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Anthropology and Art Practice takes an innovative look at new experimental work informed by the newly-reconfigured relationship between the arts and anthropology. This practice-based and visual work can be characterised as 'art-ethnography'. In engaging with the concerns of both fields, this cutting-edge study tackles current issues such as the role of the artist in collaborative work, and the political uses of documentary. The book focuses on key works from artists and anthropologists that engage with 'art-ethnography' and investigates the processes and strategies behind their creation and ex

Introduction - Arnd Schneider & Christopher WrightAgit-kino: Iteration No.2 - Craig Campbell, University of Texas at Austin, USAEntrada Prohibida (Forbidden Entry) - Juan Orrantia, University of Witwatersrand, South Africa In Conversation with Christopher Wright - Anthony Luvera, Independent Australian Artsist, Writer and Educator based in London, UKTraversing Art Practices and Anthropology: Notes on Ambiguity and Epistemological Uncertainty - Thera Mjaaland, Independent Photographer and Social Anthropologist, NorwaySurgery Lessons - Christina Lammer, University of Applied Arts Vienna, AustriaA Word is Not Always Just a Word, Sometimes It is an Image - Kathryn Ramey, Emerson College, USAOut of Hand: Reflections on Elsewhereness - Robert Willim, Lund University, SwedenOn Collections and Collectivity - Brad Butler & Karen Mizr, Independent Artists and Filmmakers, UKIn Conversation with Christopher Wright - Raul Ortega Ayala, Independent Artist, MexicoIn-between - Jennifer Deger, The Australian National University, AustraliaAn Imaginary Line: Active Pass to IR9 - Kate Hennesey, Simon Fraser University, CanadaDancing in the Abyss - Living with Liminality - Ruth Jones, Artist and Curator based in Wales, UKIn Conversation with Helen Lundbye Petersen - Yvette Brackman, Independent Artist, DenmarkWith(In) Each Other: Sensorial Practices in Recent Audiovisual Work - Laurent Van Lancker, Freie Universitat Berlin, GermanyIn Praise of Slow Motion - Caterina Pasqualino, researcher, CNRS/LAIOS, FranceSky-larks: an Exploration of a Collaboration Between Art, Anthropology and Science - Rupert Cox, University of Manchester, UK & Andrew Carlyle, London College of Communication, University of the Arts London, UKBibliographyIndex

This paper explores the possibilities of arts practice in early childhood education. Building on her master's thesis, the author presents both a doing – her experimentation with arts practice in two early childhood centres – and an argument: that art may present an opening onto possible worlds. The author builds these worlds in relation to her theoretical framework: an immanent relational materialist onto-epistemology. Viewed through this lens, art's possible worlds have the potential to traverse, mix, and disrupt binaries that maintain marginalized positions. Art practice from this intersection of rupture is both intensely creative and deeply political. ; Faculty ; Reviewed

This paper explores the possibilities of arts practice in early childhood education. Building on her master's thesis, the author presents both a doing – her experimentation with arts practice in two early childhood centres – and an argument: that art may present an opening onto possible worlds. The author builds these worlds in relation to her theoretical framework: an immanent relational materialist onto-epistemology. Viewed through this lens, art's possible worlds have the potential to traverse, mix, and disrupt binaries that maintain marginalized positions. Art practice from this intersection of rupture is both intensely creative and deeply political.

Kate Broom draws on personal experience, relevant literature and a survey of artists who have worked in the Probation Service to explore the place of art practice in probation work and to argue that art practice has an important place within the current 'What Works' thinking.

