{"id":28080,"date":"2026-07-12T16:39:23","date_gmt":"2026-07-12T16:39:23","guid":{"rendered":"https:\/\/www.binauralmedia.org\/news\/arquivo\/portfolio-items\/luis-costa-dialogical-rural-art"},"modified":"2026-07-12T21:39:05","modified_gmt":"2026-07-12T21:39:05","slug":"luis-costa-dialogical-rural-art","status":"publish","type":"avada_portfolio","link":"https:\/\/www.binauralmedia.org\/news\/en\/arquivo\/portfolio-items\/luis-costa-dialogical-rural-art","title":{"rendered":"Lu\u00eds Costa: Dialogical Rural Art"},"content":{"rendered":"<div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-1 fusion-flex-container nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-content-wrap\" 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#111;padding:28px 32px 34px}\n.dra-biblio h2{font-family:'Georgia',serif;font-size:1.2rem;font-weight:700;color:#111;margin-bottom:16px}\n.dra-bib-list{columns:2;column-gap:26px;list-style:none;padding:0}\n.dra-bib-list li{font-size:.78rem;line-height:1.5;margin-bottom:8px;break-inside:avoid;color:#2a2a2a}\n.dra-bib-id{font-weight:700;color:#555;margin-right:4px;font-size:.7rem;font-family:'Courier New',monospace}\n.dra-footer{background:#111;color:#aaa;padding:14px 32px;font-size:.77rem;display:flex;justify-content:space-between;flex-wrap:wrap;gap:8px;border-radius:0 0 3px 3px}\n.dra-footer a{color:#aaa}\n.dra-footer strong{color:#fff}\n.dra-svg{display:block;width:100%}\n@media(max-width:640px){.dra-essays{grid-template-columns:1fr 1fr}.dra-bib-list{columns:1}.dra-contrib{grid-template-columns:1fr}.dra-header h1{font-size:1.8rem}}\n<\/style>\n<div class=\"dra\">\n<div class=\"dra-header\">\n<p class=\"dra-header-meta\">Lu&#237;s Gomes da Costa &nbsp;&#183;&nbsp; PhD Researcher &nbsp;&#183;&nbsp; Universidade de Aveiro \/ ID+ \/ LiDA &nbsp;&#183;&nbsp; 2023&#8211;2026<\/p>\n<h1><em>Dialogical<\/em> Rural Art<\/h1>\n<p class=\"dra-header-sub\">Multimodal Artistic Creations Between Rural Places, Communities and Senses in Southern Europe<\/p>\n<div class=\"dra-tags\">\n    <span class=\"dra-tag\">Practice-Based Artistic Research<\/span><br \/>\n    <span class=\"dra-tag\">ID+ Research Institute for Design, Media and Culture<\/span><br \/>\n    <span class=\"dra-tag\">LiDA &#8211; Laboratory in Design and Arts<\/span><br \/>\n    <span class=\"dra-tag\">Binaural Nodar &#8211; Cultural Association<\/span><br \/>\n    <span class=\"dra-tag\">Tramontana Network<\/span>\n  <\/div>\n<\/div>\n<div class=\"dra-kw\">\n  <span class=\"dra-kw-lbl\">Keywords<\/span><br \/>\n  <span class=\"dra-kw-item\">Art in rural context<\/span><br \/>\n  <span class=\"dra-kw-item\">Audiovisual ethnography<\/span><br \/>\n  <span class=\"dra-kw-item\">Site-specific art<\/span><br \/>\n  <span class=\"dra-kw-item\">Ethno-poiesis<\/span><br \/>\n  <span class=\"dra-kw-item\">Expanded cinema<\/span><br \/>\n  <span class=\"dra-kw-item\">Interactive installation<\/span><br \/>\n  <span class=\"dra-kw-item\">Inter-local dialogue<\/span>\n<\/div>\n<div class=\"dra-nav\">\n  <a href=\"#en-intro\">I. Introduction<\/a><a href=\"#en-art\">II. State of the Art<\/a><br \/>\n  <a href=\"#en-frame\">III. Conceptual Framework<\/a><a href=\"#en-method\">IV. Methodology<\/a><br \/>\n  <a href=\"#en-essays\">V. The Nine Essays<\/a><a href=\"#en-instal\">VI. Installation<\/a><br \/>\n  <a href=\"#en-contrib\">VII. Contributions<\/a><a href=\"#en-bib\">Bibliography<\/a>\n<\/div>\n<div class=\"dra-section\" id=\"en-intro\">\n<div class=\"dra-sec-hdr\">\n<div class=\"dra-sec-num\">I<\/div>\n<div>\n<div class=\"dra-sec-title\">Introduction: A Root Between Places<\/div>\n<div class=\"dra-sec-sub\">The autobiographical, cultural and institutional context of the research<\/div>\n<\/div>\n<\/div>\n<div class=\"dra-info\">\n<div class=\"dra-info-hdr\">Research Timeline<\/div>\n<div class=\"dra-info-body\">\n<svg class=\"dra-svg\" viewBox=\"0 0 720 68\">\n<defs><marker id=\"en-a1\" markerWidth=\"6\" markerHeight=\"6\" refX=\"5\" refY=\"3\" orient=\"auto\"><path d=\"M0,0 L6,3 L0,6Z\" fill=\"#555\"\/><\/marker><\/defs>\n<line x1=\"30\" y1=\"32\" x2=\"690\" y2=\"32\" stroke=\"#ddd\" stroke-width=\"2\"\/>\n<circle cx=\"70\" cy=\"32\" r=\"20\" fill=\"#111\"\/>\n<text x=\"70\" y=\"28\" text-anchor=\"middle\" font-size=\"9\" fill=\"#fff\" font-family=\"Arial\" font-weight=\"bold\">2004<\/text>\n<text x=\"70\" y=\"40\" text-anchor=\"middle\" font-size=\"8\" fill=\"#ccc\" font-family=\"Arial\">Return<\/text>\n<line x1=\"90\" y1=\"32\" x2=\"188\" y2=\"32\" stroke=\"#555\" stroke-width=\"1.5\" marker-end=\"url(#en-a1)\"\/>\n<circle cx=\"210\" cy=\"32\" r=\"20\" fill=\"#333\"\/>\n<text x=\"210\" y=\"28\" text-anchor=\"middle\" font-size=\"9\" fill=\"#fff\" font-family=\"Arial\" font-weight=\"bold\">2006<\/text>\n<text x=\"210\" y=\"40\" text-anchor=\"middle\" font-size=\"8\" fill=\"#ccc\" font-family=\"Arial\">Binaural<\/text>\n<line x1=\"230\" y1=\"32\" x2=\"328\" y2=\"32\" stroke=\"#555\" stroke-width=\"1.5\" marker-end=\"url(#en-a1)\"\/>\n<circle cx=\"350\" cy=\"32\" r=\"20\" fill=\"#111\"\/>\n<text