102598392"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 102598392; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="124830821"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/124830821/Plant_Agency_in_the_Guianas_Attraction_Assault_and_Animacy"><img alt="Research paper thumbnail of Plant Agency in the Guianas: Attraction, Assault, and Animacy" class="work-thumbnail" src="https://attachments.academia-assets.com/118984327/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/124830821/Plant_Agency_in_the_Guianas_Attraction_Assault_and_Animacy">Plant Agency in the Guianas: Attraction, Assault, and Animacy</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://hslu.academia.edu/MatthiasLewy">Matthias Lewy</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://troy.academia.edu/JamesAndrewWhitaker">James Andrew Whitaker</a></span></div><div class="wp-workCard_item"><span>Journal of Ethnobiology</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This article uses ethnographic and ethnobotanical methods to examine relationships between animat...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This article uses ethnographic and ethnobotanical methods to examine relationships between animate and agentive plants and human beings among the Makushi, Pemon, Karinya, and other Indigenous and mixed-Indigenous peoples in the Guianas. It considers representations of these plants and related ontologies in the archival record and contrasts these accounts with more recent ethnographic descriptions based on the authors' fieldwork across Guyana and Venezuela. It thinks about these plants as agentive beings (with regard to animist ontologies and sometimes physical properties) within a variety of contexts. Today, the territories of these Indigenous peoples tessellate with extractive frontiers, which center around gold, diamond, and bauxite mining, as well as oil prospecting, forestry, and plantation agriculture. In this context, these plants emerge as active and animate agents. They also emerge as such agents in contexts of subsistence, shamanism, and assault sorcery, as well as sexual and romantic attraction, which can act with or without human impetus. The question arises as to the nature of the relationships between such plants and their users, for example, shamans (piaimen), assault sorcerers (kanaima), hunters, gardeners, and miners, within a variety of contexts. Based on the authors' long-term fieldwork, the article examines animate plants and argues that they evince special botanical agencies among the Indigenous communities with whom the authors have worked in the Guianas. How are animate plants positioned within these practices and contexts? 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El estudio de los pueblos originarios ha sido ignorado en buena parte debido a una ideología positivista que niega un pasado a la diversidad humana antes del encuentro con Europa. Un enfoque de macroevolución cultural que no se basa en ideas de progreso en evolución sino en nuevas herramientas analíticas y una consideración intensa y crítica de datos etnoarqueológicos promete una reconstrucción de una compleja historia en una gran diversidad geográfica. Durante décadas, diferentes contribuciones de la arqueología en Venezuela han proporcionado data y análisis. Tradicionalmente se había considerado que la Orinoquia es el hogar de grupos relativamente "simples" y homogéneos, pero trabajos arqueológicos y genéticos recientes demuestran la diversidad de humana de la región, destacando la presencia de diferentes antiguas construcciones y tipos de sociedades. Una mayor integración con diversas corrientes académicas en el continente es necesaria. A menudo Venezuela es vista simplemente como un lugar de paso, sin ser ni Amazonas ni Caribe y sólo una porción marginal de los Andes, faltante de arquitectura monumental u otros percibidos logros culturales de otras regiones. La arqueología puede jugar un papel como un promotor de voces en la creación participativa del diálogo constructor de otras historias, a partir de la interacción comunidad-academia-estado. La crisis ambiental y de desigualdad humana que vive el mundo invita a una contemplación intensa del pasado y del presente de distintas formas de ser humano, formas que no llevaron a la posible autodestrucción como si lo ha hecho la civilización occidental. Consideraciones sobre la diversidad de culturas y sus ontologías sirven como base para comprender las formas de entender e interactuar con el ambiente de los pueblos originarios.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="dec4a3138fb8592cf511c4f76680cab8" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":116821466,"asset_id":122088280,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/116821466/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="122088280"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="122088280"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 122088280; 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The exhibition's primary objective was to convey the research processes and findings of a project that explored human-nature connections, with a particular emphasis on the auditory, sonic, and musical dimensions of people's interactions with their physical environment. The paper underscores the potential for expanding similar initiatives beyond academic boundaries and highlights the importance of integrating sound installations and objects within museum spaces while also fostering critical reflections.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e54061cd48507dd69ba46f94382f9565" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":120277725,"asset_id":126395086,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/120277725/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="126395086"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="126395086"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 126395086; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=126395086]").text(description); $(".js-view-count[data-work-id=126395086]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 126395086; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='126395086']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="126412101"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/126412101/Captured_Birdscapes_Artistic_Research_Research_Art_and_Living_Cultural_Heritage"><img alt="Research paper thumbnail of Captured Birdscapes: Artistic Research, Research Art, and Living Cultural Heritage" class="work-thumbnail" src="https://attachments.academia-assets.com/120292361/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/126412101/Captured_Birdscapes_Artistic_Research_Research_Art_and_Living_Cultural_Heritage">Captured Birdscapes: Artistic Research, Research Art, and Living Cultural Heritage</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/SwissJournalofMusicology">Swiss Journal of Musicology</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://hslu.academia.edu/MatthiasLewy">Matthias Lewy</a></span></div><div class="wp-workCard_item"><span>Schweizer Jahrbuch für Musikwissenschaft, Neue Folge 41</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This article centres on the Birdscapes exhibition held in 2022 at the Nature Museum in Lucerne, S...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This article centres on the Birdscapes exhibition held in 2022 at the Nature Museum in Lucerne, Switzerland. The exhibition’s primary objective was to convey the research processes and findings of a project that explored human-nature connections, with a particular emphasis on the auditory, sonic, and musical dimensions of people’s interactions with their physical environment. The paper underscores the potential for expanding similar initiatives beyond academic boundaries and highlights the importance of integrating sound installations and objects within museum spaces while also fostering critical reflections.