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Okay, so all right. Continuing. So the sensors aren't something that we have. There's something that we do. As people present versions of self to others. They dis attend part of their expressive processes. The progression of social life depends on such an orientation, because if we pay too much attention to our sensation, we draw focus from our ongoing interactions a point that Polyani made in relation to speech and the playing of an instrument.

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Yet there are contexts in which there is space to turn our orientation to how we are doing our senses, where we pause and take stock of those ways of knowing and being in the world, that we often take for granted, and yet rely on, and can actively transform.

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While individuals are often often consider these senses as passive as communities. We know they are not. Communities collect and share tricks and wisdom in constructing the senses. There are countless examples of this across various fields of activity, like, if you want to learn to see as an archaeologist does. There are various tools that will aid in your colour perception of the dirt, and your professors will trace the ground with you. You need to learn to see as an archaeologist does.

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this acknowledgment of work on bodily skills and dispositions has long been observed within multiple traditions of social theory. From mouse's techniques of the body to bogges, articulation of habitus, the work of ethnic methodologists.

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showing the acquisition of embodied ways of knowing in different domains and the interactionist research which has captured the nature of our relations to others, imagined or otherwise. In these moments

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the session we're part of today has particularly encouraged a reflection. Sorry, I'm super confused by wearing one shoe and not the other one. So I'm de-shoing. Okay? So the decision that we're encouraged today. We've been encouraged to reflect on finding silence and slow practices in the context of an urban world characterised by sensory overload speed and dateification instead of connectedness and the fleshiness of doing. And so we're looking for insights away from the noisy every day.

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And the case that I'm going to be focusing on takes us into this territory in the activities

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and the activities that I'll be talking about. These are radically different ways of sensing, being and knowing in our surrounds than are typical in the urban world. One of my empirical studies has been to look at the cultivation of bodily skills and ways of being among outdoor adventurers, and when I say outdoor adventurers, I'm talking about people who engage in a diversity of activities

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from mountaineering to rock, climbing, cross country, skiing, canyoning, kayaking, and remote places. These kinds of things. and each of these things are different examples of moving through a wild landscape.

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The empirical work comes from participant observation as well as a kind of interviewing on the move akin to Maggie cues, embarks, street phenomenology, the use of interviews and the specific techniques involved in that process acknowledges that when we're talking about perceptual experience.

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there are some significant limitations to observation alone, where a researcher's own ways of perceiving get in the way of knowing as the participants are in that moment. And so the idea of using conversations in context is a way to kind of get inside the perceptual experience of the participants that said, as will become obvious, some of the examples that I'm going to talk about are more auto ethnographic in character

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from Zimmel's early writings on urban life. We've recognised that the city is a place of sensory overload. Simmel's principal concern was with the visual, but scholars of auditory culture, such as Karen Basestveld, have also traced the specifically oral overload of industrialisation and urban life.

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We heard also of the politics of auditory and olfactory experience earlier in the week in Kelvin's presentation, and even the painful and corrupt feel of the city through Senh's work.

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the sensory qualities of urban life can give rise to efforts to alter this experience in relation to sound rather than slowing down or pursuing silence. As we're speaking about today, one common response has been to in effect, replace one noise with another. Mobile music devices accompany users in everyday life as tools to negotiate the urban environment and enhance pleasure in connection as much as disconnection and calmness as Michael Bull put it.

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sound, both moves and removes us. But this isn't the only way that people check out from the noise of the city. My interest is in a group of people who are leaving the city in pursuit of this silence. When they talk about the place they go, they use various words. The adventurers do the nature wilderness, wild places, the mountains, the bush

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As the language reflects these environments are not singular, nor are they natural in the sense of being untouched by culture. The meanings that adventurers attach to place, and what they do in these places is a negotiated cultural performance. The sensuous character of adventure. Recreation stands in contrast to urban life.

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Climbers account for their practice as a mode of perception that invites the whole body, all the senses to be attuned to the environment. It's overwhelmingly tactile and kinesthetic in character. With these sensate channels, the means through which kind of climbers interpret their worlds.

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When I spoke to the adventurers about listening in their field of activity. Noting that this was my principal concern at the point of data collection. They they frequently expressed their practices in in relation to whether or not they would take a device like an ipod with them on a trip. The language of ipod might seem archaic, but because of the nature of the practice, if they were to take anything, what they would take is one of those ipod minis, because weight is everything right?

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 so? But in that that said, though they often referred to the often unspoken rule that such devices don't belong in wild places, and I'm not going to talk here about this issue of devices, although this is something that I've written on. Suffice to say what most adventurers are seeking is a radically different set of experiences from what they would experience at home, and they largely reject these things to varying degrees. Some people going so far as to enforce rules of of leaving these things at home.

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What, instead, I'm going to be focusing on is the different sensory orientations that open up as a result of going into these places and the philosophies, sensory philosophies, that kind of surround these activities, and the process of learning involved in adopting these philosophies.

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When adventurers account for their practice in the outdoors, they're almost universally expressing and showing how this is a quiet, humble relation to the environment in which they're attending to this place as it is right now. That's the most critical thing.

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This idea of heightening awareness of the world as they're meeting. It is expressed in a variety of ways. One is as an as as as adventuring, as a form of continual learning, in which the environment itself is the teacher. One of my interlocutors, Lucy said that becoming an adventure involves an apprenticeship with the mountains.

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The lesson, though, is one of cultivating a way of perceiving that's attentive to these, the subtleties in these places, and this is about quietening down and listening this time through

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the important important point to note here, though, is that listing isn't about hearing, only it's a synesthetic practice. as will become obvious in some of these examples. perhaps the reason for the metaphor is the idea that is always receive information where perhaps some other sensate channels can be more targeted. And so they're using it metaphorically. For that reason.

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The metaphor also implies humility. I was told more than once that Nature doesn't care if you're there.

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Adventurers should go in quietly attending and responding to the world as they meet it.

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This notion of the body is at the edge of the world which calls for specific forms of comportment resonates with Mello Ponti's phenomenology. But this isn't an automatic relation, a part of the human condition that in the world we're always orienting off. And in this sticky contact with place in this way

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there are social processes involved in cultivating these ways of being and I'm going to be giving an experience from my research to begin to kind of demonstrate this social process of being called to attend.

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One of the adventurers that I met is Simon. He's a very experienced and well respected tramper in New Zealand. Simon talked about and demonstrated how listening is acquired through extending extended periods of time in a place with someone who offers repeated calls to attend.

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He tried to teach me to be attentive to the the environment in a similar way to how he would have learned. So we were having a chat. He's telling me about river crossing deaths, and he suddenly stops and says.

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Did you observe that change the suddenly has reached us. I was listening to the story, and so I missed the change in the weather, and but as he says that I become aware that actually, I'm freezing cold. I've disattended this feeling of really of a felt change in temperature, and I'd stopped looking at the sky. It's dark.

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So all of a sudden I become aware of this. He he joked that I missed the change because I'm Australian.

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He then quickly went on to point out other cues that I might notice in the future, so I could be drawn into his perspective. So he says, back to noticing wind changes. Sometimes I can suddenly hear things that I couldn't hear before. That will be a suddenly change, because where I am out here I can suddenly hear the waves, although the temperature and sky have not changed. I know at that point that the wind direction has changed, and now I have a southerly on me, and there will be Cloud coming up shortly.

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so he gives me a list of other cues, too, that I might notice later on again this list of things to attend to like the sounds of thunder which might be used to estimate

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when a storm might hit, or seeing tracks from fauna to draw attention to the bands in the bush that I might travel through, and he punctuated the list with phrases like pretty obvious or pretty basic. But I didn't get it. So it's clearly not something that's already there, right? It is something that it needs to be. You need to be directed to.

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and he's opening up an opportunity for me to engage my senses myself later on, right? He's not telling me what these things are going to look like. He's going to say he's saying, Look for these things, or here for these things.

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this lesson in attending isn't only about the meaning of specific cues. Simon's philosophy adventure was based on a continuous orientation towards the environment, not only because you need to be able to perceive a queue in order to respond to it now, but because continually attending, maintaining a sticky, perceptual contact with the environment is is the whole foundation of bushcraft.

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he said. People who become confident in the hills are observant. You're travelling through the land, and you develop a way of assessing the implications of things everywhere. And he goes on to say that this isn't about getting a piece of information and then responding to it in the moment. That's not the point. It's about this process of developing no surprises, he says.

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And it's also an acquired skill, not an automatic response to being in this place.

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While there's a clear flavour in what Simon's saying that novices either take up the invitation, or they don't. They drink, or they don't. To use his language. There are some specific strategies that insiders pass on to outsiders to aid in this attending process. One technique is to do hearing comparatively, as in the suggestion in the green text there, that is, to use one sense impression as a ground to perceive another.

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Another technique involves guides to interrelated scenting and sensing. And so there's a flavour of that in that southerly change example, where the idea is a change in sound relates to wind, direction and visible changes in the sky, and how this also affects temperature is felt. Right?

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Okay? I'm not that close I'll do my best. Okay, adventurers are also called to attend to the bodies of others. So in adventuring we're almost always travelling in a line with a tail in Charlie bringing up the rear, and other members in the middle, and so moving in a line means that adventurers are always aware of how the person directly in front of them is moving. So where they're directing the gaze where they reach for handholds and surfaces to touch the placement of feet and the path and the length of stride.

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These lines give opportunities for novices to learn to move overground medically, invitations to learn to move as an adventurer does often progress wordlessly, especially on more readily traversable ground. But we can also need to be called into line. So one of the challenges is pacing.

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And this is something that I had a bit of an issue with. There's a quote on the screen there about pacing.

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But basically what they're aiming for is a situation where they can move continuously without needing to pause for whatever the period of time is. And in this quote she's talking about potentially 53 h.

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Right? So it's not necessarily as fast as you can go. It's what you can maintain. And during field work I went on a trip with some of my research participants, and it showed how I needed to learn this pacing. So basically, I rushed off and walked as quickly as I can. I wanted to show these people that I was up for this right, and I was fit enough, and so I walk off, and I pause and look at the view and look back to them. And I do this a few times, and I keep thinking.