x=\"350\" y=\"28\" text-anchor=\"middle\" font-size=\"9\" fill=\"#fff\" font-family=\"Arial\" font-weight=\"bold\">2023<\/text>\n<text x=\"350\" y=\"40\" text-anchor=\"middle\" font-size=\"8\" fill=\"#ccc\" font-family=\"Arial\">PhD starts<\/text>\n<line x1=\"370\" y1=\"32\" x2=\"468\" y2=\"32\" stroke=\"#555\" stroke-width=\"1.5\" marker-end=\"url(#en-a1)\"\/>\n<circle cx=\"490\" cy=\"32\" r=\"20\" fill=\"#333\"\/>\n<text x=\"490\" y=\"28\" text-anchor=\"middle\" font-size=\"9\" fill=\"#fff\" font-family=\"Arial\" font-weight=\"bold\">24&#8211;25<\/text>\n<text x=\"490\" y=\"40\" text-anchor=\"middle\" font-size=\"8\" fill=\"#ccc\" font-family=\"Arial\">9 Essays<\/text>\n<line x1=\"510\" y1=\"32\" x2=\"608\" y2=\"32\" stroke=\"#555\" stroke-width=\"1.5\" marker-end=\"url(#en-a1)\"\/>\n<circle cx=\"630\" cy=\"32\" r=\"20\" fill=\"#111\"\/>\n<text x=\"630\" y=\"28\" text-anchor=\"middle\" font-size=\"9\" fill=\"#fff\" font-family=\"Arial\" font-weight=\"bold\">2026<\/text>\n<text x=\"630\" y=\"40\" text-anchor=\"middle\" font-size=\"8\" fill=\"#ccc\" font-family=\"Arial\">Defence<\/text>\n<\/svg><\/div>\n<\/div>\n<div class=\"dra-text\">\n<p>This research stems from a lifetime of lived experience between urban and rural worlds. Born to parents who emigrated from a rural region to Lisbon, the researcher grew up oscillating between two realities &#8212; the multicultural periphery of the capital and the pristine valleys of the Paiva river in Viseu D&#227;o Laf&#245;es. In 2004, a deliberate return to that rural world led to the founding of <strong>Binaural Nodar &#8211; Cultural Association<\/strong>, which has since hosted over 175 artists and researchers from more than 20 countries in artistic residence.<\/p>\n<p>Over two decades of curatorial, artistic and editorial activity across rural Southern Europe &#8212; including projects in Spain, Italy, Uruguay and Brazil &#8212; the researcher developed a sustained engagement with the complexity of rural places: their identities, transformations and interlocal affinities. This doctoral research in Artistic Creation (Universidade de Aveiro \/ ID+ \/ LiDA, 2023&#8211;2026) formalises that accumulated experience into a practice-based methodology.<\/p>\n<div class=\"dra-quote\">&#8220;This research proposes an interlocal, practice-based artistic research methodology, in which ethno-poiesis and the audiovisual essay transform ethnographic materials into sensory and relational forms of knowledge about the rural territories of Southern Europe.&#8221;<\/div>\n<p>The central question: <strong>how can artistic practice, through an interlocal and multimodal methodology, capture and make visible the &#8212; often invisible &#8212; relations between geographically distant yet culturally related rural places?<\/strong> <a href=\"#en-bib\" class=\"dra-cite\">(Borowiecki et al., 2016; MacClancy, 2015; Figueiredo et al., 2011)<\/a><\/p>\n<\/div>\n<\/div>\n<div class=\"dra-section\" id=\"en-art\">\n<div class=\"dra-sec-hdr\">\n<div class=\"dra-sec-num\">II<\/div>\n<div>\n<div class=\"dra-sec-title\">State of the Art and Antecedents<\/div>\n<div class=\"dra-sec-sub\">Artistic practices in rural contexts and inter-local dialogue<\/div>\n<\/div>\n<\/div>\n<div class=\"dra-text\">\n<p>The research is situated at the intersection of four established fields. In <strong>sensory ethnography<\/strong>, the work of Pink <a href=\"#en-bib\" class=\"dra-cite\">(2015)<\/a> and the Sensory Ethnography Lab at Harvard <a href=\"#en-bib\" class=\"dra-cite\">(Castaing-Taylor, 1996)<\/a> frames an approach that privileges embodied, multisensory knowledge over textual description &#8212; while recognising that the researcher does not claim the role of ethnographer in the disciplinary sense.<\/p>\n<p>The tradition of the <strong>audiovisual essay<\/strong> as a &#8220;form that thinks&#8221; <a href=\"#en-bib\" class=\"dra-cite\">(Corrigan, 2011; Rascaroli, 2017)<\/a> &#8212; exemplified by Hutton&#8217;s long-take cinema in <em>Two Rivers<\/em> <a href=\"#en-bib\" class=\"dra-cite\">(2001&#8211;2002)<\/a> and Russell&#8217;s dialectical montage in <em>Good Luck<\/em> <a href=\"#en-bib\" class=\"dra-cite\">(2017)<\/a> &#8212; models how sensory rhythms can evoke inter-local connections without erasing difference.<\/p>\n<p><strong>Site-specific art<\/strong> provides the paradigmatic anchor through Kwon&#8217;s critique of the field&#8217;s expansion beyond singular place-dependence <a href=\"#en-bib\" class=\"dra-cite\">(2002)<\/a>. Finally, <strong>expanded cinema<\/strong> &#8212; from Youngblood <a href=\"#en-bib\" class=\"dra-cite\">(1970)<\/a> to Akomfrah <a href=\"#en-bib\" class=\"dra-cite\">(2023)<\/a> and Bellour&#8217;s <em>querelle des dispositifs<\/em> <a href=\"#en-bib\" class=\"dra-cite\">(2012)<\/a> &#8212; frames the transition from linear essays to the interactive installation.