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c62e148b1a9dff359301864c3745d640" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":120292361,"asset_id":126412101,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/120292361/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="126412101"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="126412101"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 126412101; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=126412101]").text(description); $(".js-view-count[data-work-id=126412101]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 126412101; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='126412101']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="120961429"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/120961429/_Warum_singen_die_Geister_Klangontologien_und_Autorit%C3%A4tenbildung_bei_den_Pem%C3%B3n"><img alt="Research paper thumbnail of «Warum singen die Geister?» Klangontologien und Autoritätenbildung bei den Pemón" class="work-thumbnail" src="https://attachments.academia-assets.com/115952676/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/120961429/_Warum_singen_die_Geister_Klangontologien_und_Autorit%C3%A4tenbildung_bei_den_Pem%C3%B3n">«Warum singen die Geister?» Klangontologien und Autoritätenbildung bei den Pemón</a></div><div class="wp-workCard_item"><span>Autoritätsbildungen in der Musik</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This chapter is based on the indigenous certainty (Wittgenstein) of the existence of worlds among...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This chapter is based on the indigenous certainty (Wittgenstein) of the existence of worlds among the Pemón (Taurepán, Arekuna, Kamarakoto) who inhabit parts of the Guiana Shield (Brazil, Venezuela, Guyana). Sound ontologies play a special role here in considering the interaction between these worlds, which, to put it simply, are inhabited by human and non-human beings. The most important ontological axiom is the origin of sound composition for trans-specific communication, which is mostly attributed to non-humans – spirits, animals, plants.<br />Structured sounds, such as songs or magical incantations (tarén), are brought to humans by non-humans. The question is therefore why and how this transmission takes place. This is attempted to be answered by means of selected examples. Individual sound agents (songs, magic formulas, sound symbols) and their structures are presented in order to work out and present the special features of the indigenous listening point of view.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="6516c01753540c6a7c8f3fb742c118d9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":115952676,"asset_id":120961429,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/115952676/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="120961429"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="120961429"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 120961429; 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CRxftE *'fr't-üF-I#-'EI N. elooz-s: +lEft[AEfltH crp W.+EM....</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">I. eü'.. r. e)t+... @f ... @rK... il. CRxftE *'fr't-üF-I#-'EI N. elooz-s: +lEft[AEfltH crp W.+EM.+ Q02t) ffi 18t332 E central conservatory of Music Press co. Ltd. is the publishing arm of central conservatory of Music in Beijing, a leading music school in china. Its catalogue encompasses a wide selection of music scores and books, some of them conceived in collaboration with world leading publishers. http: ,/,/press. ccom. edu. cn Contents Ethnomusicology, I would like to acknowledge my two predecessors, Svanibor Pettan and Klisala Harrison, who have both done so much for the Study Group and Applied Ethnomusicology at large over the past two decades. I would also like to express my gratitude to the Central Conservatory of Music for hosting the meeting, and particularly to Boyu Zhang and his team for organizingthe event, as well as my colleagues in the Study Group, Executive, and Programme Committee (particularly our wonderful secretary Wei-Ya Lin). I would like to especially thank the three interpreters Qian Mu, Xinjie Chen and Shuo Yang, who tirelessly translated every session in the conference, and thus played a crucial role in the real-time, vivid exchange between scholars who are usually not able to exchange ideas through the Mandarin-English language divide. We hope that his volume brings to life some of the experience of how their work opened new worlds of ideas and practice for all participants.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1ff9b0f64634bca7250ab094cd3459e0" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":107271198,"asset_id":109031899,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/107271198/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="109031899"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="109031899"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 109031899; 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Indigenous Sound Ontologies, Repatriation and the Ethics of Curating Ethnographic Sounds" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/82940500/Buried_in_the_Colonial_Graveyard_Indigenous_Sound_Ontologies_Repatriation_and_the_Ethics_of_Curating_Ethnographic_Sounds">Buried in the Colonial Graveyard? Indigenous Sound Ontologies, Repatriation and the Ethics of Curating Ethnographic Sounds</a></div><div class="wp-workCard_item"><span>Postcolonial Repercussions On Sound Ontologies and Decolonised Listening </span><span>, 2022</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="82940500"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="82940500"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 82940500; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=82940500]").text(description); $(".js-view-count[data-work-id=82940500]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 82940500; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='82940500']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=82940500]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":82940500,"title":"Buried in the Colonial Graveyard? Indigenous Sound Ontologies, Repatriation and the Ethics of Curating Ethnographic Sounds","internal_url":"https://www.academia.edu/82940500/Buried_in_the_Colonial_Graveyard_Indigenous_Sound_Ontologies_Repatriation_and_the_Ethics_of_Curating_Ethnographic_Sounds","owner_id":4972314,"coauthors_can_edit":true,"owner":{"id":4972314,"first_name":"Matthias","middle_initials":"","last_name":"Lewy","page_name":"MatthiasLewy","domain_name":"hslu","created_at":"2013-07-27T21:57:51.521-07:00","display_name":"Matthias Lewy","url":"https://hslu.academia.edu/MatthiasLewy"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="82334523"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/82334523/Chaudhuri_Shubha_Joe_Peters_Chinthaka_Prageeth_Meddegoda_Fulvia_Caruso_Sukanya_Guha_Mu_Qian_Gisa_J%C3%A4hnichen_Andrej_Kocan_and_Matthias_Lewy_2022_Indus_Blues_A_Short_Collection_of_Impressions_on_an_Ethnographic_Documentary_AEMR_9_109_112"><img alt="Research paper thumbnail of Chaudhuri, Shubha, Joe Peters, Chinthaka Prageeth Meddegoda, Fulvia Caruso, Sukanya Guha, Mu Qian, Gisa Jähnichen, Andrej Kocan, and Matthias Lewy (2022). Indus Blues: A Short Collection of Impressions on an Ethnographic Documentary. AEMR, 9: 109-112" class="work-thumbnail" src="https://attachments.academia-assets.com/88077727/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/82334523/Chaudhuri_Shubha_Joe_Peters_Chinthaka_Prageeth_Meddegoda_Fulvia_Caruso_Sukanya_Guha_Mu_Qian_Gisa_J%C3%A4hnichen_Andrej_Kocan_and_Matthias_Lewy_2022_Indus_Blues_A_Short_Collection_of_Impressions_on_an_Ethnographic_Documentary_AEMR_9_109_112">Chaudhuri, Shubha, Joe Peters, Chinthaka Prageeth Meddegoda, Fulvia Caruso, Sukanya Guha, Mu Qian, Gisa Jähnichen, Andrej Kocan, and Matthias Lewy (2022). Indus Blues: A Short Collection of Impressions on an Ethnographic Documentary. AEMR, 9: 109-112</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://shcmusic.academia.edu/GisaJaehnichen">Gisa Jähnichen</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://hslu.academia.edu/MatthiasLewy">Matthias Lewy</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/sukanyaguha2">sukanya guha</a></span></div><div class="wp-workCard_item"><span>AEMR</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This is a spontaneous review discussion about the ethnographic film 'Indus Blues', produced by Ja...