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why are they not faster? Right like I'm not the the fittest person here. I'm kind of behaving like the hair in Aesop's fable when we want to be a tortoise After a few rounds of this I slow down towards their pace, and what immediately follows from this commitment is that if you're going to work with a party, you have to walk behind them.

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and the track isn't one for us to be abreast of one another. And so when you do this, especially on steep terrain, what you're looking at is the back of their hips, the person in front of you, or if you're looking downwards, maybe to the ground as well, what you're seeing is their feet.

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and and that focuses attention on pace, length of gait, the certainty with which they're they're pacing their feet in different locations. And so what follows, is a process of stepping together. There was no explicit instructions in this. Nobody said, How about you? Come with us? But it was an invitation that they continued on as they did, and in the end I was forced to kind of join them in a way

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moving off others. Bodies can. Doesn't need to be wordless. There are situations in learning in this visual to motor translation. It needs to be within your grasp, and if you can't copy that pattern of movement. There is extra words involved in that. And so moving over ice is a instance where there is more kind of narration around this

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and on this trip on a glacier. I was walking directly behind the guide, and he would say things like, See that small crevasse stick to the right, put your foot there, and he's also gesturing as we move with an ice axis. He's chipping in spots like this is the place that I've prepared for us to place our feet.

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Okay, now to the point on silence. I should have allowed more time for this, but while not universally the case in remote places, silence can be a property of the spaces, and themselves above the snowline it certainly dominates, but even in the bush a density of growth, especially whether it is moss has this cocooning quality, this silence is something that is generally revered and fiercely protected.

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and when unbroken, it generates its own peculiar state of presence. It has the effect of heightening focus while also pulling back towards the self.

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This isn't becoming an object to self so much as dwelling in the interface with how we meet the world. So if you can forgive a bit of a dip into theory for a sec, what I mean by this is, if we think about so. Merle Ponte talked about this example of Matisse painting a video, a film that he'd seen of Matisse painting where he notices that Matisse is orienting towards the canvas, not his hand in movement. He's not watching where he's painting. He's watching the the end point. And there are Artists talk about this in other respects as well.

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And what he's making the point with on this is that we're always organising ourselves in relation to that which is beyond us in turning inward here, in response to the silence, I think what I'm trying to say is that there's a shifting of gaze from the equivalent of the canvas

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to the tip of the brush or the canvas as hand holding brush meets canvas right? There's like a dwelling in that space between the world, and what's happening with the body preparing for the world.

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They attend super closely to the sensations that do occur, which is the the tactile nature of the service, as well as the process of refining their movement in relation to that. So how much force behind the motility of throwing an ice axe into a face in relation to the hardness of this exact piece of ice, for instance.

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People get away in the way of this, and so some climbers talk about the virtues of going solo, and the the quote on the screen is about that he talks about how There are dangers up here right, and if you're there alone you can be acutely aware of them. But if there's somebody else there, you're not listening to the environment you're worrying about them.

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This isn't always possible. It can freak people out. In short, right? Going so far inside yourself, you're left with looming thoughts, and there's the reality that silence can mean death in these places, because ice acts echo through the mountains, and if there's no sound, it means that a part of the party might be dead. For instance.

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and others talk about how it can drive them crazy in an act of self protection. The mind can be filling the silence with visual and auditory hallucinations. And so someone like Emil, who does a lot of solo climbing would say that you need to make peace with the silence and fill it as friendly

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to take advantage of the ways of being it makes possible. So I'm going to wrap up now, but I wanted to flag that this is part of a bigger piece of work which is looking at how phenomenological philosophy and mellow. Ponti, in particular.

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is, offers an extension from what we learn from the interactionists. I've been focusing on the adventurers today. But I've also been working on this in relation to musicians, Morse code operators and doctors. And I've written also on engineers. Thank you very much for your time.

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and very much both to this sort of reality

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about yeah, that's fine. Thanks for that. Thank you. Yes.

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all right. I

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oh, you got transitions.

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I think that

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is that. Okay? Yes.

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Hi, everyone.

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My name is Vicky Keller. I'm a Phd. Person from the University of Tasmania.

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and

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I'm just going to begin. This will be in 2 parts my presentation. So a brief overview of

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this idea that I'm exploring and followed by a spoken word poetry, presentation.

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So when I came to explore this idea of research happening outside of time.

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I was in the middle of a very arduous and heartbreaking, almost ethics process

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I was 4 months in. I didn't realize it was going to take 9 months and 7 revisions. My topic is the lived experience of complex trauma.

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and I wanted to speak to people who were navigating their life

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reasonably

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successful.

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and that had worked out how to live their life well, had access some sort of meaningful existence. And I wanted to use a creative methodology.

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I'm a poet.

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It seems like a really good happenstance to incorporate poetic inquiry as my methodology.

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Part of the story of my family is one of my daughters is aboriginal. It seemed even more crucial to incorporate decolonizing practice.

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This was very confusing to the Ethics Committee, to say the least.

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So I began to think of because I was stuck in this this loop, I began to think of of some of the elements that I thought were involved in looking at such experiences like complex trauma, as well as in my poetry, and time is a big one

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in poetry I have found it very difficult to write about time to explain the different way we experience time.

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and I came across the work by Henry Bergson, who who articulated it better for me, his philosopher from the last century in the previous century, and talked about duration. So this inner time.

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And that's what the poem will be at the end of this.

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The other factor is because I'm incorporating, decolonizing practices research, the the work of scholars around the world.

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It there is a different way of understanding time in those worlds.

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and that's something that I felt more attracted. To. To be honest, there's different descriptions of time.

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So I thought, it's my research happens outside of time, when I'm thinking when I'm walking, when I'm in my office and just staring blankly at the screen in front of me.

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It's not something that necessarily happens within clock time. So that's why I'm going with this process.

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the topic that I was exploring this is the title. It's obviously not very snappy. This was the title that that was acceptable to the Ethics Committee.

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So how do people get on with living? Using poetic inquiry to investigate how people build skills for meaning and healing out of living every day with the effects of complex complex traumatic experiences

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in exploring the literature

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in an interdisciplinary way, and I know that there's been a little bit of conversation about what interdisciplinary means in some of these previous sessions. My project sits within social work as well as arts education.

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So from social work. I get the rich literature of how to be with participants, how to break down the walls that come between researcher and research, and also support myself as a lived, experienced researcher

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from decolonizing research. I also get similar critiques about power structures inherent within that dynamic, but also within the institutional setting. And I had that experience when I was trying to get through my ethics.

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and from poetic inquiry which travels across disciplines, but is largely, I guess, begun in the education. Discipline

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I get to.

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I guess. Explore. How do I write this down outside of poetry?

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Because when you are practicing art, which I know also has come up in previous sessions.

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I used to think of the poem as the end of a process.

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and now, within research, it can sit at the beginning. It can sit in. In. Amongst other other words, it can sit at the end, and sometimes, as a previous presenter said it, it doesn't sit there at all.

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We just have to talk about it.

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and it becomes a way, a different way of looking at these kinds of methods. I suppose

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you'll notice that I've got images of water and sand. So within my writing and within my experience of the research process itself, I didn't want to separate my life from my research.

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So nature is a really important element.

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It flows through the poetry. And it's also something. Now that I have actually started my research process and are interviewing people.

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Nature is a really important element for people with traumatic experiences. It's a place of safety. Sometimes it can be, it can nurture and nourish us, and for me it's important that I not be up here alone.

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that I have the nature to support me and provide a backbone to my my presentation.

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and this is poetry to me as well. It's not just words on a page.

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it it's everything that you see in front of you. This is all poetry. It can be visual, it can be textual, and most importantly, it is felt.

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we feel it in different ways. It can be felt in the body. It can be felt outside of our body body and the atmosphere around us.

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It's a very mysterious thing, and it's very difficult to talk about which was what a lot of poetic inquiries got. scholars also say, how do you describe it? There's a million ways, and yet there's nothing it's both hidden. It's obvious, but it's also mysterious

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for a definition. I turn to someone who I follow and admire greatly. In Marisa, in the Poetic inquiry world. Sandra Faulkner. Poetic inquiry may be defined as research which uses poetry as in or for inquiry.

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This is very broad, so you'll find amongst research people incorporate poems. They do they do poetry with their participants to particularly in terms of capturing the voice of their participants, and it can use be as therapeutically, sometimes in the sharing and the creating of problems that whole process participants experience healing

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and sometimes researchers as well.

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I'm approaching it a bit differently. In my research practice. I'm not asking my participants to write poetry instead, I'm letting them do their own creative practice.

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because to try and further break down those hierarchical structures that are imposed on us. I want people to feel that they can express themselves. How they'd like.

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That's also complicated for an Ethics Committee to understand.

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 for me. The poet.

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looking through a poetic lens, gives me a sensitivity to understand the senses.

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It enables me to to understand that there is more happening around us than what we articulate, particularly in Western style, ways of communicating and in Western modes of research expression.

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How do we describe the non-ordinary, the things that we

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suspect are there.

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but we don't really understand, and poetry enables that

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it can help us make sense of the world, and we order it

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as a poet as an audience that's really up to them.

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I like to think it's a collective experience.

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and many poets think of it that way, particularly if you decide to read your poetry or perform your work.

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it's inclusive of the audience. There's an interaction that happens.

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however, for many poets it can just be. It can simply be written, and then it's up to the reader to translate and take it. How they would like to receive it in that moment, and that can change.

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So it's a bit nefarious. It's tricky to articulate, but it's kind of interesting as well because of this.

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So the mind works with strangeness upon the body of time. An hour, once it lodges in the human spirit, may be stretched to 50 or a hundred times to clock length.

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So this is a quote by Virginia Wolf from her from Orlando

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and Virginia. Wolf was also, as a writer, influenced by Henry Bergson's ideas of this different way of experiencing time.

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Yes.

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so I will now present my poem

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outside of time. A blank page stairs up at me.