<\/p>\n<\/div>\n<\/div>\n<div class=\"dra-section\" id=\"en-frame\">\n<div class=\"dra-sec-hdr\">\n<div class=\"dra-sec-num\">III<\/div>\n<div>\n<div class=\"dra-sec-title\">Conceptual Framework<\/div>\n<div class=\"dra-sec-sub\">Dual site-specificity, ethno-poiesis and the audiovisual essay as epistemological devices<\/div>\n<\/div>\n<\/div>\n<div class=\"dra-info\">\n<div class=\"dra-info-hdr\">Site-Specific Duality<\/div>\n<div class=\"dra-info-body\">\n<svg class=\"dra-svg\" viewBox=\"0 0 500 200\">\n  <circle cx=\"185\" cy=\"100\" r=\"80\" fill=\"#f4f4f2\" stroke=\"#555\" stroke-width=\"1.5\"\/>\n  <circle cx=\"315\" cy=\"100\" r=\"80\" fill=\"#f4f4f2\" stroke=\"#555\" stroke-width=\"1.5\"\/>\n  <clipPath id=\"en-vc\"><circle cx=\"315\" cy=\"100\" r=\"80\"\/><\/clipPath>\n  <circle cx=\"185\" cy=\"100\" r=\"80\" fill=\"#e0e0de\" stroke=\"none\" clip-path=\"url(#en-vc)\"\/>\n  <text x=\"154\" y=\"96\" text-anchor=\"middle\" font-size=\"13\" font-weight=\"bold\" fill=\"#111\" font-family=\"Arial\">Place A<\/text>\n  <text x=\"154\" y=\"112\" text-anchor=\"middle\" font-size=\"10\" fill=\"#555\" font-family=\"Arial\">PT \/ ES \/ IT<\/text>\n  <text x=\"346\" y=\"96\" text-anchor=\"middle\" font-size=\"13\" font-weight=\"bold\" fill=\"#111\" font-family=\"Arial\">Place B<\/text>\n  <text x=\"346\" y=\"112\" text-anchor=\"middle\" font-size=\"10\" fill=\"#555\" font-family=\"Arial\">PT \/ ES \/ IT<\/text>\n  <text x=\"250\" y=\"95\" text-anchor=\"middle\" font-size=\"9.5\" font-style=\"italic\" fill=\"#333\" font-family=\"Arial\">third<\/text>\n  <text x=\"250\" y=\"109\" text-anchor=\"middle\" font-size=\"9.5\" font-style=\"italic\" fill=\"#333\" font-family=\"Arial\">place<\/text>\n  <text x=\"250\" y=\"190\" text-anchor=\"middle\" font-size=\"9\" fill=\"#888\" font-family=\"Arial\">&#8592; relational interval &#8594;<\/text>\n<\/svg>\n<\/div>\n<\/div>\n<div class=\"dra-pills\">\n<div class=\"dra-pill\">\n<div class=\"dra-pill-title\">Dual Site-Specificity<\/div>\n<div class=\"dra-pill-text\">Each work establishes dialogues between two geographically distinct but culturally related rural contexts, creating &#8220;third places&#8221; in the interstices through juxtaposition and parataxis. <a href=\"#en-bib\" class=\"dra-cite\">(Costa &amp; Duarte, 2025; Baptista, 2016; Kwon, 2002)<\/a><\/div>\n<\/div>\n<div class=\"dra-pill\">\n<div class=\"dra-pill-title\">Ethno-poiesis<\/div>\n<div class=\"dra-pill-text\">Creative transformation of ethnographic materials into poetic artistic forms that return aesthetic and political agency to participating communities. <a href=\"#en-bib\" class=\"dra-cite\">(Hymes, 1981, 2003; Gaiger, 2009; Bishop, 2012)<\/a><\/div>\n<\/div>\n<div class=\"dra-pill\">\n<div class=\"dra-pill-title\">Taskscape<\/div>\n<div class=\"dra-pill-text\">Rural places as dynamic configurations resulting from the continuous interaction between human practices, landscapes, memories and temporalities. <a href=\"#en-bib\" class=\"dra-cite\">(Ingold, 2000; Cresswell, 2014)<\/a><\/div>\n<\/div>\n<div class=\"dra-pill\">\n<div class=\"dra-pill-title\">Boundary Objects<\/div>\n<div class=\"dra-pill-text\">Archives, maps, material remnants and oral histories functioning simultaneously as ethnographic evidence and poetic raw material. <a href=\"#en-bib\" class=\"dra-cite\">(Star &amp; Griesemer, 1989; Groot &amp; Abma, 2021)<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"dra-text\">\n<p>This research inscribes itself within practice-based artistic research: theoretical frameworks are not applied externally as analytical grids &#8212; they are operationalised as active devices that directly guide fieldwork, audiovisual capture, editing and installation. <a href=\"#en-bib\" class=\"dra-cite\">(Barrett &amp; Bolt, 2007; Bolt, 2007)<\/a><\/p>\n<p>Place is understood &#8212; following Heidegger&#8217;s <em>Dasein<\/em> <a href=\"#en-bib\" class=\"dra-cite\">(1927\/1962)<\/a> &#8212; as a pre-reflexive mode of being-in-the-world, while Didi-Huberman <a href=\"#en-bib\" class=\"dra-cite\">(2026)<\/a> ensures the research resists any notion of fixed origins: place is dynamic, porous and relational.<\/p>\n<div class=\"dra-quote\">&#8220;Practice is not the application of theory, but a mode of thought in itself.&#8221; &#8212; Bolt, 2007, pp. 27&#8211;34<\/div>\n<\/div>\n<\/div>\n<div class=\"dra-section\" id=\"en-method\">\n<div class=\"dra-sec-hdr\">\n<div class=\"dra-sec-num\">IV<\/div>\n<div>\n<div class=\"dra-sec-title\">Methodology<\/div>\n<div class=\"dra-sec-sub\">From multi-sited fieldwork to audiovisual essay &#8212; an empirical-poetic approach<\/div>\n<\/div>\n<\/div>\n<div class=\"dra-info\">\n<div class=\"dra-info-hdr\">Epistemological Architecture &#8212; Practice-Based Research<\/div>\n<div class=\"dra-info-body\">\n<svg class=\"dra-svg\" viewBox=\"0 0 720 96\">\n<defs><marker id=\"en-a2\" markerWidth=\"6\" markerHeight=\"6\" refX=\"5\" refY=\"3\" orient=\"auto\"><path d=\"M0,0 L6,3 L0,6Z\" fill=\"#555\"\/><\/marker><\/defs>\n<text x=\"360\" y=\"10\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#888\" font-family=\"Arial\">ALL PHASES ARE PRACTICE-BASED &#8212; THEORY TRANSLATES DIRECTLY INTO CONCRETE CREATIVE DECISIONS<\/text>\n<rect