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This is a spontaneous review discussion about the ethnographic film 'Indus Blues', produced by Jawad Sharif in 2018 and it has won many awards on several occasions. Nine reviewing persons were asked to write some lines about their first impressions, which were then discussed and summarized. The review discussion mainly contains the data provided.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="404fc76d24df385bd81faa7140d08c1c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":88077727,"asset_id":82334523,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/88077727/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="82334523"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="82334523"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 82334523; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=82334523]").text(description); $(".js-view-count[data-work-id=82334523]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 82334523; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='82334523']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "404fc76d24df385bd81faa7140d08c1c" } } $('.js-work-strip[data-work-id=82334523]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":82334523,"title":"Chaudhuri, Shubha, Joe Peters, Chinthaka Prageeth Meddegoda, Fulvia Caruso, Sukanya Guha, Mu Qian, Gisa Jähnichen, Andrej Kocan, and Matthias Lewy (2022). 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Vou me concentrar na comunicação transespecífica, que pode ser observada tanto na produção de sons formalizados (por exemplo, canções xamânicas) quanto na prática da escuta. Portanto, vários exemplos de ontologias sonoras em relação às aves taxonomicamente relevantes serão mostrados. Por exemplo, ao ouvir a voz da ave wantoto, especialistas indígenas explicam que o som é feito pelo maikok, seres de espírito humano que são seres invisíveis, porém audíveis. Quando o povo Pemón ouve o som do wantoto, sabe que entrou no território maikok e, portanto, tem que deixar ofertas de comida ou tomar outro caminho. Portanto, o som wantoto é considerado um agente que desencadeia um comportamento transespecífico cotidiano baseado no viés ontológico indígena. Outros exemplos demonstrarão como os sons das aves em relação às entidades kanaima (híbridos humanos/não humanos que matam humanos) assustam os humanos e, portanto, são evitados, assim como outros sons de aves que são transformados em fórmulas e cantos mágicos na prática ritual xamânica. Em comparação com a percepção do multiverso indígena e seus mundos na Amazônia, a percepção do mundo europeu pelos povos indígenas é tematizada. A vida na Europa ilustra o processo através da forma de comparação das percepções dos sons ambientais e das aves precisamente em relação à construção contínua de mundos e seus habitantes humanos e não-humanos. Este tipo de antropologia reversa ilustra a constante transformação da atribuição de significado aos sons em relação aos lugares e (in-)dependência dos indivíduos, o que pode ser entendido como uma contribuição para a descolonização da etnomusicologia.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e1584cd6253c0f0ed12a603970f758e9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":80866304,"asset_id":71586577,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/80866304/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="71586577"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="71586577"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 71586577; 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Zur Handlungsmacht der Musikaufnahme" class="work-thumbnail" src="https://attachments.academia-assets.com/88470767/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/67233358/Jenseits_des_Raumes_Zur_Handlungsmacht_der_Musikaufnahme">Jenseits des Raumes. Zur Handlungsmacht der Musikaufnahme</a></div><div class="wp-workCard_item"><span>Musikethnographien im 21. Jahrhundert</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Dieser Artikel basiert auf einer über die letzten 15 Jahre gewachsenen Beziehung zwischen dem Aut...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Dieser Artikel basiert auf einer über die letzten 15 Jahre gewachsenen Beziehung zwischen dem Autor und Spezialist*innen der indigenen Gruppe der Pemón im Süden Venezuelas an der Grenze zu Brasilien. Im Mittelpunkt steht die Darstellung der ersten Feldforschungen, bei denen die klassischen Feldforschungsmethoden, wie die teilnehmende Beobachtung, das Interview, die Klangaufnahme und die Aneignung musikalischer Praktiken durch Hörsitzungen mit historischen Walzenaufnahmen Theodor Koch-Grünbergs aus dem Jahre 1911 (Berliner Phonogramm-Archiv) vor Ort nach und nach ergänzt wurden. Im Laufe der Jahre wuchs das Vertrauensverhältnis zwischen dem Autor und einigen indigenen Spezialist*innen, was einen Wechsel von der Perspektive »Forscher / Beforschte« hin zur Resonanz gemeinsam erlebter Erfahrungen bewirkte. Thematisiert wird darüber hinaus der Prozess der Revitalisierung der historischen Aufnahmen, die einerseits auf diesen Austausch und andererseits auf die Kooperation mit dem Sharing Knowledge Projekt des Berliner Museums zurückzuführen ist. Bei der Perspektive der Beschreibung wird die Handlungsmacht (Gell 1998) der historischen Musikaufnahmen Koch-Grünbergs selbst in den Fokus gestellt, da diese zunächst Interesse und Zweifel über bestehende akademische Diskurse beim Autor erzeugte. Darüber hinaus sind die historischen Walzenaufnahmen Agenten dieser Revitalisierung und (Re)-Kontextualisierung, was unter anderem anhand der Resonanzfelder der beteiligten Spezialist*innen erarbeitet wird. Als theoretisches Konzept wird der Frage nachgegangen, inwieweit welche Akteure und / oder Entitäten (Menschen, Nichtmenschen) in welcher Art von Netzwerken (Latour 2005) bzw. meshworks (Ingold 2011) und Interaktionen erkennbar sind und wie diese Entitäten die Existenzweise und die damit verbundenen Bedeutungs zuordnungen und Kontextualisierungen von Musikaufnahmen immer wieder aufs Neue generieren. Hierbei rückt die Vorstellung einer Raum-bzw. 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Jahrhundert" class="work-thumbnail" src="https://attachments.academia-assets.com/78116312/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/67216134/Musikethnographien_im_21_Jahrhundert">Musikethnographien im 21. Jahrhundert</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uni-frankfurt.academia.edu/BarbaraAlge">Barbara Alge</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://hslu.academia.edu/MatthiasLewy">Matthias Lewy</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unibe-ch.academia.edu/BrittaSweers">Britta Sweers</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://halle.academia.edu/LindaCimardi">Linda Cimardi</a></span></div><div class="wp-workCard_item"><span>Rombach Wissenschaft, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The volume Musikethnographien im 21. Jahrhundert brings together ten contributions by ethnomusico...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The volume Musikethnographien im 21. Jahrhundert brings together ten contributions by ethnomusicologists from the German-speaking world, who discuss current paradigms of fieldwork such as multi-situated fieldwork, reflexivity, dialogicity, feedback, auto-ethnography, activism and intervention through performance ethnography and collaborative research, as well as questions of repatriation, ethical handling of research data and the role of digital social media. In addition to theories and methodological reflections, the volume also includes reflections on the temporality of ethnographic material as well as ethnographical fieldwork on memory and the past. These reflections are applied to the subject of music and sound.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="eac4fd28704a9cb40681afbd38087012" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":78116312,"asset_id":67216134,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/78116312/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="67216134"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="67216134"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 67216134; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=67216134]").text(description); $(".js-view-count[data-work-id=67216134]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 67216134; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='67216134']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "eac4fd28704a9cb40681afbd38087012" } } $('.js-work-strip[data-work-id=67216134]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":67216134,"title":"Musikethnographien im 21. 