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a silent game of chicken, daring me on.

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Empty yourself of yourself

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all that you know and think, you know and think you may want to know more about the

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empty, yourself.

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unburdened thoughts that trouble you in the night, through to early morning wakings, where the sky is dark and calling for all that you may have dreamed already in your life.

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where time has left you alone for a while to contemplate your existence, and the choices that have led, you know now into the staring.

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the staring into nothing that feels like everything.

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Wait a little longer and look at your phone for the time.

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and notice that it is only travelled across another 10 min.

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Wait even longer.

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The loneliness of these minutes fell feels unbearable.

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You are adrift in the waters of your own mind.

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and you look to the stars to guide you back home to return to where you may have left yourself just an hour or so before

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the stars respond by emerging slowly from behind grey clouds, carrying a hint of the dawn to come. In their blue grey glow

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I look hard to see beyond the twinkly sparkle

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back to a time when we could see the stars more easily as a blanket forever thrown over the world in the night time to light the way for anyone feeling lost

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cast off adrift from all that they thought they might have known.

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It is out there in the soft, yellow, red glow that I see the way forward.

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a pathway made of degrees of darkness.

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moves and shifts itself

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to make space for my journey home.

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the lands of my family in this world, calling for me in their dreams, calling me to wake them up to get them out of their bed of the night life.

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the time they have drifted off and into the work and school of their daily lives.

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calling me to call them with gentle tones of encouragement

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for the life they carry inside themselves.

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My small small dog shakes himself as he realizes. I'm not going back to sleep, and is so happy to see me for us all to be together here and now

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it is time to get up and type out words onto this page. words that seem so easy to write down, but I rarely

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always much harder to arrange into something that seemed worthwhile to bother, to listen to and to read

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pat, 2

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birds calling to each other in delight, in urgency, in the spaces, in between what we see

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cars driving on roads just a little way away. trees moving their branches

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with each blustery wind gust there leaves like a group of dancers, shimming and shaking in the light of the sunshine as it lands on greens and grays and browns.

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It is cold out there.

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The snow has fallen on the mountain overnight, and smoothed itself like a fluffy dooner over rocks, crevices, bushes, small trees, misty clouds move more slowly.

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layers appear on bodies, big jackets, and tucked in shoes.

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Some parts of the sidewalk are slippery, even in well-taded boots. My mind is still considering the feeling of the cold air around my ears and the face, the iciness on the tips of my fingers as they tuck themselves into the soft so folds of my pockets.

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I'm at last inside this morning, not long after the sun has revealed itself to the daytime.

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my mind is quiet. and there is room for the senses to start transforming themselves into letters.

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words, sentences.

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My fingers are warm in my office, and a tingly energy propels them to start the pressing down and bringing together of signs and characters that embody embody the feeling of things.

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the feelings of the way we are, of the way we move around in the world.

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I am here

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just me, and my mind sometimes dragging my body along, regardless of how it might be feeling.

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I make myself stop what I am doing, what I am about to do what I think I should be doing.

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I listen to the sounds close

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further away.

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just beyond where I think my ears can reach out to

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the inner place, where time is measured in silences and spaciousness.

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existence is questioned, purpose is consulted, intention is analysed, but presence remains

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the unwinding. From all of this reveals beauty.

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The body is strong, even just for a moment.

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The mind is free, even just for a moment.

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and the heart does not require the measurement of life's achievements

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in order to keep beating.

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it merely goes on.

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thank you.

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Okay. So the next presenter

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one is.

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yeah, she's going to share her screen.

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Ayesha Mualla: My, can you all hear me?

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Ayesha Mualla: Great? Okay? So I might switch off my video, because I think in order to protect the bandwidth. I'm not sharing any screen so I'm sorry you'll have to patiently listen to what I have to say.

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Ayesha Mualla: so

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Ayesha Mualla: my, The the topic of my presentation today is writing a multi-sensorial field.

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Ayesha Mualla: I I'm working. It's it's part of my Phd, it's part of a larger project where I'm looking at the social life of Frankinson's.

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Ayesha Mualla: Frank Frankinson is a plant resin that is a very important part of the world of aromatics. it's widely circulated in the Indian Ocean room. It's part of several cultures, part of several rituals. And it's it's a very small part of my my larger Phd project that I would be presenting today. with with all of you. And I really look forward to the discussion.

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Ayesha Mualla: so to begin with, I will describe a a very important place in the southern part of Arabia, in in the southern part of Oman, known as Salala.

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Ayesha Mualla: the Frankinson's Souk of Salala, also known as Al Hussein, so in Hafa, is an important marketplace for any Frankinson's related retail in the Dofar region of Oman, though far is the region that is in the southern part of Oman bordering yemen

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Ayesha Mualla:  so is the Arabic word for a market or bazaar, borrowing from the er mike word shuka. Referring to the commercial exchange of goods and services, and providing a place for this exchange.

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Ayesha Mualla: Al-hosen Souk in Salala, is composed of hundreds of shops in a dense marketplace, with arterial lanes and violins dominated by perfumers and Frankinson's stores.

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Ayesha Mualla: the Sok hosts, many other stores specializing in soaps, cosmetics, clothes, Omani, kuma, and muscle, which are also words for the head gear that is worn by men the soup. Also hosts, goldsmiths, jewelers, and gift shops.

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Ayesha Mualla: The soup brings together cultivators.

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Ayesha Mualla: labor, middleman perfumers, traditional medics, and tourists. In one place the development of local and long distance. Trade has led to the growth of guilds and new urban intermediaries, such as merchants, transporters, finances, and warehouse owners.

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Ayesha Mualla: The fresh harvest of the divine quote, uncoat divine resin, are brought into the soup by local traders from the plantations that are that constitute a narrow, dry, micro climatic belt of the Doefar mountains.

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Ayesha Mualla: This paper discusses ways of writing a field through a sensory ethnographic research. It is part of my doctoral research that explores the social life of Frankinson's, its materiality and human entanglements.

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Ayesha Mualla: Frankinson's is an aromatic resin harvested from the Bossvilleia sakra

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Ayesha Mualla: trees. Sakra is Latin for sacred, because it has through antiquity, has been used in several sacred rituals.

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Ayesha Mualla: and I'm sure the story of

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Ayesha Mualla: the 3 Wise Men, the Biblical story of the 3 Wise Men gifting baby Jesus, Maya gold in Frankinson's is something that comes to your mind when I talk about Frankinson's in Arabic. Frankinson is known as Loban

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Ayesha Mualla: and I'm specifically looking at this variety of loban that grows in Southern Arabia.

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Ayesha Mualla:  Frankinson's grows in a very dry micro climate for grounding the diverse geographies of the region.

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Ayesha Mualla: A delicate microclimate comprises of rain shadow slopes of the Do Far Mountains. The Rocky Terry makes the harvesting process a labor intensive and long process that requires patients, and months and months up to 4 months of camping in the rocky terrain, in order to procure 3 of 4 different breeds of the resin in one season.

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Ayesha Mualla: Here precarity marks everything in the field as Bosphilia's trees grow on their own symbiotically and re-enter the capitalist world market as symbol or and as symbols of a new nation. Most trees grow wild, and are not supplanted or monitored by the horticulture or tourism departments, even though there are 2 major projects in the far region organized by the ministry of tourism to maintain and safeguard

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Ayesha Mualla: Frankinson's trees

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Ayesha Mualla: such as Vadi Doka, a unesco world headed its side. However, this study goes beyond the discourses of nationalism and heritage practices, and makes a case for the necessity and the challenges in describing a sensorium in the life of the Resin.

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Ayesha Mualla: Moreover, what interest. This paper is that Frankinson's navigates multiple registers that we from so you

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Ayesha Mualla: haptic, olfactory, and eterior, that is religious and spiritual use of, for for instance, makes it a symbolic field that seamlessly navigates across the Indian Ocean room. Here, where air functions as a heuristic device which encompasses as atmospheric experiences, among them

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Ayesha Mualla: fragrances and and the the the visuality of smoke, the materiality of air, and the density of our many human entanglements, also attend to the solidifying and melting edges between people, regions, and events.

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Ayesha Mualla: therefore giving frank instance, a very different place in social, anthropological inquiry.

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Ayesha Mualla: and this paper aims to understand ways of writing and doing sensory ethnography, ethnographic research through engaging with everyday and intimate encounters of a multi-sensorial field. Now harvesting process takes up to 3 to 3 to 4 months of patiently waiting and camping near trees to make in sessions multiple institutions, and collect the resin.

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Ayesha Mualla: making up to 2 or 3 in sessions on a tree. People divide

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Ayesha Mualla: 3 or 4 trees between themselves, and follow the resin as it slowly oozes out. Only in months, where there is extreme heat.

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Ayesha Mualla: bringing possibilities of understanding other sensory pathways, such as experiencing silences and suburb of patients through wing.

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Ayesha Mualla: And this process of waiting and harvesting is also a tactile and haptic process which requires a constant understanding of touch, or or constant understanding of the or the of the ways in which the delicate resin can be harvested. Now, coming back to the Souk Frankinson is graded and sifted

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Ayesha Mualla: like diamonds. The quality of these products is not determined by smell. Instead, traders rely on taste and a uniform color. Underscoring the multi-sensory that characterizes the study.

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Ayesha Mualla: The different varieties are identified by color. Any translucent whiteness indicates presence of moisture, and is not considered the best quality. Similarly, the grades are also determined by taste, by their flavor, and the tendency of, and the tendency of, the gum to stick to the teeth.

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color, and consistency of proof of goodness.

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Ayesha Mualla: The redness or whiteness of the sample denotes an inferior quality, and affect the flammability of the resin, which is also a desirable trade.

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Ayesha Mualla: A suitable price is quoted for each of the different qualities that are brought into the market. The greenish gray pojari

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Ayesha Mualla: hojari is priced highest, and is prepared to be stacked for export to mushar or international perfumery clients, many of whom regularly visit the souk.

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Ayesha Mualla: The other qualities, such as pebble, sized amber and cream colored lumps, or white to your drops, are kept for local consumption and for medicinal purposes, such as making Frankinson's distilled water as a cure for gastro into style and diseases.