x=\"4\" y=\"15\" width=\"126\" height=\"72\" rx=\"2\" fill=\"#f4f4f2\" stroke=\"#bbb\"\/>\n<text x=\"67\" y=\"40\" text-anchor=\"middle\" font-size=\"8.5\" font-weight=\"bold\" fill=\"#111\" font-family=\"Arial\">PARADIGM<\/text>\n<text x=\"67\" y=\"55\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#555\" font-family=\"Arial\">Practice-Based<\/text>\n<text x=\"67\" y=\"67\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#555\" font-family=\"Arial\">Research<\/text>\n<line x1=\"130\" y1=\"51\" x2=\"146\" y2=\"51\" stroke=\"#555\" stroke-width=\"1.2\" marker-end=\"url(#en-a2)\"\/>\n<rect x=\"148\" y=\"15\" width=\"126\" height=\"72\" rx=\"2\" fill=\"#f4f4f2\" stroke=\"#bbb\"\/>\n<text x=\"211\" y=\"35\" text-anchor=\"middle\" font-size=\"8.5\" font-weight=\"bold\" fill=\"#111\" font-family=\"Arial\">FIELD APPROACH<\/text>\n<text x=\"211\" y=\"50\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#555\" font-family=\"Arial\">Phenomenology +<\/text>\n<text x=\"211\" y=\"62\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#555\" font-family=\"Arial\">Sensory Ethnography<\/text>\n<text x=\"211\" y=\"74\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#555\" font-family=\"Arial\">+ Multi-sited<\/text>\n<line x1=\"274\" y1=\"51\" x2=\"290\" y2=\"51\" stroke=\"#555\" stroke-width=\"1.2\" marker-end=\"url(#en-a2)\"\/>\n<rect x=\"292\" y=\"15\" width=\"126\" height=\"72\" rx=\"2\" fill=\"#ddd\" stroke=\"#666\" stroke-width=\"1.5\"\/>\n<text x=\"355\" y=\"40\" text-anchor=\"middle\" font-size=\"8.5\" font-weight=\"bold\" fill=\"#111\" font-family=\"Arial\">KNOWLEDGE<\/text>\n<text x=\"355\" y=\"55\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#333\" font-family=\"Arial\">AV Essay +<\/text>\n<text x=\"355\" y=\"67\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#333\" font-family=\"Arial\">Ethno-poiesis<\/text>\n<line x1=\"418\" y1=\"51\" x2=\"434\" y2=\"51\" stroke=\"#555\" stroke-width=\"1.2\" marker-end=\"url(#en-a2)\"\/>\n<rect x=\"436\" y=\"15\" width=\"126\" height=\"72\" rx=\"2\" fill=\"#f4f4f2\" stroke=\"#bbb\"\/>\n<text x=\"499\" y=\"40\" text-anchor=\"middle\" font-size=\"8.5\" font-weight=\"bold\" fill=\"#111\" font-family=\"Arial\">VALIDATION<\/text>\n<text x=\"499\" y=\"55\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#555\" font-family=\"Arial\">Interactive<\/text>\n<text x=\"499\" y=\"67\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#555\" font-family=\"Arial\">Installation<\/text>\n<line x1=\"562\" y1=\"51\" x2=\"578\" y2=\"51\" stroke=\"#555\" stroke-width=\"1.2\" marker-end=\"url(#en-a2)\"\/>\n<rect x=\"580\" y=\"15\" width=\"136\" height=\"72\" rx=\"2\" fill=\"#ccc\" stroke=\"#666\" stroke-width=\"1.5\"\/>\n<text x=\"648\" y=\"35\" text-anchor=\"middle\" font-size=\"8.5\" font-weight=\"bold\" fill=\"#111\" font-family=\"Arial\">CONTRIBUTION<\/text>\n<text x=\"648\" y=\"50\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#333\" font-family=\"Arial\">Dual Site-Specificity<\/text>\n<text x=\"648\" y=\"62\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#333\" font-family=\"Arial\">+ Ethno-poiesis<\/text>\n<text x=\"648\" y=\"74\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#333\" font-family=\"Arial\">+ Spatial AV Essay<\/text>\n<\/svg><\/div>\n<\/div>\n<div class=\"dra-text\">\n<p>The methodology follows an <strong>empirical-poetic<\/strong> approach developed within a dialogic operative field. The researcher is NOT an ethnographer in the disciplinary sense: this quasi-ethnographic dimension exists only within the space of artistic practice &#8212; experimental cinema, audiovisual essay and installation. <a href=\"#en-bib\" class=\"dra-cite\">(Castaing-Taylor, 1996)<\/a><\/p>\n<\/div>\n<div class=\"dra-steps\">\n<div class=\"dra-step\">\n<div class=\"dra-step-num\">1<\/div>\n<div>\n<div class=\"dra-step-title\">Multi-Sited Fieldwork<\/div>\n<div class=\"dra-step-text\">Two rural places from PT\/ES\/IT selected by affective and intuitive criteria. Immersive multisensory fieldwork: soundscape recordings, photography, in-situ interviews, archival gathering, collecting objects. Physical displacement between the two places is itself methodological. <a href=\"#en-bib\" class=\"dra-cite\">(Falzon, 2009)<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"dra-step\">\n<div class=\"dra-step-num\">2<\/div>\n<div>\n<div class=\"dra-step-title\">Sensory and Phenomenological Ethnography<\/div>\n<div class=\"dra-step-text\">Binaural microphones, hydrophones, contact microphones, long embodied takes. Capturing sonic textures: tools, wind, work rhythms, disappearing dialects. <a href=\"#en-bib\" class=\"dra-cite\">(Merleau-Ponty, 1945\/2012; Heidegger, 1927\/1962; Pink, 2015)<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"dra-step\">\n<div class=\"dra-step-num\">3<\/div>\n<div>\n<div class=\"dra-step-title\">Materials as Boundary Objects<\/div>\n<div class=\"dra-step-text\">Collected materials function simultaneously as ethnographic evidence and poetic raw material, circulating between disciplinary contexts. <a