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En esta ocasión se propuso una retrospectiva, una memoria y cuenta, que sirvió  para desarrollar reflexiones y visiones sobre los desafíos y la política institucional investigativa en esa área, así como sobre los principios éticos que la rigen al participar en el empoderamiento de las artes tradicionales.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2608eb744e1a769dd30f67d8b302f816" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":63264720,"asset_id":43001467,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/63264720/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="43001467"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="43001467"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43001467; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="35631188"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/35631188/Auditive_Wissenskulturen_Das_Wissen_klanglicher_Praxis_2018_hrsg_v_B_Brabec_de_Mori_and_M_Winter_bei_Springer_VS_front_matter_"><img alt="Research paper thumbnail of Auditive Wissenskulturen – Das Wissen klanglicher Praxis (2018, hrsg. v. B. Brabec de Mori & M. Winter bei Springer VS, front matter)" class="work-thumbnail" src="https://attachments.academia-assets.com/56955207/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/35631188/Auditive_Wissenskulturen_Das_Wissen_klanglicher_Praxis_2018_hrsg_v_B_Brabec_de_Mori_and_M_Winter_bei_Springer_VS_front_matter_">Auditive Wissenskulturen – Das Wissen klanglicher Praxis (2018, hrsg. v. B. Brabec de Mori & M. Winter bei Springer VS, front matter)</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uibk.academia.edu/BerndBrabecdeMori">Bernd Brabec</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unibas.academia.edu/MartinWinter">Martin Winter</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/JinAhKim19">Jin-Ah Kim</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://hslu.academia.edu/MatthiasLewy">Matthias Lewy</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://xn--universitt-siegen-yqb.academia.edu/JudithWillkomm">Judith Willkomm</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://univie.academia.edu/NoraBammer">Nora Bammer</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://mdw.academia.edu/LorenzBeyer">Lorenz Beyer</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://kug.academia.edu/JuanBerm%C3%BAdez">Juan Bermúdez</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://kfunigraz.academia.edu/LukasDullnig">Lukas Dullnig</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/HannesMatth%C3%A4us">Hannes Matthäus</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/MarkusRogenhofer">Markus Rogenhofer</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://bruckneruni.academia.edu/KaiGinkel">Kai Ginkel</a></span></div><div class="wp-workCard_item"><span>Auditive Wissenskulturen – Das Wissen klanglicher Praxis</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Die sozial- und kulturwissenschaftliche Erforschung auditiver Phänomene ist stets mit spezifische...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Die sozial- und kulturwissenschaftliche Erforschung auditiver Phänomene ist stets mit spezifischen Wissensformen konfrontiert. Die Rolle, die Musik und andere Klänge in verschiedenen sozialen und kulturellen Kontexten spielen, hängt mit dem Wissen zusammen, welches in bestimmter Weise (re)produziert und vermittelt wird. Wir können etwas über Klänge wissen, oder etwas durch Klänge wissen. Wir können Wissen über die spezifische Erzeugung von Klängen erwerben und weitergeben, oder aber Nachrichten – etwa eine Warnung – klanglich übermitteln. Diese vielfältigen Formen von Klangwissen können auf sehr unterschiedliche Weisen zum Gegenstand wissenschaftlicher Untersuchungen gemacht werden. Der vorliegende Band zu auditiven Wissenskulturen ist ein Versuch, jene üblicherweise in verschiedenen Disziplinen wie Soziologie und Anthropologie, in Geschichte, Psychologie, Ethnologie und Philosophie der Musik oder in Medienwissenschaften verortete Zugänge zu auditivem Wissen in ein produktives interdisziplinäres Gespräch zu bringen.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="ac5c915a6a76f63c4eb53cb90137130e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":56955207,"asset_id":35631188,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/56955207/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="35631188"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="35631188"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35631188; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35631188]").text(description); $(".js-view-count[data-work-id=35631188]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35631188; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='35631188']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "ac5c915a6a76f63c4eb53cb90137130e" } } $('.js-work-strip[data-work-id=35631188]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":35631188,"title":"Auditive Wissenskulturen – Das Wissen klanglicher Praxis (2018, hrsg. v. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="35247550"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/35247550/Mu_sica_em_Contexto_ANO_XI_VOL_1_2017"><img alt="Research paper thumbnail of Música em Contexto, ANO XI, VOL.1, 2017" class="work-thumbnail" src="https://attachments.academia-assets.com/55107143/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/35247550/Mu_sica_em_Contexto_ANO_XI_VOL_1_2017">Música em Contexto, ANO XI, VOL.1, 2017</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://hslu.academia.edu/MatthiasLewy">Matthias Lewy</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uibk.academia.edu/BerndBrabecdeMori">Bernd Brabec</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://donau-uni.academia.edu/YvonneSchaffler">Yvonne Schaffler</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://brasilia.academia.edu/HugoRibeiro">Hugo Ribeiro</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://ehess.academia.edu/MahoSebiane">Maho Sebiane</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/MIFUNE">Marie-France MIFUNE</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://andrelemos.academia.edu/RicardoSousa">Ricardo Sousa</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://uni-frankfurt.academia.edu/BarbaraAlge">Barbara Alge</a></span></div><div class="wp-workCard_item"><span>Música em Contexto</span><span>, 2017</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9ea0a2e3542b5a2f7d56e2e736161d0d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":55107143,"asset_id":35247550,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/55107143/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="35247550"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="35247550"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35247550; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="19707385"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/19707385/Sudam%C3%A9rica_y_sus_mundos_audibles_Cosmolog%C3%ADas_y_pr%C3%A1cticas_sonoras_de_los_pueblos_ind%C3%ADgenas_2015_libro_completo_ed_Bernd_Brabec_de_Mori_Matthias_Lewy_and_Miguel_A_Garc%C3%ADa_"><img alt="Research paper thumbnail of Sudamérica y sus mundos audibles – Cosmologías y prácticas sonoras de los pueblos indígenas (2015, libro completo, ed. Bernd Brabec de Mori, Matthias Lewy & Miguel A. García)" class="work-thumbnail" src="https://attachments.academia-assets.com/40796715/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/19707385/Sudam%C3%A9rica_y_sus_mundos_audibles_Cosmolog%C3%ADas_y_pr%C3%A1cticas_sonoras_de_los_pueblos_ind%C3%ADgenas_2015_libro_completo_ed_Bernd_Brabec_de_Mori_Matthias_Lewy_and_Miguel_A_Garc%C3%ADa_">Sudamérica y sus mundos audibles – Cosmologías y prácticas sonoras de los pueblos indígenas (2015, libro completo, ed. Bernd Brabec de Mori, Matthias Lewy & Miguel