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Ayesha Mualla: The experts, usually traders collecting the harvest from the mountains determine the quality of frank instance, determine the prices of the hardware based on the quality, and these are all based on material markers, such as color, clumping, size, and oil concentration.

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Ayesha Mualla: Many of the traders and shop owners have been in the trade networks from Pre Nada days. Nada is also known as Omani Renaissance. It is marked by the period after the after Sultan Kabu has been said, took over Oman from from through a bloodless school, from his father. His ascension is heralded as a time of material development and progress for its introduction of massive infrastructure projects, modern roads, hospitals.

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Ayesha Mualla: and and a sort of institutionalization of State bureaucracy. Foundation of a modern nation. State which becomes becomes an imagination of the the Omani Renaissance, and also known as Nada.

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Ayesha Mualla: Now, what is Frank? Instance? Frank? Instance, is the old. The the word Frankinson is old French, which means pure incense. It is an aromatic resin, like I previously mentioned. that is harvested from Bossvilia genus trees. You need to do far region in Oman, unique to Yemen, and also unique to parts of East Africa, namely, in Somalia.

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Ayesha Mualla: So far, region is the southernmost part of for man.

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Ayesha Mualla: It earns its name for its extensive use in sacred rituals to antiquity. Southern O mine in antiquity, was also known as Arabia Felix, which

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Ayesha Mualla: for its fertile landscapes. So if you have an imagery of a dry desert climate, do far or Southern. Oman is actually a a mountainous region, which is very green, and is also famous for its experience of the monsoons. For 3 to 4 months every year. The the the mountains of so far are completely covered in in clouds and myths of the mountains coming through the Indian Ocean.

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Ayesha Mualla: It is only in the rain shadow areas, in a very specific dry micro climate that the Frankinson's tree grows away from the moisture, and this is also an interesting aspect of the study, because it it it foregrounds the fact that, in addition to understanding all factory haptic sensibilities, one also needs to talk about or write

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Ayesha Mualla: about moisture. The presence of dryness, the importance of heat, which become very intangible and and challenging aspects of the study.

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Ayesha Mualla:  the period in which Romans describe I I. AR Arabia Felix, which is flourishing Arabia. The spirit of prosperity for Southern Arabia was short, lived as incense market began to collapse in the fourth century with the spread of Christianity which initially discouraged the use of incense.

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Ayesha Mualla: and, like I, I mentioned this, the Biblical story of the 3 Wise Men. This story becomes a floating trope, contextualized and adapted through time, feeding on text, and sometimes moving at its own rhythm from myth to herited symbols and antiquity and faith.

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Ayesha Mualla: This stroke, or a trope that is often pointed out through Orientalist literature in travel, logs, and official tourism brochures, but a floating trope that has a life of of its own and frank instance in that sense is also well tied to the Sultan. It's political and cultural evolution where past is often evoked. a, you know, is is often used to re-work or mini conceptions of history, religion, and quality after or Renaissance.

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Ayesha Mualla: you know the modern history making projects usually use material objects, sites, images, into embodying a certain discursive or visual temporal logic that relates to the past, to the present and future, through archaeological projects and floating tropes. Frank instance can be used to understand the abstract conceptualization of a nation of shared history

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Ayesha Mualla: through material formations, museum exhibitions, annual heritage, festivals, handicrafts, ornaments, reworking textbooks, official publications, and also, most importantly, through the vernacular of urban landscape. So the use of Frankinson's and its reference to trade and antiquity is used as a common trope in order to further notions of public history and continuity with the past

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and the olfactory practices of Roman elucidate the roots of migration and globalizing geography of the Indian Ocean.

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Ayesha Mualla:  material objects of heritage have been used extensively to build this narrative of continuity with the past. Even today a prominent landmark in Muskhart City, which is the capital city of Sultan of Oman. the the the landmark built after the Renaissance, is a Frankinson's burner on a hilltop located in Mattha, one of the oldest ports, and suits

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Ayesha Mualla: of of muscular city synonymous with becoming a national monument, and the emphasis, and it sort of further emphasizes how material objects become symbolic of national values, ethics, hospitality, generosity, and and cultural aesthetics. Now coming back to the the sensory perceptions of the past.

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Ayesha Mualla: It did change over time as sensory austerity and early Christianity were formally replaced with little liturgical text and and rituals that involve extensive use of incensing and perfuming. Similarly in. In, in, in Islam, all factory rituals continued, and new practices

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Ayesha Mualla: perfuming sacred spaces, domestic spaces were incorporated even through my field work. A lot of the references to everyday perfuming a reference are not only evoked in terms of pre- Islamic practice, but also embedded within the idea of purifying a space and Islamic traditions and conceptions of pilgrimage spaces as paradiseicle or you know, as as

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Ayesha Mualla: spaces that you evoke imagery of the Paradise as very charged sites. The use of Frankinson's remained an important material both to Christianity and Islamic. All factory practices, and especially in through my location and through the study of different all factory practices within Hinduism. One can also see these parallels, however, coming back to

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Ayesha Mualla: the challenging aspects of ethnography, and so far is the precarity in the field. And, like I mentioned, not only do one, not only does one engage with understanding. How do you document, or how do you write the field where things are based on site and smells and touch? And how does also one describe the importance of moisture, dryness, monsoon to the social life of this material

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Ayesha Mualla: as moisture? even as moisture through exposure to rain. Mist or humid air can be detrimental to the resin. The dry air helps the resin dry on the buck in order for it to be extracted, and he becomes a crucial factor in its survival.

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Ayesha Mualla: So the other interesting part that I would like to talk about in terms of in in terms of engaging with the idea of silences is also in terms of how we go about the the harvesting practice, which is a very labor intensive.

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Ayesha Mualla: but a practice that is completely in embedded in the idea of patience of waiting.

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Ayesha Mualla: The only way to extract Frank, and since resin is by damaging the tree. Unfortunately, by making in sessions in its back.

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Ayesha Mualla: as the incense in sessions are made milky white sap slowly secreted and triples down like tear drops come together. The rising temperatures of April in the starting of the harvest. make make make possibilities of of the harvest to ooze out the the making of Frankinson's matter and formation brings us to the possibilities of life and species entanglement.

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Ayesha Mualla: The decisions are made with hands that have labored through generations of learning and training in this craft.

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you know. as the Omani historian, Muhammad Al Salini notes collectors beat the tree trunk with an iron rod

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Ayesha Mualla: until it's milky, it's milk begins to flow and hardens, leaving it for a month, they come back to it, hitting the outside layer. Excuse me, are you sure we need you to wrap up.

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Ayesha Mualla: Sure for 10 days, after which they retire to homes. 10 days later people return to the mountain, to that particular spot where they are camping and spent 5 months gathering the incense.

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Ayesha Mualla: So I mean, I'm just I, I'm going to.

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Ayesha Mualla: Yeah. And after about 5 years of tapping the tree is left to rejuvenate on its own for another 5 years Even despite the fact that the demand is further increasing. But there, there are ways in which local practices have also incorporated the idea of letting the the the trees rejuvenate So I'm going to actually conclude I haven't timed my presentation properly. But

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Ayesha Mualla:  you know.

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Ayesha Mualla: So yeah, extracting and trading. Frankinson's is an experiential process. It involves our senses, especially Dutch haptic. the idea of of touch that are both material and effective.

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Ayesha Mualla: and borrowing from sedim attack is the study. you know, it's sort of an in is an it's it's trying to understand the process as voices as an act of tactile, effective creation.

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Ayesha Mualla: And even though they can be difficulties or difficult categories to explain. It is interesting to see how Frankinson sort of navigates the poetics of matter. it is, it is the life and identity of of a certain people of a culture. But you know, it's appear and speaks of. It's sensorial and effective relation to time to weather, to market

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Ayesha Mualla: and and and and yeah, and it's sort of whether it's through resistance to colonial imperialism, to the Sultan. It to a Communist, led rebellion while adapting to another, which is the red as one that I was referring to. And if I'm just going to conclude, and probably take up questions and and take this conversation further. So thank you so much.

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We'll do questions after the last presentation from

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Ayaka Yoshimizu: okay, Do you hear me? Okay. yes, this. I share screen.

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Ayaka Yoshimizu: Okay, so hello! My name is Aya Shimizu. I have a call presenter. Saladi Hoshi here.

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Saori Hoshi: Oh, hi! Hi! Everybody

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Ayaka Yoshimizu: So we wish we are able to be there to present our work. But today we are speaking from the unseeded territories of the Muskrum Scamish, and say, What is nations, or what is colonially known as Vancouver, Canada.

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Ayaka Yoshimizu: and our paper is based on our teaching, which takes place on the Muscular People's land.

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Ayaka Yoshimizu: We changed our title slightly, and the new title is, as you can see of the screen sensing race and body deflection on student produced subtitles.

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Saori Hoshi: So today, we like to share a reflection of a transdisciplinary curriculum project implemented in an advanced Japanese language course which we caught teach by incorporating disciplines in media and culture, studies

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Saori Hoshi: and language learning and apply linguistics.

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Saori Hoshi: So our instruction in taste, Japan, English, Japanese, and Japanese English subtitling of audio visual media that addresses the theme of gender, sexuality, race, and colonialism.

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So we encourage students to take critical and experimental approaches to subtitling

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Saori Hoshi: and turn audio visual translation into a site

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Saori Hoshi: and process to negotiate, question and subvert the oppressors.

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Saori Hoshi: source and target languages and cultures.

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Saori Hoshi: So as norms 2,007 puts it

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Saori Hoshi: Subtitling requires extraordinary close form of sexual analysis, where every element of verbal and visual language is read off the image repeatedly, line by line, even frame by frame, before making each subtitling choice.