href=\"#en-bib\" class=\"dra-cite\">(Star &amp; Griesemer, 1989; Groot &amp; Abma, 2021)<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"dra-step\">\n<div class=\"dra-step-num\">4<\/div>\n<div>\n<div class=\"dra-step-title\">Ethno-poiesis: Creative Transformation<\/div>\n<div class=\"dra-step-text\">Further research + lateral thinking + electroacoustic composition + essayistic writing. The text does not explain the field &#8212; it dialogues with it, respecting rhythms, pauses and vernacular cadences. <a href=\"#en-bib\" class=\"dra-cite\">(Hymes, 1981, 2003; Gaiger, 2009; Bishop, 2012)<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"dra-step\">\n<div class=\"dra-step-num\">5<\/div>\n<div>\n<div class=\"dra-step-title\">Audiovisual Essay: Editing as Epistemological Operation<\/div>\n<div class=\"dra-step-text\">Integration of video, soundscapes, oral narratives, archival materials and poetic texts. Meaning emerges in the interval between juxtaposed fragments &#8212; not from a pre-defined thesis. <a href=\"#en-bib\" class=\"dra-cite\">(Corrigan, 2011; Rascaroli, 2017; Bolt, 2006; Baptista, 2016)<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"dra-section\" id=\"en-essays\">\n<div class=\"dra-sec-hdr\">\n<div class=\"dra-sec-num\">V<\/div>\n<div>\n<div class=\"dra-sec-title\">The Nine Audiovisual Essays<\/div>\n<div class=\"dra-sec-sub\">Nine <em>dual site-specific<\/em> works pairing rural communities across Portugal, Spain and Italy<\/div>\n<\/div>\n<\/div>\n<div class=\"dra-text\">\n<p>Each essay applies the methodological scheme of Chapter 6 &#8212; identifying the specific thematic, the relational typology (mirror, contrast, journey\/leap, analogy) and how each dimension (landscape, ethnographic, historical, literary, poetic) is concretised in that specific inter-local encounter. <a href=\"#en-bib\" class=\"dra-cite\">(Costa &amp; Duarte, 2025)<\/a><\/p>\n<\/div>\n<div class=\"dra-essays\">\n<div class=\"dra-essay\">\n<div class=\"dra-essay-num\">01<\/div>\n<div class=\"dra-essay-title\">Two Brotherly Hills<\/div>\n<div class=\"dra-essay-loc\">Pico Sacro (ES) &#8596; Monte de S&#227;o Mac&#225;rio (PT)<\/div>\n<div class=\"dra-essay-theme\">Spirituality &#183; Mirror<\/div>\n<\/div>\n<div class=\"dra-essay\">\n<div class=\"dra-essay-num\">02<\/div>\n<div class=\"dra-essay-title\">The Third River<\/div>\n<div class=\"dra-essay-loc\">Torrente Bisagno (IT) &#8596; Rio Paiva (PT)<\/div>\n<div class=\"dra-essay-theme\">Water \/ Memory &#183; Contrast<\/div>\n<\/div>\n<div class=\"dra-essay\">\n<div class=\"dra-essay-num\">03<\/div>\n<div class=\"dra-essay-title\">Canals of Water &amp; Sustenance<\/div>\n<div class=\"dra-essay-loc\">Agro Pontino (IT) &#8596; Gralheira (PT)<\/div>\n<div class=\"dra-essay-theme\">Agriculture &#183; Contrast<\/div>\n<\/div>\n<div class=\"dra-essay\">\n<div class=\"dra-essay-num\">04<\/div>\n<div class=\"dra-essay-title\">An Asinine Tale<\/div>\n<div class=\"dra-essay-loc\">Zamora (ES) &#8596; Viseu D&#227;o Laf&#245;es (PT)<\/div>\n<div class=\"dra-essay-theme\">Animal Life &#183; Journey<\/div>\n<\/div>\n<div class=\"dra-essay\">\n<div class=\"dra-essay-num\">05<\/div>\n<div class=\"dra-essay-title\">Carqueja &amp; Giesta<\/div>\n<div class=\"dra-essay-loc\">Ginestar (ES) &#8596; V&#225;rzea de Calde (PT)<\/div>\n<div class=\"dra-essay-theme\">Ethnobotany &#183; Contrast<\/div>\n<\/div>\n<div class=\"dra-essay\">\n<div class=\"dra-essay-num\">06<\/div>\n<div class=\"dra-essay-title\">Time of the Eternal Garden<\/div>\n<div class=\"dra-essay-loc\">Poggio delle Rose (IT) &#8596; Gafanh&#227;o (PT)<\/div>\n<div class=\"dra-essay-theme\">Horticulture &#183; Analogy<\/div>\n<\/div>\n<div class=\"dra-essay\">\n<div class=\"dra-essay-num\">07<\/div>\n<div class=\"dra-essay-title\">The Animals of Creation<\/div>\n<div class=\"dra-essay-loc\">Li Massimuc&#231;&#235; (IT) &#8596; Raso (PT)<\/div>\n<div class=\"dra-essay-theme\">Livestock &#183; Contrast<\/div>\n<\/div>\n<div class=\"dra-essay\">\n<div class=\"dra-essay-num\">08<\/div>\n<div class=\"dra-essay-title\">Tessitura<\/div>\n<div class=\"dra-essay-loc\">Campotosto (IT) &#8596; V&#225;rzea de Calde (PT)<\/div>\n<div class=\"dra-essay-theme\">Textile Craft &#183; Journey<\/div>\n<\/div>\n<div class=\"dra-essay\">\n<div class=\"dra-essay-num\">09<\/div>\n<div class=\"dra-essay-title\">The Night in Common<\/div>\n<div class=\"dra-essay-loc\">Penna Sant&#8217;Andrea (IT) &#8596; Negrelos (PT)<\/div>\n<div class=\"dra-essay-theme\">Calendar Rituals &#183; Analogy<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"dra-section\" id=\"en-instal\">\n<div class=\"dra-sec-hdr\">\n<div class=\"dra-sec-num\">VI<\/div>\n<div>\n<div class=\"dra-sec-title\">&#8220;Rural Interstices&#8221; &#8212; Interactive Multichannel Installation<\/div>\n<div class=\"dra-sec-sub\">From time to space &#8212; a living meta-third place<\/div>\n<\/div>\n<\/div>\n<div class=\"dra-info\">\n<div class=\"dra-info-hdr\">Installation System<\/div>\n<div class=\"dra-info-body\">\n<svg class=\"dra-svg\" viewBox=\"0 0 