The purpose of the article. The article is devoted to the characteristics of leisure in the context of art science practices as a factor in the development of the emotional, intellectual and cultural potential of the individual and society. The expansion of the opportunities regarding substantiation of the impact of art science practices at the intersection of art research and neuroscience. The methodology is based on the interdisciplinary method, which involves the study of issues in the interaction and synthesis of knowledge of neuroscience and art history, which allows obtaining new fundamental results and combine them into a general scientific picture of the world, questionnaire method, which consists in finding and studying new knowledge, which carried out during the survey in research work at the School of Art Experts, method of generalization, which revealed a common worldview paradigm. The scientific novelty for the first time, the issue of leisure was discovered and synthesized in the context of research with the involvement of research conducted in the field of neuroscience, indicated in the works of neurobiologists. For the first time, the analysis of interdisciplinary research is carried out and the mechanism of influence is defined to art studies, in particular the influence on the emotional, intellectual and social situation of the individual. Conclusions. Leisure through the art science practice occupies an intermediate place between personal experience and education, accumulating knowledge about the surrounding world of visual forms. Art science practices, as a system of development through creative kinds of leisure, indicate its synergistic aspects, which are embodied in the socio-personal characteristics of a modern individual. The analysis of interdisciplinary research, in particular neuroscience, determined and substantiated the powerful influence of art science practices on the development of not only the emotional and intellectual potential of a person, but also on the development of the brain and mental activity.

Do you see a capacity for transforming the city, its spaces or the use we make of them in artistic practice? Which public spaces do you use most day to day? Is there hope for the Santa Esperança public laundry? Do you think that Somanyprojects' action has served to reactivate this space and awaken it in the town's collective imaginary? Do you know of any other public space particular to women? What does the perspective of an artist offer us that an architect's doesn't consider when intervening in a space? What does a collaborative art practice consist of? Can an intervention of this type lead to some type of agencement on the part of the community? Would it be viable to consider more alternative uses of water such as public baths? How do you assess artistic practice as a work methodology for participatory urbanism projects? Would you be in favour of other activities being undertaken in public laundries besides washing clothing and the promotion of tourism? Are we very far off on the part of politicians from designing the cities where we want to live based on the needs of the citizens themselves? Do you have any questions for us? Do you have any questions for yourself? ; Performing Public Space

Colombia has experienced nearly six decades of violent confrontations between agents of the State, the paramilitary, guerrilla groups, and narcotraffickers. Between 1958 and 2018 there were 4,210 massacres, 214,584 civilians and 46,675 combatants killed, 79,245 civilians "disappeared," and over seven million internally displaced individuals. Almost 70% of this violence has occurred in rural areas, far from urban centers where the population is concentrated. This cartography correlates to polarization between sectors that experienced armed conflict, and sectors that witnessed these events mainly through the media. These contrasting experiences shape views on peace and reconciliation. Art can bridge these "two Colombias" through symbolic representations of pain developed in collaboration with victims of armed conflict. This "democratization of suffering" creates an emotional community with a deeper understanding of the country's physical and psychological wounds. Our presentation provides an overview of this phenomenon, with examples from artists in various genres (Erika Diettes, Doris Salcedo, Oscar Muñoz, Miguel Angel Rojas, Clemencia Echeverri, Humberto Dorado). Then, we discuss Edwin Rodriguez's Memories in Color project and our related engaged teaching. "Memories in Color" establishes collaboration between ex-combatants, communities affected by violence, and artists to find common ground where they can process together their painful past and hopes for a peaceful future. Miniature houses become a symbolic vehicle to build democratic space where opposing voices coexist. We describe K-State Spanish students' collaborative translation process and share examples: two brief videos about Memories in Color and a survivor monologue. Participants gain awareness of the democratic potential of art through Colombians' efforts to unite and own their painful history. Students' translations mirror this effort as a diverse group arrives at a collective narrative by negotiating understandings based on differing experiences.

Government reports and published research have flagged and brought to public attention the deteriorating condition of a large percentage of bridges in Canada and the United States. With the increasing number of deteriorated bridges in the US, Canada, and around the globe, condition assessment techniques of concrete bridges are evolving. Investigation for bridges' defects such as cracks, spalls, and delamination and their level of severity are the main objectives of condition assessment. Inspection and rehabilitation programs are being implemented to monitor and maintain deteriorated bridge infrastructure. This paper highlights the state-of-the art of current practices being performed for concrete bridge inspection. The information is gathered from the literature and through a distributed questionnaire. The current practices in concrete bridge inspection rely on the use of hummer sounding and chain dragging tests. Non-Destructive Testing (NDT) techniques are not being utilized fully in the process. Nonetheless, they are being partially utilized by the recommendation of the bridge inspector after conducting visual inspection. Lanes are usually closed during the performance of visual inspection and bridge inspection in general.