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Saori Hoshi: So in our instruction, we further draw our bodily attention to the effective and a sensuous experience of film, viewing, in addition to up

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Saori Hoshi: by calling attention to the cinematic effects on bodies, students are encouraged to bring their awareness to not only the symbolic meanings of race, but also their embodied experience of race and critique it as part of their subtitling process. So in this presentation we discuss how students subtitles reshape the intercope, real site

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Saori Hoshi: in which the cinematic bodies of the characters touch our bodies, affecting the ways in which race is felt, and sense in the act of viewing.

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Saori Hoshi: So our course, entitled A Japanese Media and Translation, is a fourth year Japanese language course. Here we reflect on students subtitling work of a Korean Japanese film. Where is the moon? As one of our course assignments that examines colonialism and based in Japan.

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Saori Hoshi: directed by a Korean Japanese filmmaker Yuhi, the few features. A second generation, Korean, Japanese taxi driver, Tadal. He's mother and Connie, a Philly Pink's migrant hostess at a Philippines name Pop owned by Tadal's mother. The film marks its significant departure from an even mock. This stereotypical representation of Korean Japanese.

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Saori Hoshi: which had long been depicted as victims of discrimination and poverty

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and the source source of social problems.

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Ayaka Yoshimizu: To fully understand how the racial stereotypes of Korean, Japanese, and Fiddie Pink's migrant workers are presented, critiqued, and subverted systematically we joined Sikimoto and Brown's work

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Ayaka Yoshimizu: in race and Census 2,020. They conceptualize race and racism as a simple lodges of somatosensory experiences and into subjective affectivity

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Ayaka Yoshimizu: rather than the social construction or discretive formation. Race is an embodied event, a site for body to body encounters interactions and transformation.

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Ayaka Yoshimizu: racist exclusion and violence happen when a particular type of body gets turned into a tangible object that looks, smells, sounds, feels, and taste in certain ways.

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Ayaka Yoshimizu: In the film marries the moon. Connie's racial difference is more noticeable by her look. Santado, who can easily pass as Japanese. however, Tad always instead primarily racialized by how he and other Korean Japanese people sound, smell, taste, and feel like.

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Ayaka Yoshimizu: For example, when one of the Japanese characters in the film he collects his child of what, when he visited his Korean friend's house, he says everything there smelled like kimchi.

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Ayaka Yoshimizu: We argue that how the main characters negotiate their identities and subvert racial stereotypes can be found in the way they talk and sound, and particularly their trans. Language in practice, where they juggle Japanese, English catalogue and all Korean. One interesting characteristic of Connie is her excellent command of Osaka dialect.

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Ayaka Yoshimizu: while Ko suggests that the film secretly presentation of Connie does not show any dramatic departure from conventional images of Fleeting's immigrants. We compend that Connie's vigorous use of the mutual dialect in Japan, 2

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Ayaka Yoshimizu: not only overturned stereotypical images of foreigners held by Japanese people as not competent in Japanese, but also reinforces for a subversive identity, who, as a transnational migrant living in Tokyo, would not conform to the convention of speaking standards Japanese

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Ayaka Yoshimizu: or Tokyo dialect that both to that and his mother use.

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Ayaka Yoshimizu: however subtitling, can significantly change the way the characters and their identities are perceived by the viewer who the lies on into the ingle translation.

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Ayaka Yoshimizu: Indeed, how to subtitle colonies also, like a dialect, and to that was called Stitching between Japanese and Korean became key points of debate among students who tackle their subtitling project

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Ayaka Yoshimizu: before presenting students, subtitling works that I discuss how we approach subtitles as a multi-modal census and effective medium

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Ayaka Yoshimizu: yum beer, 2,013. Right. That audio visual translation is mainly concerned with the transfer of of multi model and multi media speech into another. Language and culture.

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Ayaka Yoshimizu: Mit ctl, and interilingual subtitling is a specific type of audio visual media translation. We are spoken dialogue in one language. It's transferred into written text in another one.

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Ayaka Yoshimizu: Gambier's definition is not worthy, because it immediately allows us to recognize subtitling as a site of trans mediality rather than mere linguistic translation

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Ayaka Yoshimizu: mit Ctl. And while subtitling is a mimic process that aims to reproduce the semantics, style and other verbal elements, it is a highly creative process that results in the production of 150

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Ayaka Yoshimizu: new audio visual tax which differs from the source tax in terms of both form and function.

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Ayaka Yoshimizu: and such subtitling can also transform as much as translate the meaning and effective texture of the original work.

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Ayaka Yoshimizu: Subtitles are also multi-modal medium by its own light. They are a new formal element that is added to the original media product

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Ayaka Yoshimizu: as fleeing suggests. Subtitles are simultaneously written text and communicates to us at a linguistic level, but also graphic marks which also engages us visually.

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Ayaka Yoshimizu: E. C.

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Ayaka Yoshimizu: But we compared to subtitings of the same scene played on the screen. For example, the difference between the 2 is evidence, not only at the linguistic and semantic level, but at an only present not only presentational level, and how these graphic marks interact with other formal elements within the frame.

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Ayaka Yoshimizu: In our course we introduced the students. No one's notion of census subtitling a more creative and experimental approach.

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Ayaka Yoshimizu: Conventional subtitling often domesticates the source, language, and culture to make them easily consumable to the target audience. The essential subtitling, rather the views, the horrors of the source, language and culture that cannot be conveniently made comprehensible.

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Ayaka Yoshimizu: The resulting translation puts the spectator in touch with the foreign film, with its otherness.

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Ayaka Yoshimizu: To illustrate no one's uses the example of robe young, subtitling for 10 ammonia connection, directed by Masasia Mamoto to translate one of the characters to their award. So young subtitle it, using special characters, as you see, on the slide.

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Ayaka Yoshimizu: rather than detaining the meaning of the original line. Young subtitling communicates to the viewer to confusion, and affect the experience of the character. Since you're subtitling like this, well, first, normally presentational bodily effects on the viewer, and allows us to have indeterminate experience beyond the intention of the subtitler

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Ayaka Yoshimizu: to give you a sense of how student subtitleings we shaped the ways in which the cinematic bodies of the captor engaged of yours. We use the demand of the in remainder about time to present our embodied meetings of student stop titling works as mediated by our past experiences of race and racialization.

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Ayaka Yoshimizu: To examine students, subtitling works, we draw on sensory studies that recognize scholars, own bodies and senses as means of our inquiry as well as the object of our investigation, one

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Ayaka Yoshimizu: within film and audio visual media studies, Vivian, soft Chuck, Laura, Marx, and Jennifer Barker, among others, how we develop embodied approaches to studying schematic experience

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Ayaka Yoshimizu: rather than arguing that embodied approaches a superior ways of mastering the object of criticism. They point to the generative nature of knowing that becomes particularly palpable when the experience of film gets materialized through our bodies. And in specific contexts.

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Ayaka Yoshimizu: in engaging with students subtitles, we examine our sensory memories of racialization as Japanese born Japanese speaking migrant women coming to North America to pursue higher education in English speaking institutions.

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Ayaka Yoshimizu: While these deflection may seem relevant to the subtitle film being discussed, we include them as a practice of what call haane 2,017 calls sensory, embodied the flexibility which involves critical examination of how our positionality and past experiences affect the ways. We make sense of the film.

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Ayaka Yoshimizu: In a longer paper we include each of our embodied meetings of student subtitleings. But the time is limited. So we only share a small part of Saudi's deflection today.

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Saori Hoshi: So here I'm showing work by 2 student groups that start title the same scene from the film. Where is the moon?

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Saori Hoshi: And then, discuss how their subtitleings affect my body and census in relation to my past racialized experience.

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Saori Hoshi: So in this scene Connie is standing and holding her cigarette behind the bar counter, each positions herself as a capable worker who has a most insight into the into the power dynamics within the marginalized community.

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Saori Hoshi: So Connie's uniquely racialized interstitial position feels unaffected by her exploiter, who is not an Imperial Japanese counterpart.

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Saori Hoshi: but a Korean Japanese employer.

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Saori Hoshi: The focus on my discussion here is a scene where Tadao uses the Korean key ship turn Oomoni, meaning mother in his response to his mother.

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Saori Hoshi: Tadal responds by saying, Stop it, Omni, when his mother directs her yapping to to

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Saori Hoshi: who do you think I'm working hard, for.

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Saori Hoshi: as we seen in these images, both student groups lead the word omni

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Saori Hoshi: untranslated in their subtitles.

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Saori Hoshi: so their decision to keep the original Korean word in their subtitles, has some implications

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Saori Hoshi: so viewed from the concept of in this indexicality. the social meaning of Omni is more than what the word means, as the.

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Saori Hoshi: It also indexes that Tadao, now, as a grown up, is advocating his independence of financial support from his mother.

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Saori Hoshi: Such an untranslated element in subtitled film, also evokes various effective responses from the viewer, including myself.

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Saori Hoshi: Knowing that this Korean war can't stay, Korean in the English subtitle, liberated my body, which had been programmed to accommodate my senses within the context of dominant English hegemony.

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Saori Hoshi: Were any forward a rendered. or at least like my racialized experience began as I attended a small Liberal Arts college in upstate New York, where the student population was predominantly white.

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Saori Hoshi: and most students speak standard American English

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Saori Hoshi: as one of the racialized students whose first language is not English.

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Saori Hoshi: I had cultivated my fear of language, so any language including my own. My sense of otherness, was felt through not knowing what sucks means, and mis hearing it as socks

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Saori Hoshi: in my racialized body, learning another language like English, was not about learning a new means of communication.

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Saori Hoshi: but about learning a new how, of speaking.

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Saori Hoshi: which involves in an embodied process of acquiring new styles of effective and sensory experiences.

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Saori Hoshi: When I was performing my bodily act of uttering something like English.

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Saori Hoshi: It felt like the rationalized body was constantly being X-rayed for anomaly.

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Saori Hoshi: while seemingly irrelevant to one another.

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Saori Hoshi: The effective effect effect of the untranslated omni on the screen. Allow me to lock my long lived racialized body.

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Saori Hoshi: to wrap up by employing a critical and creative approach to subtitling and encouraging students to feel the cinematic bodies of the characters. Through subtitling we hope to advance anti racist education.