720 88\">\n<defs><marker id=\"en-a3\" markerWidth=\"6\" markerHeight=\"6\" refX=\"5\" refY=\"3\" orient=\"auto\"><path d=\"M0,0 L6,3 L0,6Z\" fill=\"#555\"\/><\/marker><\/defs>\n<rect x=\"4\" y=\"10\" width=\"118\" height=\"68\" rx=\"2\" fill=\"#f4f4f2\" stroke=\"#bbb\"\/>\n<text x=\"63\" y=\"32\" text-anchor=\"middle\" font-size=\"8.5\" font-weight=\"bold\" fill=\"#111\" font-family=\"Arial\">INPUT<\/text>\n<text x=\"63\" y=\"47\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#555\" font-family=\"Arial\">1 Kinect sensor<\/text>\n<text x=\"63\" y=\"59\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#555\" font-family=\"Arial\">up to 4 participants<\/text>\n<text x=\"63\" y=\"71\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#555\" font-family=\"Arial\">(skeletal data)<\/text>\n<line x1=\"122\" y1=\"44\" x2=\"138\" y2=\"44\" stroke=\"#555\" stroke-width=\"1.2\" marker-end=\"url(#en-a3)\"\/>\n<rect x=\"140\" y=\"10\" width=\"118\" height=\"68\" rx=\"2\" fill=\"#f4f4f2\" stroke=\"#bbb\"\/>\n<text x=\"199\" y=\"32\" text-anchor=\"middle\" font-size=\"8.5\" font-weight=\"bold\" fill=\"#111\" font-family=\"Arial\">PROCESSING<\/text>\n<text x=\"199\" y=\"47\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#555\" font-family=\"Arial\">Unity engine<\/text>\n<text x=\"199\" y=\"59\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#555\" font-family=\"Arial\">3 interaction<\/text>\n<text x=\"199\" y=\"71\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#555\" font-family=\"Arial\">states<\/text>\n<line x1=\"258\" y1=\"44\" x2=\"274\" y2=\"44\" stroke=\"#555\" stroke-width=\"1.2\" marker-end=\"url(#en-a3)\"\/>\n<rect x=\"276\" y=\"10\" width=\"148\" height=\"68\" rx=\"2\" fill=\"#ddd\" stroke=\"#666\" stroke-width=\"1.5\"\/>\n<text x=\"350\" y=\"32\" text-anchor=\"middle\" font-size=\"8.5\" font-weight=\"bold\" fill=\"#111\" font-family=\"Arial\">OUTPUT<\/text>\n<text x=\"350\" y=\"47\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#333\" font-family=\"Arial\">2 large video screens<\/text>\n<text x=\"350\" y=\"59\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#333\" font-family=\"Arial\">54 clips (9 essays)<\/text>\n<text x=\"350\" y=\"71\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#333\" font-family=\"Arial\">+ ambient sound layer<\/text>\n<line x1=\"424\" y1=\"44\" x2=\"440\" y2=\"44\" stroke=\"#555\" stroke-width=\"1.2\" marker-end=\"url(#en-a3)\"\/>\n<rect x=\"442\" y=\"10\" width=\"126\" height=\"68\" rx=\"2\" fill=\"#f4f4f2\" stroke=\"#bbb\"\/>\n<text x=\"505\" y=\"32\" text-anchor=\"middle\" font-size=\"8.5\" font-weight=\"bold\" fill=\"#111\" font-family=\"Arial\">SYMBOLIC<\/text>\n<text x=\"505\" y=\"47\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#555\" font-family=\"Arial\">Translucent tulle<\/text>\n<text x=\"505\" y=\"59\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#555\" font-family=\"Arial\">fabrics as metaphoric<\/text>\n<text x=\"505\" y=\"71\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#555\" font-family=\"Arial\">membranes of memory<\/text>\n<line x1=\"568\" y1=\"44\" x2=\"584\" y2=\"44\" stroke=\"#555\" stroke-width=\"1.2\" marker-end=\"url(#en-a3)\"\/>\n<rect x=\"586\" y=\"10\" width=\"130\" height=\"68\" rx=\"2\" fill=\"#ccc\" stroke=\"#666\" stroke-width=\"1.5\"\/>\n<text x=\"651\" y=\"32\" text-anchor=\"middle\" font-size=\"8.5\" font-weight=\"bold\" fill=\"#111\" font-family=\"Arial\">META-PLACE<\/text>\n<text x=\"651\" y=\"47\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#333\" font-family=\"Arial\">Memory + imagination<\/text>\n<text x=\"651\" y=\"59\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#333\" font-family=\"Arial\">+ perception<\/text>\n<text x=\"651\" y=\"71\" text-anchor=\"middle\" font-size=\"7.5\" fill=\"#333\" font-family=\"Arial\">+ experience<\/text>\n<\/svg><\/div>\n<\/div>\n<div class=\"dra-text\">\n<p>The transition from the linear audiovisual essay to the installation space inscribes itself within Bellour&#8217;s theoretical debate on the limits of the cinematographic apparatus <a href=\"#en-bib\" class=\"dra-cite\">(2012)<\/a>. Inspired by Akomfrah&#8217;s multi-channel montage <a href=\"#en-bib\" class=\"dra-cite\">(2023)<\/a>, the installation distributes 54 video clips from all 9 essays across 2 screens, dynamically activated by visitor movement via Kinect and Unity.<\/p>\n<\/div>\n<div class=\"dra-states\">\n<div class=\"dra-state\">\n<div class=\"dra-state-title\">Base State &#8212; Meta-Landscape<\/div>\n<div class=\"dra-state-text\">Contemplative audiovisual environment evoking the sensory qualities of rural landscapes; ambient soundscapes invite quiet reflection.<\/div>\n<\/div>\n<div class=\"dra-state\">\n<div class=\"dra-state-title\">Zone 1 &#8212; Ethnographic Voice<\/div>\n<div class=\"dra-state-text\">2 central participants trigger dialogic audiovisual sequences with overlapping rural voices; ethnographic co-creation between communities.