A. García)</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uibk.academia.edu/BerndBrabecdeMori">Bernd Brabec</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://hslu.academia.edu/MatthiasLewy">Matthias Lewy</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uba.academia.edu/MiguelAGarc%C3%ADa">Miguel A. García</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://ucla.academia.edu/AnthonySeeger">Anthony Seeger</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://cassiovandenberg.academia.edu/EdsonMatarezioFilho">Edson Matarezio Filho</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://ufsc.academia.edu/DouglasFerreiraGadelhaCampelo">Douglas Ferreira Gadelha Campelo</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unal-co.academia.edu/M%C3%B3nicaSofiaBrice%C3%B1oRobles">Mónica Sofia Briceño Robles</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://college-de-france.academia.edu/EstebanArias">Esteban Arias</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unam.academia.edu/SandraCruz">Sandra Cruz</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://univie.academia.edu/NoraBammer">Nora Bammer</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">El presente volumen reúne una serie de trabajos que se refieren a distintos aspectos de la percep...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">El presente volumen reúne una serie de trabajos que se refieren a distintos aspectos de la percepción y producción del sonido entre los pueblos indígenas de Latinoamérica. Las discusiones referidas tanto a las tierras bajas, como a los Andes y a Mesoamérica, abordan cuestiones relacionadas con la ontología, el animismo, el perspectivismo, las formas de interacción entre humanos y nohumanos y los condicionamientos de la percepción de la otredad, entre otras.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a74413b35c118fd427465707e6342099" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":40796715,"asset_id":19707385,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/40796715/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="19707385"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="19707385"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 19707385; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=19707385]").text(description); $(".js-view-count[data-work-id=19707385]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 19707385; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='19707385']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "a74413b35c118fd427465707e6342099" } } $('.js-work-strip[data-work-id=19707385]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":19707385,"title":"Sudamérica y sus mundos audibles – Cosmologías y prácticas sonoras de los pueblos indígenas (2015, libro completo, ed. 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García)","internal_url":"https://www.academia.edu/19707385/Sudam%C3%A9rica_y_sus_mundos_audibles_Cosmolog%C3%ADas_y_pr%C3%A1cticas_sonoras_de_los_pueblos_ind%C3%ADgenas_2015_libro_completo_ed_Bernd_Brabec_de_Mori_Matthias_Lewy_and_Miguel_A_Garc%C3%ADa_","owner_id":7362204,"coauthors_can_edit":true,"owner":{"id":7362204,"first_name":"Bernd","middle_initials":null,"last_name":"Brabec","page_name":"BerndBrabecdeMori","domain_name":"uibk","created_at":"2013-12-05T00:05:25.399-08:00","display_name":"Bernd Brabec","url":"https://uibk.academia.edu/BerndBrabecdeMori"},"attachments":[{"id":40796715,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/40796715/thumbnails/1.jpg","file_name":"2015_SudMunAud_libro.pdf","download_url":"https://www.academia.edu/attachments/40796715/download_file","bulk_download_file_name":"Sudamerica_y_sus_mundos_audibles_Cosmolo.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/40796715/2015_SudMunAud_libro-libre.pdf?1450366449=\u0026response-content-disposition=attachment%3B+filename%3DSudamerica_y_sus_mundos_audibles_Cosmolo.pdf\u0026Expires=1740592653\u0026Signature=QuChKCKaN7kG-bpoXiEBH4C0-9SoS12r1cAb0CNtkicICemgvyn9gPZ-Let0Jpf8gTYPbpuf6-02DGV4xzkp1uHcxa6QKmtuYFCCjInh9pJCqSk6pufubEY9aUi6DQs~oQS4zDPkgGbPF84odoUEWeL0mTFY~dq8zWrn4wQJXlUS8Ma9ljMZhAz7k7arJPb9wJYDrC7nMIx5V-Q9XoCsS~By~iR69HBJ3t5knpjdK9zLZeNjZwjcKok2V~UqeX998ATm4ACz7qkkMn7L0Jfa1UcUu4fYB9bLSU1AGespTIVCnJvf3a07zqfNqPxgZ7aj-UIrMpE0wizFl7mmYThlpw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="8339129"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/8339129/Die_Rituale_areruya_und_chochiman_bei_den_Pem%C3%B3n_Gran_Sabana_Venezuela_Teil_1"><img alt="Research paper thumbnail of Die Rituale areruya und cho'chiman bei den Pemón (Gran Sabana/Venezuela) Teil 1" class="work-thumbnail" src="https://attachments.academia-assets.com/34743124/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/8339129/Die_Rituale_areruya_und_chochiman_bei_den_Pem%C3%B3n_Gran_Sabana_Venezuela_Teil_1">Die Rituale areruya und cho'chiman bei den Pemón (Gran Sabana/Venezuela) Teil 1</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This dissertation about the areruya and cho'chiman rituals is the result of a three year period o...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This dissertation about the areruya and cho'chiman rituals is the result of a three year period of field research among the Pemón in Gran Savannah, Venezuela, mainly realized in Kavanayén, San Luis de Awarkay and Santa Elena de Uairén, between 2005 and 2009. <br />The publication contains the reconstruction and reinterpretation of the recordings by Theodor Koch-Grünberg (1911) of the Berlin Phonogramm Archiv, which were collected with the Pemón singer Taurepán. The results are the starting point for comparison with recent ritual practices, including the shaman healing ritual and the dances and songs from the parishara hunting ritual. <br />The recordings of parishara fragments, two cho'chiman rituals, and one areruya ritual are transcribed in their. Appendix 2 contains 140 musical transcriptions of ritual texts in Pemón, Spanish and German. Additionally, all structural features are documented and commented upon. <br />The sequencing of the ritual is determined by interactions between singing and body movement. By considering emotion management, as revealed through rising dynamics in pitch and tempo, the analysis of these interactions is relativised. <br />Two classification systems were generated in order to inform the structural analysis The results of the comparisons of two cho'chiman rituals with areruya, aguinaldo pemon and parishara show differences and similarities between these genres based on their sound structures. <br />Alongside structural analysis, the specific particularities of Pemón cosmology are described with the help of Amerindian perspectivism theory. Thus the difference between auditive and visual perception is apparent. The focus on auditive perception reveals evidence for a continuity of sound practice and ontology, including dynamics, through appropriations and transformations. <br />The hitherto scientific categorisation as „syncretistic“ rituals needs to be redefined, because orekoton rituals areruya and cho'chiman are recent reflections of Pemón identity.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="77bb75e033f832c76c71fb226e34c232" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":34743124,"asset_id":8339129,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/34743124/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="8339129"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="8339129"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 8339129; 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Reseña de Both, Arnd Adje and Matthias Stöckli (eds.). 2012. Flower World. Music Archeology of The Americas. Mundo Florido. Arqueomusicología de las Américas. Vol.1. Berlin: Ekho Verlag." class="work-thumbnail" src="https://attachments.academia-assets.com/54814725/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/34952657/Lewy_Matthias_2015_Rese%C3%B1a_de_Both_Arnd_Adje_and_Matthias_St%C3%B6ckli_eds_2012_Flower_World_Music_Archeology_of_The_Americas_Mundo_Florido_Arqueomusicolog%C3%ADa_de_las_Am%C3%A9ricas_Vol_1_Berlin_Ekho_Verlag">Lewy, Matthias. 2015. Reseña de Both, Arnd Adje and Matthias Stöckli (eds.). 2012. Flower World. Music Archeology of The Americas. Mundo Florido. Arqueomusicología de las Américas. Vol.1. Berlin: Ekho Verlag.