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Saori Hoshi: Students were assigned the tasks of subtitling utterances of that characters whose identities might not align with their own, or translate the language or speech style that were not completely familiar to them.

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Saori Hoshi: while felt as a challenge to students, both practically due to the unfamiliarity with a particular dialect or linguistic style.

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Saori Hoshi: and ethically, because there is always a risk of misinterpret misrepresentation

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Saori Hoshi: and cultural appropriation. This practice created opportunities to raise awareness of the potential danger of other in the characters through their translation choices one

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Saori Hoshi: and re-oriented the Orient, and we habituate our bodily with others to for anti-racist relationality.

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Saori Hoshi: So thank you very much for your attention.

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Okay, thank you very much that was very good. So my last. let's say. from

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Saori Hoshi: that was the enormous amount of

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which I videos on  we'll do questions. I was waiting to do the questions into the

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give me the

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she also

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thank you for

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on the

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I'm not sure. But yes, thank you very much for your presentation.

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I'm probably

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a student.

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and I would like to be a share. My.

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thank you so much for your present. The first one I really like it, and I didn't want to ask you that how we

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how we can when we see that they, the nature and individuals like in connection is different because of the the way we place ourselves in a particular context. So I was just thinking the different thing that can be happened in a metropolitan, you know, in an, in an environment like when we want to isolate ourselves. I most of the time I use my earphones, you know, so that I can exclude myself from the

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from the environment, and to go into something that is not listening to Tom Perry, for instance, for a long time, so that I'm not in that crowd anymore. So I'm just wonder I wanted to just hear about the contrast. You see, yeah, using this matter force.

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and how we really reflect this on our developing our personality and these things. So this is really impressive presentation. And Vicki is my colleague, and as I have. Thank you, Vicki, for your wonderful presentation.

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Another thing I wanted to ask you near, like Ayaka, and the

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a really impressive, lovely presentation, and the content you use about the visual. And you know, representation and how we interpret things because of our leave, Dex experience and how these are related. I I want to thank you for your presentation. It was a great instruction for me as well to interpret things later on. Maybe so. Thank you so much, and the work you are doing is great. Thank you very much for all your presentations.

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Yeah. And I, okay, so I think I have a question.

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So if I understand correctly, your question is really about the kind of cognitive effects of switching off and turning on.

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So this is something that has been written about quite well, not quite a bit, but it's been written about in the context of urban life. I direct you to Michael Bull's work in particular. Nick Pryor has written a paper about this in relation to the Adventurers, and there's a lit review about the interaction aspects of musical listening. That kind of covers the conversation. So if you want to see the conversation, you could look there or go to probably Michael Bullsburg.

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but In terms of the psychological cognitive effects of it. One of the things that the adventurers talk about as one of the reasons they're uncomfortable with devices isn't just about

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not noticing what's in front of you and what that means for practice, but also a more philosophical point that in in doing that, in listing to music. What you're doing is rejecting what's in front of you. and closing off to what's in front of you. And they at a philosophical level, reject that that consciousness. And what they talk about is how

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I guess, in a kind of semi Buddhist kind of sense, like the the that the mind should accept and dwell in what's in front of it, and devices like, headphones

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break that? Yeah.

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Questions.

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Thanks. Okay. So just following that, I want to ask about multi-sensorality very difficult to say.

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If

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if it's an either or like either, we can listen to a device, or we can look in front of it. I'm just curious about the multi-sense orality of it.

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but my question is to everybody about the language choices. So, Sarah, you chose to attend to the wind. It's the the choice of the word tend. I was really curious about that, and Ayeka and Sorry made the point about with the the parallel subtitling. We could see the the student groups choosing different ways to say it that really strongly affected our experience of the films.

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And Vicki, your image of the ocean that had a lot of pink light on the water that really

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interested me.

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And Aisha, I heard you talking about the color and the quality, the quality of the resin based on the color perception.

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So that's sort of a question. I think maybe you can all respond to some aspect of these things I've pulled out. Thanks.

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I'm holding this. So how about I respond? And then pass the microphone around. Is that that sensible so language, so multisensorality, so at different times. I've used the word multi-sensory. In recent years I've been leaning into synesthetic. The reason for that is multi-sensorial kind of implies that we have many senses, but that they are isolated.

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And I I reject that as an idea. I guess the the idea is instead that our experience is always synesthetic, meaning that we are always in the world

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experiencing multiple things that we choose to name in different ways to follow isolated body parts. But in reality that doesn't reflect our experience, which is at once

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once through eyes, ears, and also the idea that each of these things doesn't happen through the organ that it's related to, so you can hear in your in feeling right? So I I prefer synesthetic. For that reason in terms of attending the language of attending is is to kind of point to the idea that there that the consciousness is variable, right? And you can attend or dissent. So that's where that kind of comes from.

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Thank you. I did specifically choose that image with a pink light, because I've

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I know it's a word that gets banded about a lot this idea of liminal space

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and I feel a bit, you know, uncomfortable using it because it's but I've been exploring like, how do you communicate that which you can? Only sense is there that you can't necessarily see, or hear, or feel, or touch? But it's somehow connected to our bodies, anyway. How do you express that in ways that are beyond words? And when I was looking at the images that I'd taken that day at the ocean.

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I I was trying to see whether there's a visual way of representing that somehow that, combined with words. And so I actually created a work which I forgot to put on the slide which

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has that image in the background. But then all different sort of synonyms, if you like, Foruminal, just to. I don't know. Sometimes languages I feel very limited, by which I know sounds weird from a poet, but I find it very difficult to capture that. And then how is that conveyed and then experienced by the audience or the reader.

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without also imposing controls on how they experience its attention, which is exciting, frustrating, and interesting at the same time

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with one of the. It's like online.

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are you sure.

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Ayesha Mualla: Lisa, do you want to go first? Yeah, sure. So in terms of talking about multi-sensor reality. The language of describing color, of the texture The thing is Frankinson's is in a way it has its own social life. You know it. It it navigates sort of multiple temporalities that exist.

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Ayesha Mualla: We're looking at a sort of for multi-species. we're making, in a sense where people are interacting with the tree, they interacting with the resin And and and language in that sense makes is is is an important form in which I can write the field. But it's also the limiting form, because.

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Ayesha Mualla: the describing hojari resin in terms of its greenish gray tinge is, is not enough to describe the way in which people are seeing that particular reason, and the different grades that are coming from the same tree in the same season, so as much as language can sort of help in describe and help as a as a researcher. Help me write the field, but it can also be many cases limiting.

418
01:22:45.130 --> 01:23:09.779
Ayesha Mualla: you know, which is why I talk about air as a heuristic device. You know, when when you burn frank instance, the smoke, the vision, the it's visually present, the the all faction. This is fragrance, is there? But it's difficult to describe. You know, these these non-human ontologies that are very difficult to describe in terms of the the multi-sensor reality of the resin, and also of the tree, and in which people are interacting with the tree.

419
01:23:10.560 --> 01:23:11.270
Ayesha Mualla: Hmm.

420
01:23:13.390 --> 01:23:17.139
Ayaka Yoshimizu: so maybe I, I go first and sorry you can pull up.

421
01:23:17.750 --> 01:23:36.350
Ayaka Yoshimizu: Yeah. So yeah, it was very interesting how different lines were translated and subtitled very differently by students, and how that affects our experience made differently too. So, as we mentioned in our presentation, this character, Connie speaks a regional dialect.

422
01:23:36.550 --> 01:23:55.009
Ayaka Yoshimizu: and some students decided to use Southern American English to to sort of translate colonies Osaka dialect in Japan. But some students also noticed the characters, how they how she speaks very fast, and her tone is very assertive.

423
01:23:55.170 --> 01:23:58.879
Ayaka Yoshimizu: So instead of using you know, Southern American English

424
01:23:58.990 --> 01:24:16.350
Ayaka Yoshimizu: another group chose to use like a texting style, like a young people's texting style. and also because they are not familiar with Southern. You know American English either. so it was. Very students had different reasons why they chose a specific style of

425
01:24:16.360 --> 01:24:31.369
Ayaka Yoshimizu: translation. but of course, you know, these give us very different impression of the speech, and also depending on which phone they use like some students chose. They, you know. sharp, should I put it like

426
01:24:31.380 --> 01:24:43.749
Ayaka Yoshimizu: you know, Shadow like a clear shadow. Quote that makes the speech look very like a tight. and some didn't choose my wider. Won't. That gave us more relaxed, laid back sort of

427
01:24:43.790 --> 01:24:55.709
Ayaka Yoshimizu: experience. So it's very interesting how the vigil and you know, the style that linguistic style interacts to together. Give us this specific sort of particular experience.

428
01:24:59.460 --> 01:25:16.439
Saori Hoshi: I guess I to add to what I was saying in terms of relating subtitling as a multi sensory experience, although we're dealing with language. But what I found from

429
01:25:16.520 --> 01:25:22.740
Saori Hoshi: talking about how students put Japanese in in Korean words. So

430
01:25:22.880 --> 01:25:30.080
Saori Hoshi: you know we are too used to seeing, you know English subtitles for foreign films.

431
01:25:30.240 --> 01:25:33.600
Saori Hoshi: But so you know it. Basically it.

432
01:25:34.160 --> 01:25:53.230
Saori Hoshi: you know everything, you know, has to rendered in English, or like to cater to English audience English speaking audiences. But what really? that was interesting about that particular example where students decided to keep the Korean word.

433
01:25:53.380 --> 01:26:06.119
Saori Hoshi: you know, when for e English audiences like Oh, you know, there's there's also, you know, not just looking at. You know what you're what you're seeing in from the from top of that screen. But also

434
01:26:06.130 --> 01:26:10.739
Saori Hoshi: when you look at that familiar word

435
01:26:10.790 --> 01:26:26.439
Saori Hoshi: you know, like, for example, Oweni, money means mother. Instead of translating that into mother. You see, as the English speaker like, you know, there's some kind of bodily it experience, or a effective like effective

436
01:26:26.500 --> 01:26:28.920
Saori Hoshi: it gives you some kind of

437
01:26:29.110 --> 01:26:45.480
Saori Hoshi: I don't know like altering, you know, like your consciousness or effect like what? What is going on like, what? What? What you know? What are we seeing, you know, in this like? Why, why can it be English or something I don't know, like there, there's some kind of like a vote.