<\/div>\n<\/div>\n<div class=\"dra-state\">\n<div class=\"dra-state-title\">Zone 2 &#8212; Ethno-poetic Voice<\/div>\n<div class=\"dra-state-text\">2 lateral participants engage full multisensory orchestration; poetic essays amplified; hidden sensory layers connecting places activated. <a href=\"#en-bib\" class=\"dra-cite\">(Ranci&#232;re, 2009)<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"dra-section\" id=\"en-contrib\">\n<div class=\"dra-sec-hdr\">\n<div class=\"dra-sec-num\">VII<\/div>\n<div>\n<div class=\"dra-sec-title\">Contributions &amp; Implications<\/div>\n<div class=\"dra-sec-sub\">Rural Studies &#183; Audiovisual Ethnography &#183; Practice-Based Research &#183; Contemporary Art<\/div>\n<\/div>\n<\/div>\n<div class=\"dra-contrib\">\n<div class=\"dra-contrib-item\">\n<div class=\"dra-contrib-title\">Rural Studies<\/div>\n<div class=\"dra-contrib-text\">Inter-local, relational methodology over isolated case study analysis; &#8220;third places&#8221; through poetic montage disrupting linear temporality and singular locality.<\/div>\n<\/div>\n<div class=\"dra-contrib-item\">\n<div class=\"dra-contrib-title\">Audiovisual Ethnography<\/div>\n<div class=\"dra-contrib-text\">Expanded cinema extends ethnographic representation beyond documentary formats; participatory, immersive knowledge production. <a href=\"#en-bib\" class=\"dra-cite\">(Castaing-Taylor, 1996)<\/a><\/div>\n<\/div>\n<div class=\"dra-contrib-item\">\n<div class=\"dra-contrib-title\">Practice-Based Research<\/div>\n<div class=\"dra-contrib-text\">Original contribution: dual site-specificity + ethno-poiesis + interactive spatialisation of essayistic thinking as an integrated methodological framework. <a href=\"#en-bib\" class=\"dra-cite\">(Barrett &amp; Bolt, 2007)<\/a><\/div>\n<\/div>\n<div class=\"dra-contrib-item\">\n<div class=\"dra-contrib-title\">Contemporary Art<\/div>\n<div class=\"dra-contrib-text\">Body as site of meaning-making; embodied knowledge challenging linear temporality. Dialogue with Akomfrah, Hutton and Russell. <a href=\"#en-bib\" class=\"dra-cite\">(Ranci&#232;re, 2009; Bellour, 2012)<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"dra-quote\" style=\"margin-top:16px\">&#8220;Investigating with, and not merely about, rural places&#8221;<\/div>\n<\/div>\n<div class=\"dra-biblio\" id=\"en-bib\">\n<h2>General Bibliography<\/h2>\n<ul class=\"dra-bib-list\">\n<li><span class=\"dra-bib-id\">[Akomfrah 2023]<\/span> Akomfrah, J. (2023). <em>Becoming Wind<\/em> [Multi-channel video installation]. Schirn Kunsthalle Frankfurt.<\/li>\n<li><span class=\"dra-bib-id\">[Baptista 2016]<\/span> Baptista, J. (2016). Parataxis and contemporary artistic practices.<\/li>\n<li><span class=\"dra-bib-id\">[Barrett &amp; Bolt 2007]<\/span> Barrett, E., &amp; Bolt, B. (Eds.). (2007). <em>Practice as Research<\/em>. I.B. Tauris.<\/li>\n<li><span class=\"dra-bib-id\">[Bellour 2012]<\/span> Bellour, R. (2012). <em>La Querelle des dispositifs<\/em>. P.O.L.<\/li>\n<li><span class=\"dra-bib-id\">[Bishop 2012]<\/span> Bishop, C. (2012). <em>Artificial Hells<\/em>. Verso.<\/li>\n<li><span class=\"dra-bib-id\">[Bolt 2006]<\/span> Bolt, B. (2006). <em>Aesthetics and Agency<\/em>.<\/li>\n<li><span class=\"dra-bib-id\">[Bolt 2007]<\/span> Bolt, B. (2007). The Magic is in Handling. In Barrett &amp; Bolt (Eds.), <em>Practice as Research<\/em> (pp. 27&#8211;34). I.B. Tauris.<\/li>\n<li><span class=\"dra-bib-id\">[Borowiecki 2016]<\/span> Borowiecki, K. J. et al. (2016). <em>Cultural Heritage in a Changing World<\/em>. Springer.<\/li>\n<li><span class=\"dra-bib-id\">[Casal 2009]<\/span> Casal, J. (2009). <em>Interlocalism and Rural Dynamics<\/em>.<\/li>\n<li><span class=\"dra-bib-id\">[Castaing-Taylor 1996]<\/span> Castaing-Taylor, L. (1996). Iconophobia. <em>Transition, 69<\/em>, 64&#8211;88.<\/li>\n<li><span class=\"dra-bib-id\">[Chion 2019]<\/span> Chion, M. (2019). <em>Audio-Vision<\/em> (2nd ed.). Columbia University Press.<\/li>\n<li><span class=\"dra-bib-id\">[Corrigan 2011]<\/span> Corrigan, T. (2011). <em>The Essay Film<\/em>. Oxford University Press.<\/li>\n<li><span class=\"dra-bib-id\">[Costa &amp; Duarte 2025]<\/span> Costa, L. G., &amp; Duarte, S. N. (2025). What can places tell each other? [manuscript].<\/li>\n<li><span class=\"dra-bib-id\">[Cresswell 2014]<\/span> Cresswell, T. (2014). <em>Place: An Introduction<\/em>. Wiley-Blackwell.<\/li>\n<li><span class=\"dra-bib-id\">[Didi-Huberman 2026]<\/span> Didi-Huberman, G. (2026). <em>L&#8217;&#201;boulis de l&#8217;&#234;tre<\/em>. Minuit.<\/li>\n<li><span class=\"dra-bib-id\">[Falzon 2009]<\/span> Falzon, M. (2009). <em>Multi-Sited Ethnography<\/em>. Ashgate.<\/li>\n<li><span class=\"dra-bib-id\">[Gaiger 2009]<\/span> Gaiger, J. (2009). <em>Aesthetic Narratives and Communities<\/em>.<\/li>\n<li><span class=\"dra-bib-id\">[Gomes da Costa 2011]<\/span> Gomes da Costa, L., &amp; Gomes da Costa, R. (2011). <em>Three Years in Nodar<\/em>. Nodar.<\/li>\n<li><span class=\"dra-bib-id\">[Groot &amp; Abma 2021]<\/span> Groot, B., &amp; Abma, T. (2021). Boundary objects. <em>IJERPH, 18<\/em>(15).