</a></div><div class="wp-workCard_item"><span>El oído pensante 3 (1).</span><span>, 2015</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Flower world is a new series edited by Arnd Adje Both and Matthias Stöckli which focuses on ancie...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Flower world is a new series edited by Arnd Adje Both and Matthias Stöckli which focuses on ancient music and music-related activities in Pre-Columbian Americas. The title Flower World refers to the sacred place and mythological world in ancient Mesoamerica. The main topic of the series is in archaeomusicology and its new methods and theoretical debates as the archaeology of senses and archaeoacoustics. In his preface Adje Both discusses the " ethnoarchaeological problem " when showing the difficulties of searching for analogies and similarities of ancient Pre-Columbian musical praxis in musical activities of recent Amerindian groups. Both's introduction to the series is followed by Matthias Stöckli's preface to the first edition, as he presents the eight articles. He argues, as well as Both, that the unifying aim is to reveal the existence of important cultural aspects of pre-Columbian music making with musical activities of recent Amerindian groups. So the first contribution, entitled " Ancient Pututus Contextualized: Integrative Achaeoacoustics at Chavín de Huántar, Peru " , is written by Miriam A. Kolar, John W. Prick, R. Cook and Jonthan Abel. The " integrative " part here is reflected by the method used. Therefore, the sound possibilities of the pututus (horn shells/strombus galeatus) were measured and related to the landscape as well as to the building complex of the archaeological site (approx.1200-500 BC). The interaction between sound perception and sound production is analysed by interpretations of graphical/iconographical representations, physical and acoustic analyses of the shell horns artefact comparative ethnographic surveys of similar aerophones, observational tests in associated contexts and contextualized psycho-acoustic experimentation with recorded shell horn artefact or replica sound stimuli. The authors point out that the architectural construction of three tubes had been designed to transmit frequencies of 500-1000 Hz, a spectrum which fits perfectly the one of the shell horns.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="6fe8395f537e0e29da51c6b53701870e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":54814725,"asset_id":34952657,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/54814725/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="34952657"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="34952657"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 34952657; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=34952657]").text(description); $(".js-view-count[data-work-id=34952657]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 34952657; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='34952657']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "6fe8395f537e0e29da51c6b53701870e" } } $('.js-work-strip[data-work-id=34952657]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":34952657,"title":"Lewy, Matthias. 2015. 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Contes sonores (CD review in French by Jean-Pierre Estival, 2017)" class="work-thumbnail" src="https://attachments.academia-assets.com/57952783/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37939641/AMAZONIE_Contes_sonores_CD_review_in_French_by_Jean_Pierre_Estival_2017_">AMAZONIE. Contes sonores (CD review in French by Jean-Pierre Estival, 2017)</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uibk.academia.edu/BerndBrabecdeMori">Bernd Brabec</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://hslu.academia.edu/MatthiasLewy">Matthias Lewy</a></span></div><div class="wp-workCard_item"><span>Cahiers d'ethnomusicologie</span><span>, 2017</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="88c7e1dcb391006700337276391e9bc7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57952783,"asset_id":37939641,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57952783/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37939641"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37939641"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37939641; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37939641]").text(description); $(".js-view-count[data-work-id=37939641]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37939641; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37939641']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "88c7e1dcb391006700337276391e9bc7" } } $('.js-work-strip[data-work-id=37939641]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37939641,"title":"AMAZONIE. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="37516173"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/37516173/Resenha_Sudam%C3%A9rica_y_sus_Mundos_Audibles_ed_Brabec_Lewy_Garc%C3%ADa_M_E_Dom%C3%ADnguez_e_V_V_Machado_2018_portugues_"><img alt="Research paper thumbnail of Resenha: “Sudamérica y sus Mundos Audibles”, ed. Brabec/Lewy/García (M.E. Domínguez e V.V. Machado, 2018, portugues)" class="work-thumbnail" src="https://attachments.academia-assets.com/57489011/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37516173/Resenha_Sudam%C3%A9rica_y_sus_Mundos_Audibles_ed_Brabec_Lewy_Garc%C3%ADa_M_E_Dom%C3%ADnguez_e_V_V_Machado_2018_portugues_">Resenha: “Sudamérica y sus Mundos Audibles”, ed. Brabec/Lewy/García (M.E. Domínguez e V.V. Machado, 2018, portugues)</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uibk.academia.edu/BerndBrabecdeMori">Bernd Brabec</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://hslu.academia.edu/MatthiasLewy">Matthias Lewy</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://usp-br.academia.edu/V%C3%ADtorVieiraMachado">Vítor V Machado</a></span></div><div class="wp-workCard_item"><span>Ilha Revista de Antropologia</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Sudamerica y sus mundos audibles é, como o título antecipa, um livro no qual se reflete sobre a p...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Sudamerica y sus mundos audibles é, como o título antecipa, um livro no qual se reflete sobre a produção e a percepção de sons, sobre a escuta como modo de conhecimento. Trata-se de uma coletânea de artigos de grande abrangência geográfica e etnográfica: apresenta estudos realizados com materiais mesoamericanos, em sociedades andinas e com sociedades indígenas que habitam ou habitaram desde a Colômbia até a Terra do Fogo. Editada por Bernd Brabec de Mori, Matthias Lewy e Miguel Ángel García.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5e20cdead572d57f14c5ac95c03932b1" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57489011,"asset_id":37516173,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57489011/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37516173"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37516173"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37516173; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37516173]").text(description); $(".js-view-count[data-work-id=37516173]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37516173; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37516173']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "5e20cdead572d57f14c5ac95c03932b1" } } $('.js-work-strip[data-work-id=37516173]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37516173,"title":"Resenha: “Sudamérica y sus Mundos Audibles”, ed. 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A introdução apresenta a questão paradigmática do perspectivismo ameríndio, teo-ria amplamente conhecida de Eduardo Viveiros de Castro, e o animismo de Philipe Descola, colocados transversalmente à questão da sonoridade. Para apresentar este paradigma, Matthias Lewy propõe o conceito de " sonorismo ameríndio " , cuja abrangência integra os senti-dos da visão, da audição, da palavra, das artes cênicas e ritual, dentro da perspectiva ameríndia. Tais postulados dialogam com a antropologia dos sentidos, e encontram sua base nos trabalhos de Rafael Menezes Bastos e Steven Feld, bem como a noção de espaço sonoro, evidenciando a importância do som para as sociedades indígenas. Assim, os diversos artigos que aparecem neste livro dialogam com este prisma, em caminhos que apontam para o caráter comunicacional entre mundos; das relações entre humanos e não humanos; música e ritual; música e gênero, dentre outros temas.