438
01:26:45.500 --> 01:26:48.860
Saori Hoshi: some effective responses. So

439
01:26:49.260 --> 01:26:58.269
Saori Hoshi: it it's very, you know. It seem very irrelevant. But somehow you know, we're still dealing with this language. But

440
01:26:58.280 --> 01:27:03.459
Saori Hoshi: at the same time it really interesting how they really

441
01:27:04.240 --> 01:27:09.270
Saori Hoshi: it gives you like a different, you know, like multi-sensory

442
01:27:09.390 --> 01:27:21.070
Saori Hoshi: unexpected, you know, experiences. So that's what we're trying to present in this in this. yeah, or

443
01:27:21.480 --> 01:27:22.910
presentation.

444
01:27:25.540 --> 01:27:28.180
Okay, you more questions. Yes.

445
01:27:29.660 --> 01:27:31.100
Yeah. Thank you.

446
01:27:31.130 --> 01:27:33.389
yeah. so, sir.

447
01:27:33.540 --> 01:27:42.470
I really enjoy your paper for a number of reasons. And I'm going to have to read some more of your stuff definitely fantastic

448
01:27:42.650 --> 01:27:47.999
for several of you actually about nature and the role of nature and the senses in this, because obviously.

449
01:27:48.190 --> 01:27:55.689
for Vicki, obviously, nature is, there's a kind of romantic tradition of thinking about

450
01:27:55.820 --> 01:28:09.710
nature adds, come instructive as therapeutic, and so on. So there's a kind of the romantic tradition within poetry and painting, and Ruskin, and so on. This is a kind of an old idea, but it's obviously

451
01:28:10.020 --> 01:28:17.399
it has a therapeutic power, and that comes across in your talk, obviously, and in the images, too.

452
01:28:17.550 --> 01:28:20.629
But it's a very different type of nature from the nature that you're in

453
01:28:20.700 --> 01:28:36.580
that I think, kudos, really, for when you've got injuries now, but you could have had injuries. A lot of very nasty injuries out there on the ice, and so on, like quite far away, quite distant.

454
01:28:36.790 --> 01:28:38.540
nature is actually

455
01:28:38.570 --> 01:28:45.369
obviously, if you don't read the signs correctly, things can go very, very wrong very quickly.

456
01:28:45.420 --> 01:28:57.870
But the question that I want to ask actually, oh, and also into Ayesha, you know, nature is extractive resource. So that kind of thing. But the question I wanted to ask actually, is actually to do with

457
01:28:57.980 --> 01:29:02.809
the communication of sensory knowledge is so when you talk about like attending

458
01:29:02.840 --> 01:29:11.349
to sensory cues, and this kind of developed of a consciousness competence as well.

459
01:29:11.490 --> 01:29:15.610
And I just wondered actually, in your case in particular, whether there was something

460
01:29:16.000 --> 01:29:20.049
allied to kind of indigenous knowledge

461
01:29:20.100 --> 01:29:33.450
and the communication of learning navigation. you know, way finding through landscape and territory. I mean, it's very interesting that you didn't talk about tin in gold, because, you know, I think there's a

462
01:29:33.860 --> 01:29:45.800
it's good that you didn't talk about him in gold. Yeah, yeah, yeah. I know. I know that you know it's work, but there's something else there as well, which is maybe a kind of allied

463
01:29:46.420 --> 01:29:52.320
ancient understanding and communication or transmission of sensory knowledge is

464
01:29:52.550 --> 01:30:06.789
so in your case. It was, you know, a horizontal transmission, because you are picking up the cues from other people. But I'm sure that there's other ways of communicating over time that I'm in parallel. Am I completely wrong? Yeah.

465
01:30:07.880 --> 01:30:18.300
So how do they communicate? How does this relate to indigenous ways of knowing, etc. So To. To begin with, the indigenous point

466
01:30:18.500 --> 01:30:31.310
in in New Zealand. This didn't come up at all, so the field work was in Australia and New Zealand and No New Zealand climbers at all said anything about the Maori didn't come up not a single time.

467
01:30:31.430 --> 01:30:34.180
in Australia. It came up

468
01:30:34.320 --> 01:30:35.779
twice.

469
01:30:36.180 --> 01:30:44.389
and and they the 2 people who raised it.

470
01:30:44.510 --> 01:30:53.049
One person talked about it as kind of like An acknowledgment that their white fella is passing through

471
01:30:53.450 --> 01:30:58.649
in contrast to the to the local people, right? So there was not an acknowledgment of difference.

472
01:30:58.740 --> 01:31:05.300
The other person who mentioned it was more kind of describing this more ancient

473
01:31:05.410 --> 01:31:27.540
relations, song lines, blah, blah blah stuff that's not to be disrespectful. You know what I mean, that kind of line of logic, describing it as being aware of it, and maybe taking some knowledge of it through knowing having relationships with elders, and so on. And so being brought into that kind of fold.

474
01:31:27.540 --> 01:31:35.800
But but in general you're right that their way of relating to the environment is not the same as this

475
01:31:35.800 --> 01:31:45.309
indigenous. These were an ancient kind of way of knowing. It's not the same as nature as healing, and it's not the same as nature as extraction.

476
01:31:45.310 --> 01:32:00.939
Within the adventurers themselves. They they were mostly positioning themselves against another viewpoint that they understood so one of the kind of forms of relation for adventurers can be. Nature is something to be conquered

477
01:32:01.000 --> 01:32:08.609
right? And so it's about conquest. It's about speed. It's about against the odds. Achievement, right?

478
01:32:08.650 --> 01:32:29.850
And there's there were maybe a couple of people who were kind of doing that in practice, but all of them talked about how that wasn't really what they wanted to be doing. What they wanted was this quiet, humble communion. And I wonder actually, whether me going into this saying, I want to talk about listening. I wonder whether that

479
01:32:30.220 --> 01:32:33.959
filtered out the people who are about conquest?

480
01:32:34.790 --> 01:32:42.010
And so what I was left with was these people who saw listening in this in this sort of humble, synesthetic kind of way

481
01:32:42.040 --> 01:32:57.639
of being in So the sub part to that question was about communication, and that has been a major focus of my work, because I'm not interested in a kind of Bordusian way to say that knowledge is in the body. I reject that as an idea. I want to talk about how it gets in the body.

482
01:32:57.850 --> 01:33:17.480
So in terms of the adventurers, I've written a paper about how narrative works on embodied Mel you published in ethnography and The reason for that is that they all waxed lyrical about the importance of stories. And so I was trying to understand what's going on in these stories

483
01:33:17.820 --> 01:33:42.229
and what they are descriptions of interrelated sensing, and these kind of calls to attend. And so they tell about an experience this time. And it it can be like a big story like this thing went majorly wrong, and it's something they tell about the years on, but they they can also be more kind of micro stories in the hut telling of what it was like out there today for the person who's going out there next.

484
01:33:43.200 --> 01:33:57.819
so yeah, they. They narrate their experience. But off often the description of the exact sensory experience is left to the experience. So they kind of tell that there is something there, that the experience itself is unspoken.

485
01:33:58.040 --> 01:34:06.920
So, and they talk often in terms of the cue, so like you know. There I heard the river rolling boulders. They don't make the sound of the bowlers.

486
01:34:07.200 --> 01:34:33.000
but they refer to them being there, and there are some serious limits to that, because I heard about these boulders so much because New Zealand rivers are super powerful, right so powerful that they move rocks down them, and if you get in that river it's going to wipe you out, so you need to be able to hear it, so you don't do it right. So they talk about these boulders all the time, and I'd heard about these for like a full year before I was there finally, and we heard them and the person I was who said here the boulders.

487
01:34:33.260 --> 01:34:56.579
and I knew I knew them right instantly, but they didn't sound like what I thought they were going to sound like, and I'd push these people like, can you try and make the sound for me? Kind of like the presentation from Catherine yesterday, where she tried to make us make this out of ice. It doesn't sound like us. It's an attempt to make it sound like ice. And it was the same problem with the rocks. So so narrative is one strategy. There are also these kind of going with being with

488
01:34:56.700 --> 01:34:58.290
hearing together.

489
01:34:58.340 --> 01:35:24.219
and they sometimes have these back and forth where they'll say things like like trying to estimate how far off the confluence is orally right, and they'll be in a party, and someone will say, I think it's 500 metres away. And another person is saying, I think it's 3 50. You're getting confused because you're hearing this other thing from this other place. And there's kind of this negotiation around the meaning of what they are all hearing in this in this moment, as they walk the line.

490
01:35:24.240 --> 01:35:26.809
So it's just a couple of strategies. There's some others.

491
01:35:27.480 --> 01:35:39.320
yeah. And and it's different in different domains. So amongst the doctors and the and the musicians in and the morals cod oper, they're all radically different strategies for getting it. The the sound.

492
01:35:47.260 --> 01:35:57.220
I just well, it was a wonderful set of mind-blowing forms of knowledge, but for the second speaker I really appreciated

493
01:35:57.580 --> 01:36:00.429
the way you present it. But you also talked about

494
01:36:00.840 --> 01:36:08.739
something like living with trauma or post-trauma, or life after or alongside trauma and your poetry. I wonder if you wanted to

495
01:36:08.800 --> 01:36:12.320
tell us a little more about how the poetry

496
01:36:12.670 --> 01:36:14.300
is, maybe that

497
01:36:14.340 --> 01:36:18.780
whatever music or sound, or whatever it is that accompanies us to be able to express

498
01:36:19.240 --> 01:36:22.790
what is sort of almost difficult to articulate.

499
01:36:23.480 --> 01:36:27.580
thank you. Yeah, is that right? Yeah.

500
01:36:27.590 --> 01:36:33.960
yeah. How to articulate that? Yes, that sounds great. Yeah, yeah, thanks.

