Please take a look at the multimedia project in its current online at . Text and Pictures: long-term cooperationħ The heterogeneous nature of the elements integrated in this production (field notes, rushes, filmic edited material, photo, interpretation, and synthesis) echoed the work of Warburg, when he established links and signification between visual elements without continuity of space and time. By describing and analysing the modalities of this experimental production, we will underline the key moments revealing the challenges, the interest and the questions we would like to share in order to encourage this experimental approach and this dynamic of creation as part of a possible methodology.

Collaborating together for the first time, we realized how important it was to work in an associative space outside any academic institution in order to freely convey our research, and also to precisely identify our genealogical academic roots and their resonances in our cooperation. As French scholars, we were motivated to share our research abroad, our interrogations and also our abilities in order to fill the gap between English speaking networks and French scholars.Ħ Our idea was to document the process of our cooperation in detail, following the different phases of its conception and the final presentation choices, in order to lay out our research action and its result: this was a webpage, produced with a Parallax structure including text and film. The four of us 2 chose to put in place an audio-visual and textual collaboration project to be presented during the 17 th IUAES World Congress in Manchester, addressing the issue of establishing academic standards of evaluation for non-literary forms of representation in Anthropology. student at Evry IUT, Christine Dol (.)ĥ Deeply concerned with this challenge and with offering new forms of interactive, multimodal and multilayer productions of data, we decided to develop a research project. 2 Caroline Carpentier, Webdesigner, coordinatoor at Phanie, Ph.D.The notions of authorship, scenario, protagonist, narrativity, as they are becoming fully integrated in the field of digital writing or digital conception within visual anthropology, underline the shift that occurs in this discipline. On the one hand these productions force us to carefully reconsider the notion of fieldwork on the other hand new forms of production of anthropological knowledge are introduced in the discipline.

These researches and productions offered us an account of the multiplicity of practices, representations and narratives that are proposing an open space where filmmakers and subjects’ interrogations could be fully integrated in the project process. Piault, 2000) we have to admit the limitation of this kind of scientific representation, which didn’t fully render the complexities and richness of some of the anthropological situations represented.ģ Currently, numerous projects that are being developed within the digital technologies or within a collaborative framework reintroduce well-known concepts such as that of « shared knowledge », and make forms of hybrid production possible. From the theoretical proposals, which emerged from the introduction of direct cinema (1960) in ethnography (Heusch, 1962, Marcorelles, 1970) soon after 1980 many anthropologists became filmmakers and explored the creative power and heuristic capacities in/of documentary film.Ģ However, even within the research framework offered by a reflexive epistemology (Jay Ruby, 1993) or a dialogic one (M.H. Presentación interactiva y colaborativa: siguendo lashuellas de la evolución de una disciplinġ Since its institutional recognition in 1973 (Hockings, 1975) Visual Anthropology has always been a two-headed discipline rooted both in art and science.

Elementos visuales y sonoros