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="550294fe56b9aeea0f96102bffea879f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57130831,"asset_id":37179490,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57130831/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37179490"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37179490"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37179490; 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García, “Sudamérica y sus ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">El volumen editado por Bernd Brabec de Mori, Matthias Lewy y Miguel A. García, “Sudamérica y sus mundos audibles. Cosmologías y prácticas sonoras de los pueblos indígenas” es una bella colección de etnografías centradas en la experiencia del sonido de etnias de América Latina, en su mayoría de las tierras bajas sudamericanas. El volumen colectivo es el resultado de un simposio sobre el rol del sonido en las ontologías indígenas llevado a cabo en el Congreso de Americanistas en Viena en 2012. Consta de quince contribuciones organizadas en tres partes, con un prefacio de Anthony Seeger –uno de los máximos referentes en el campo– que contribuye a situar el libro en el marco de la historia de la etnomusicología.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="78135dee112fb6f135504aa5148261d4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57141297,"asset_id":37180080,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57141297/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37180080"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37180080"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37180080; 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Sound Stories’ (Musée d'Ethnografie de Genève) by Anthony Seeger" class="work-thumbnail" src="https://attachments.academia-assets.com/55293607/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/35432674/Review_of_the_CD_Amazonia_Sound_Stories_Mus%C3%A9e_dEthnografie_de_Gen%C3%A8ve_by_Anthony_Seeger">Review of the CD ‘Amazonia. Sound Stories’ (Musée d'Ethnografie de Genève) by Anthony Seeger</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ville-ge.academia.edu/MadeleineLeclair">Madeleine Leclair</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uibk.academia.edu/BerndBrabecdeMori">Bernd Brabec</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://hslu.academia.edu/MatthiasLewy">Matthias Lewy</a></span></div><div class="wp-workCard_item"><span>Yearbook for Traditional Music</span><span>, 2017</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2b0115e8c2df1e39a24e5df0d497fafe" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":55293607,"asset_id":35432674,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/55293607/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="35432674"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="35432674"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35432674; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35432674]").text(description); $(".js-view-count[data-work-id=35432674]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35432674; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='35432674']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "2b0115e8c2df1e39a24e5df0d497fafe" } } $('.js-work-strip[data-work-id=35432674]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":35432674,"title":"Review of the CD ‘Amazonia. 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Secondly, the six contributions are presented, described, and linked directly to this file.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c31a26cfb64289a78484dea6123f82de" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":120516135,"asset_id":126674097,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/120516135/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="126674097"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="126674097"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 126674097; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="38535201"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/38535201/Editorial_Musica_em_Contexto_2018"><img alt="Research paper thumbnail of Editorial Musica em Contexto 2018" class="work-thumbnail" src="https://attachments.academia-assets.com/58605437/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38535201/Editorial_Musica_em_Contexto_2018">Editorial Musica em Contexto 2018</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://hslu.academia.edu/MatthiasLewy">Matthias Lewy</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://brasilia.academia.edu/HugoRibeiro">Hugo Ribeiro</a></span></div><div class="wp-workCard_item"><span>Musica em Contexto</span><span>, 2018</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a0f279b08daa4381fa3872794f547432" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58605437,"asset_id":38535201,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58605437/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38535201"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38535201"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38535201; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="35937101"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/35937101/Auditives_Wissen_und_ontologisch_epistemologischer_Pluralismus_Ein_Dialog_f%C3%BCr_zwei_Ethnomusikologen_2018_mit_Kommentar_von_M_Lewy_"><img alt="Research paper thumbnail of Auditives Wissen und ontologisch-epistemologischer Pluralismus. Ein Dialog für zwei Ethnomusikologen (2018, mit Kommentar von M. Lewy)" class="work-thumbnail" src="https://attachments.academia-assets.com/55873809/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/35937101/Auditives_Wissen_und_ontologisch_epistemologischer_Pluralismus_Ein_Dialog_f%C3%BCr_zwei_Ethnomusikologen_2018_mit_Kommentar_von_M_Lewy_">Auditives Wissen und ontologisch-epistemologischer Pluralismus. Ein Dialog für zwei Ethnomusikologen (2018, mit Kommentar von M. Lewy)</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uibk.academia.edu/BerndBrabecdeMori">Bernd Brabec</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://hslu.academia.edu/MatthiasLewy">Matthias Lewy</a></span></div><div class="wp-workCard_item"><span>Auditive Wissenskulturen – Das Wissen klanglicher Praxis</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">B und M, zwei Mitarbeiter des Instituts für Ethnomusikologie, treffen sich zufällig in der Kaffee...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">B und M, zwei Mitarbeiter des Instituts für Ethnomusikologie, treffen sich zufällig in der Kaffeeküche des Instituts. M hat jüngst eine Radiosendung über Ethnomusikologie gehört, in welcher B interviewt wurde. B sprach in diesem Interview über seine Forschung in Westamazonien und sagte, dass ein neuer Forschungszugang der Ethnomusikologie bzw. der Kulturanthropologie nicht hinterfragt, ob sich – in dem konkreten Beispiel der Radiosendung – ein Heiler beim Singen in einen Papagei verwandelt oder nicht. M dagegen plädiert für ein striktes Hinterfragen solcher Annahmen, und dadurch entspinnt sich eine angeregte Diskussion über epistemologische und ontologische, aber auch politische und ethische Fragen, über Pluralismus, Realismus und Inkommensurabilität, insbesondere, aber nicht nur, am Beispiel klanglicher Praktiken und auditiver Wissenskulturen. Wird B M seine Position verständlich machen können? Wird er ihn vielleicht sogar davon überzeugen können oder wird umgekehrt Ms Skepsis B dazu bringen, seine Ansichten zu überdenken? Oder muss die Angelegenheit vertagt werden?