501
01:36:34.330 --> 01:36:49.220
I guess there's a couple of things. So for myself, part of my life has been making sense of these traumatic experiences in a way that I can live with, and poetry.

502
01:36:49.250 --> 01:36:54.110
It has mysteriously in my way of doing that since I was a small child.

503
01:36:54.350 --> 01:37:01.609
That's one of those things, and that has changed and developed over time and come and gone.

504
01:37:01.630 --> 01:37:03.430
what

505
01:37:03.690 --> 01:37:06.779
I thought about when.

506
01:37:07.210 --> 01:37:28.950
how to research with people and around very sensitive topics. Who? Who have gone to so much trouble in their lives to set up their lives so that they do not have to be in those experiences in the present, but have worked out how to do that.

507
01:37:28.950 --> 01:37:41.080
I was really wanting to create a method and a process that didn't put them back into that situation, but instead.

508
01:37:41.130 --> 01:37:44.350
focused more on the strengths. And

509
01:37:44.370 --> 01:37:45.860
a

510
01:37:46.220 --> 01:38:12.419
I guess I want to say positive elements without it sounding wishy-washy. But yeah, the strength of that life and the meaning. And I thought arts-based research methods were really good for that really useful way of communicating things, and also to not be to be able to shift away from the trauma itself and to focus more on their skills.

511
01:38:12.430 --> 01:38:32.889
It's a useful method for them to tell that in a way that is, through making processes and in whatever way that is, and for me, being in that situation where I'm talking to people and my own experience, I also had to come up with a method that felt comfortable for myself.

512
01:38:33.200 --> 01:38:41.629
so that to me is interviews, transcriptions developing poetry from that

513
01:38:41.730 --> 01:38:52.050
an easier way for me to deal with, something that could be difficult. And it's really great as a reflexive practice as well.

514
01:38:52.540 --> 01:38:56.370
Yeah, why does that answer? Yeah. Okay, thank you.

515
01:39:01.220 --> 01:39:04.069
I'm gonna create one

516
01:39:04.230 --> 01:39:08.390
for Sarah. Really, I was kind of interested.

517
01:39:08.600 --> 01:39:14.130
The images you were showing. And you were talking about this this notion of going into

518
01:39:14.540 --> 01:39:20.150
 and I guess when you're in nature, it is actually not silent.

519
01:39:20.290 --> 01:39:21.780
And

520
01:39:21.930 --> 01:39:30.980
and then I was sort of thinking it's kind of interesting because you were showing up rock climbing and

521
01:39:31.380 --> 01:39:33.850
trekking through a kind of jungle type.

522
01:39:33.980 --> 01:39:42.970
environment, and then 3 glaciers, and so on. It was all with groups of people. So have you done anything or spoken to people that maybe

523
01:39:43.140 --> 01:39:44.720
do it in solar.

524
01:39:44.760 --> 01:40:00.329
so they're on their own, and they had to rush through that at the end. But yes, I have spoken to people who do it. Solo. The person who was in the photo, I mean. Obviously there were had to be a photographer there at the time, but in general, that guy who incidentally, was my doctoral supervisor.

525
01:40:00.500 --> 01:40:18.829
he he often goes solar right? And yeah. So these these people, mainly men, do this not always, but take like a rope or one eye, sax or something, and they go off on their own

526
01:40:19.040 --> 01:40:34.760
and it freaks out wives, I think, and they can be gone for a couple of weeks. And so you you're right. That there are. There are. There are still sounds in the in the place, but I think they say silence, because there's a major reduction in the calls.

527
01:40:34.780 --> 01:40:50.980
on your attention. So all you're left with is the sound of your ice pick entering a nice face. And and then if there's an avalanche so it's not like that. There's there's no sounds. But there is that major reduction?

528
01:40:50.980 --> 01:41:05.300
I did talk to the person who talked about the forest as silent. About what they what they meant by that like whether it was really soundless. And this person said that

529
01:41:05.360 --> 01:41:17.880
Part of it is an awareness that there are actually things happening beyond their current location, but they can't hear them, so that there is like a like acoustic batting.

530
01:41:17.880 --> 01:41:41.360
right like, somehow, that the moss has the effect of the batting in a constant hall, like, yeah, they. They can kind of hear themselves, their feet hitting the ground and themselves brushing past foliage or whatever. But they know that there's a river only a one 100 metres away, and for or 200 meters away, and for whatever reason they can't hear it, so it's more like an awareness of what's being taken away rather than an absolute stage of soundlessness.

531
01:41:41.390 --> 01:41:42.820
Yeah.

532
01:41:42.950 --> 01:41:48.729
it's just asking, because I I have a a colleague who is doing his Phd. And he

533
01:41:49.150 --> 01:41:54.350
he goes. He's based in Hochmann City. So. But he went out to this sort of

534
01:41:54.440 --> 01:42:00.279
a motorway where they're building a motorway, but they ran out of money. So it's kind of a half built motorway.

535
01:42:01.000 --> 01:42:05.210
But right next to it is just basically jungle.

536
01:42:05.390 --> 01:42:13.430
And he was sort of recording sounds. He is a sound artist. So he is recording sounds around this sort of motorway structure.

537
01:42:13.860 --> 01:42:17.049
but suddenly became very kind of

538
01:42:17.480 --> 01:42:23.169
worried and then scared because the slight breeze coming through

539
01:42:24.110 --> 01:42:35.239
this sort of jungle area was making these cracking sounds. And yeah, these kind of very strange sounds. And he he kind of wasn't sure whether there was someone there or someone out there. And yeah, so it became very kind of.

540
01:42:35.410 --> 01:43:04.740
So so I touched on this very quickly at the end. But it 100% freaks people out. So what my doctoral supervisor does in doing these major trips in really extreme contexts alone, even for some incredibly skilled mountaineers is kind of beyond what they can cope with psychologically. And I had this fabulous conversation with this really serious mountaineer in in in the New Zealand scene top of his game like you. He's the one of the names you would know right.

541
01:43:04.740 --> 01:43:23.350
And he said, You know that thing that this other guy does in going out on his own, that I've tried it, but I don't respect that he can do it. And I 100% know what it gives you in terms of awareness, but I can't do it. And he told me about this trip where he went, and it was just him, and ice axe and a rope.

542
01:43:23.350 --> 01:43:44.180
and he got so freaked out by what was left that he had to run his stove just to have some sound coming. So he's sitting there, I mean, they struck themselves to the edge of a cliff. You can't imagine the circumstances in which they're having a rest, but he's tied to the edge of a cliff in the in a mountain, with no one around.

543
01:43:44.180 --> 01:44:06.550
and there's the sound of the wind rushing through, and whatever else, and he's so terrified that he has to turn on his stove to give him something, some white noise to soothe his soul, and and people hallucinate all the time. Another woman was talking about how she was in a trip. But when you're traversing in an in in Antarctica, and you've got.

544
01:44:06.550 --> 01:44:14.449
and there's a wind rushing through, and you can't see very well. It has this effect of a similar in a way, because

545
01:44:14.630 --> 01:44:38.949
your your awareness of everything around you collapses to 0. And she was one of the people that talked about, sometimes using an ipod in that circumstance. And she said, just to give you something in your head. And she explained how, if you don't have that, you can imagine it. And she was talking about how she got a song stuck in her head, and this comes up in touching the void. That famous story, at 2 where he's he's

546
01:44:39.150 --> 01:45:00.030
coming down the mountain. And one of the things that's driving him on is, he thinks I don't want to diet a bony M. And he's hearing a brown girl in the ring in his mind. And it's just running over and over, and people visualise others, too. It's not just an auditoring elucidation. But there's this third man kind of phenomena where people imagine a person with them in that circumstance.

547
01:45:00.760 --> 01:45:03.220
Okay. I think we

548
01:45:03.780 --> 01:45:26.710
kind of a time, is there any? I've probably got time for one more question. Yeah, yeah. I actually, you were talking about the work of grading the frank and senses and embodied kind of work, and also the labor in harvesting it. I was wondering if you've been capturing anything about the processes or processes of training in that in that sensory expertise.

549
01:45:28.480 --> 01:45:57.379
Ayesha Mualla: it's actually interesting because it brings us back to the question of migration around the Indian Ocean, and with practices associated with harvesting. So it is a very labor intensive project. And the the bossvilia soccer tree that I'm looking at in my field also grows only in very specific areas. So it's in, though far, which is south of format. It's in Yemen and in Somalia. So a lot of the people

550
01:45:57.380 --> 01:46:03.480
Ayesha Mualla: who are involved in How Westing today are actually Somalian migrants in Omar.

551
01:46:03.510 --> 01:46:30.929
Ayesha Mualla: who come with their training and knowledge of how westing practices in Somalia, and they also use a very different vernacular in which is, which is part of their training in in Somalia, and it's very different from the practices the indigenous practices in Southern Oman which might be a little more similar to the practices in Yemen because of similarities in in in the groups or plans

552
01:46:30.930 --> 01:46:37.819
Ayesha Mualla: or linguistic groups that do the harvesting process. So it's it's a very interesting sort of

553
01:46:37.850 --> 01:47:02.149
Ayesha Mualla: a a development that has happened in the last 2 decades. With the coming of the Somali migrant into the into a very labor, intensive, difficult aspect of the harvesting and and coming with their tacit and embodied practices and knowledge systems. Which sort of take this trade further and and symbiotically bring the Frankinson's resin back into the market.

554
01:47:02.350 --> 01:47:13.190
Ayesha Mualla: after a brief a a brief gap, especially a a a a brief gap in in in in the trade of franking sets.

555
01:47:13.210 --> 01:47:24.600
Ayesha Mualla: So this is a very important question that ties migration patterns to the social life of Frank instance, which is something that I'm exploring in my larger project.

556
01:47:26.890 --> 01:47:35.830
Okay? thank you very much. All the presenters that's really fascinating. Morning. That's really really interesting. Can we just have a round? Of of course.

557
01:47:39.270 --> 01:47:39.950
Okay.