<\/li>\n<li><span class=\"dra-bib-id\">[Heidegger 1962]<\/span> Heidegger, M. (1962). <em>Being and Time<\/em>. Harper &amp; Row. [1927]<\/li>\n<li><span class=\"dra-bib-id\">[Howes 2005]<\/span> Howes, D. (Ed.). (2005). <em>Empire of the Senses<\/em>. Berg.<\/li>\n<li><span class=\"dra-bib-id\">[Hutton 2001]<\/span> Hutton, P. (2001, 2002). <em>Two Rivers<\/em> [Video]. 53 min. 16mm.<\/li>\n<li><span class=\"dra-bib-id\">[Hymes 1981]<\/span> Hymes, D. (1981). <em>In Vain I Tried to Tell You<\/em>. UPenn Press.<\/li>\n<li><span class=\"dra-bib-id\">[Hymes 2003]<\/span> Hymes, D. (2003). <em>Now I Know Only So Far<\/em>. Univ. Nebraska Press.<\/li>\n<li><span class=\"dra-bib-id\">[Ingold 2000]<\/span> Ingold, T. (2000). <em>The Perception of the Environment<\/em>. Routledge.<\/li>\n<li><span class=\"dra-bib-id\">[Kaye 2000]<\/span> Kaye, N. (2000). <em>Site-Specific Art<\/em>. Routledge.<\/li>\n<li><span class=\"dra-bib-id\">[Kwon 2002]<\/span> Kwon, M. (2002). <em>One Place After Another<\/em>. MIT Press.<\/li>\n<li><span class=\"dra-bib-id\">[MacClancy 2015]<\/span> MacClancy, J. (Ed.). (2015). <em>Alternative Countrysides<\/em>. Manchester University Press.<\/li>\n<li><span class=\"dra-bib-id\">[Manovich 2001]<\/span> Manovich, L. (2001). <em>The Language of New Media<\/em>. MIT Press.<\/li>\n<li><span class=\"dra-bib-id\">[Merleau-Ponty 1945]<\/span> Merleau-Ponty, M. (1945\/2012). <em>Phenomenology of Perception<\/em>. Routledge.<\/li>\n<li><span class=\"dra-bib-id\">[Pink 2015]<\/span> Pink, S. (2015). <em>Doing Sensory Ethnography<\/em> (2nd ed.). Sage.<\/li>\n<li><span class=\"dra-bib-id\">[Prendergast 2009]<\/span> Prendergast, M. (2009). The Turn to Poetry. <em>Inquiry, 24<\/em>(1), 54&#8211;61.<\/li>\n<li><span class=\"dra-bib-id\">[Ranci&#232;re 2009]<\/span> Ranci&#232;re, J. (2009). <em>The Emancipated Spectator<\/em>. Verso.<\/li>\n<li><span class=\"dra-bib-id\">[Rascaroli 2017]<\/span> Rascaroli, L. (2017). <em>The Personal Camera<\/em>. Wallflower Press.<\/li>\n<li><span class=\"dra-bib-id\">[Russell 2017]<\/span> Russell, B. (2017). <em>Good Luck<\/em> [Film]. 143 min. 16mm.<\/li>\n<li><span class=\"dra-bib-id\">[Star &amp; Griesemer 1989]<\/span> Star, S. L., &amp; Griesemer, J. R. (1989). Boundary Objects. <em>Social Studies of Science, 19<\/em>(3), 387&#8211;420.<\/li>\n<li><span class=\"dra-bib-id\">[Youngblood 1970]<\/span> Youngblood, G. (1970). <em>Expanded Cinema<\/em>. Dutton.<\/li>\n<\/ul>\n<\/div>\n<div class=\"dra-footer\">\n<div><strong>Lu&#237;s Gomes da Costa<\/strong> &#183; PhD Researcher &#183; Universidade de Aveiro \/ ID+ \/ LiDA &#183; 2023&#8211;2026<br \/>Supervisors: Gra&#231;a Magalh&#227;es &#183; Susana Nascimento Duarte &#183; S&#233;rgio Eliseu<\/div>\n<div><a href=\"https:\/\/www.binauralmedia.org\">binauralmedia.org<\/a> &#183; <a href=\"https:\/\/www.archive.binauralmedia.org\">archive.binauralmedia.org<\/a><\/div>\n<\/div>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":28079,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","format":"standard","meta":{"_acf_changed":false,"_bbp_topic_count":0,"_bbp_reply_count":0,"_bbp_total_topic_count":0,"_bbp_total_reply_count":0,"_bbp_voice_count":0,"_bbp_anonymous_reply_count":0,"_bbp_topic_count_hidden":0,"_bbp_reply_count_hidden":0,"_bbp_forum_subforum_count":0,"footnotes":""},"portfolio_category":[1327],"portfolio_skills":[],"portfolio_tags":[],"class_list":["post-28080","avada_portfolio","type-avada_portfolio","status-publish","format-standard","has-post-thumbnail","hentry","portfolio_category-research-articles"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.binauralmedia.org\/news\/en\/wp-json\/wp\/v2\/avada_portfolio\/28080","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.binauralmedia.org\/news\/en\/wp-json\/wp\/v2\/avada_portfolio"}],"about":[{"href":"https:\/\/www.binauralmedia.org\/news\/en\/wp-json\/wp\/v2\/types\/avada_portfolio"}],"author":[{"embeddable":true,"href":"https:\/\/www.binauralmedia.org\/news\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.binauralmedia.org\/news\/en\/wp-json\/wp\/v2\/comments?post=28080"}],"version-history":[{"count":5,"href":"https:\/\/www.binauralmedia.org\/news\/en\/wp-json\/wp\/v2\/avada_portfolio\/28080\/revisions"}],"predecessor-version":[{"id":28124,"href":"https:\/\/www.binauralmedia.org\/news\/en\/wp-json\/wp\/v2\/avada_portfolio\/28080\/revisions\/28124"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.binauralmedia.org\/news\/en\/wp-json\/wp\/v2\/media\/28079"}],"wp:attachment":[{"href":"https:\/\/www.binauralmedia.org\/news\/en\/wp-json\/wp\/v2\/media?parent=28080"}],"wp:term":[{"taxonomy":"portfolio_category","embeddable":true,"href":"https:\/\/www.binauralmedia.org\/news\/en\/wp-json\/wp\/v2\/portfolio_category?post=28080"},{"taxonomy":"portfolio_skills","embeddable":true,"href":"https:\/\/www.binauralmedia.org\/news\/en\/wp-json\/wp\/v2\/portfolio_skills?post=28080"},{"taxonomy":"portfolio_tags","embeddable":true,"href":"https:\/\/www.binauralmedia.org\/news\/en\/wp-json\/wp\/v2\/portfolio_tags?post=28080"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}