</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b48a9819f71075e6959d24fed00023c2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":55873809,"asset_id":35937101,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/55873809/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="35937101"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="35937101"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35937101; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35937101]").text(description); $(".js-view-count[data-work-id=35937101]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35937101; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='35937101']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "b48a9819f71075e6959d24fed00023c2" } } $('.js-work-strip[data-work-id=35937101]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":35937101,"title":"Auditives Wissen und ontologisch-epistemologischer Pluralismus. 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(2020). AEMR -J, No. 5. Berlin/Shanghai: Logos." class="work-thumbnail" src="https://attachments.academia-assets.com/63820156/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/43509811/Xiao_Mei_and_Gisa_J%C3%A4hnichen_eds_2020_AEMR_J_No_5_Berlin_Shanghai_Logos">Xiao Mei & Gisa Jähnichen, eds. (2020). AEMR -J, No. 5. Berlin/Shanghai: Logos.</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://shcmusic.academia.edu/GisaJaehnichen">Gisa Jähnichen</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://dls-csb.academia.edu/FredylHernandez">Fredyl Hernandez</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://hslu.academia.edu/MatthiasLewy">Matthias Lewy</a></span></div><div class="wp-workCard_item"><span>AEMR</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The Number 5 of AEMR-EJ is as diverse as all the previous issues. We offer five papers, written b...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The Number 5 of AEMR-EJ is as diverse as all the previous issues. We offer five papers, written by Jimenez, Hernandez, Musib, and Jähnichen, that emerged from an international workshop about Safeguarding Strategies of Sound Archives in the Pacific Region held in Shanghai, November 2019, which extended the scope of regional boundaries regarding an important matter of dealing with the history and future of performing arts. The papers following these first five papers deal with various aspects of sound, either as part of historical artifacts (Correa), social movements (Korum), vocal expressions (Lin Zhi), or as instrumental meanings (Long Fei). <br />In the review section, there are three other contributions. One is about the role of ethnomusicologists in ethnographic museums (Lewy), followed by a review of a quite recent publication in the Indian research tradition (Jähnichen), and an overview about local music research in the Vietnamese Province Quảng Ngãi (Nguyễn Thế Truyền).<br />From now onwards, AEMR-EJ, will also be distributed as printed issue, published by LOGOS Berlin. Earlier editions are only available online. In case you need a printed version, please, contact the publisher. ISSN Number and layout will not change as well as all other components such as the Editorial Board, the Call for Submissions, and the Code of Ethics.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4fce698d7e6f6163fb2e6054a20e16a6" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":63820156,"asset_id":43509811,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/63820156/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="43509811"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="43509811"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43509811; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=43509811]").text(description); $(".js-view-count[data-work-id=43509811]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 43509811; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='43509811']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "4fce698d7e6f6163fb2e6054a20e16a6" } } $('.js-work-strip[data-work-id=43509811]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":43509811,"title":"Xiao Mei \u0026 Gisa Jähnichen, eds. 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Collaborative Methodologies for Decentring Power Hierarchies in Education, Artistic Research, and Museum Curating. See https://ictmdialogues.org" class="work-thumbnail" src="https://attachments.academia-assets.com/100181713/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/98972779/Dialogue_4_Collaborative_Methodologies_for_Decentring_Power_Hierarchies_in_Education_Artistic_Research_and_Museum_Curating_See_https_ictmdialogues_org">Dialogue 4. Collaborative Methodologies for Decentring Power Hierarchies in Education, Artistic Research, and Museum Curating. See https://ictmdialogues.org</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/SooiBengTan">Sooi Beng Tan</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://hslu.academia.edu/MatthiasLewy">Matthias Lewy</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://ufam.academia.edu/DeiseLucyMontardo">Deise Lucy Montardo</a></span></div><div class="wp-workCard_item"><span>ICTM Dialogues: Towards Decoloizing Music and Dance</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Dialogue 4: Decolonization demands fundamental changes in hegemonic power relations and the decen...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Dialogue 4: Decolonization demands fundamental changes in hegemonic power relations and the decentring of hierarchies such as those between scholarship/activism, theory/practice, and researcher/researched. Interrogation of these dichotomies diminishes the authority of academics as experts of a specific musical culture and transforms the balance of power. This interpretation of decolonization requires shifts in methodologies that foreground the struggles and voices of Indigenous and marginalized communities. It also engages these communities in the production and dissemination of knowledge. In this panel, we share the collaborative methodologies of five different decolonizing projects pertaining to music education, archiving, digital ethnography, and research creation in Brazil, Taiwan, and Malaysia.<br /><br />José Jorge de Carvalho discusses “The Meeting of Knowledges Movement” that began in Brazil in 2010. It aims to promote a concrete decolonization of the arts in teaching, research, and archiving. Carvalho shares his experiences in promoting affirmative action for students of Indigenous and Black communities to enter all academic spaces and for Indigenous and Black masters to teach their local genres of music and dance on an equal basis with Western classical music and dance. Matthias Lewy deliberates the concepts of collaborative archiving and curating that aim to decolonize the ethnographic museum's research, archiving, and curating practices. He reflects on the “restitution” project with Indigenous co-researcher Balbina Lambos from Venezuela/Brazil, who employed Indigenous ideas of curating such as the incorporation of dance and music. Both were invited by the Ethnologisches Museum Berlin to investigate instruments and other relevant ritual objects of the Koch-Grünberg collections. Deise Lucy Oliveira Montardo presents a collaborative project conceived and developed by a Baniwa Indigenous family from Alto Rio Negro, Amazonas. One of the objectives of the project was the construction of a ceremonial house in the Itacoatiara Mirim village, located in the surroundings of São Gabriel da Cachoeira. The project helped to increase the self-esteem of children and youth by valuing their traditional music, dances, food and drinks. The project also strengthened the young people by reinforcing their presence in São Gabriel da Cachoeira in the face of the violence suffered daily in the city. The researcher acted as a consultant and the project continues to be carried out by the Baniwa until today. Wei-Ya Lin  considers the challenges of collaboration between artistic researchers in the Creative (Mis)Understandings (2018–2021) project. This collaboration involved Austria-based composers/sound creators, Tao traditional music practitioner Chien-Ping Kuo, and the contemporary Tao dancer Si Pehbowen. The formation of a digital platform with a horizontal communication structure allowed all of the collaborators to take notice of the various existing power hierarchies in field research and the daily lives of the Tao. Tan Sooi Beng makes a case for artistic research that integrates research/creative practice, performance/protest, and Western/local musics as a decolonizing approach that can help sustain endangered minority traditions in Malaysia. 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