Michael MacDonald

CineWorlding (MacDonald 2023) is a portmanteau of cinema and worlding. Worlding, as Donna Haraway (2008; 2016) and others have noted is rhythmic, vibrational, entangled in-folding. All becoming is becoming-with. Michael's research investigates how cinematic research-creation might contribute to an expanding idea of what audiovision and music studies can do. By contrast, cine-ethnomusicology has traditionally been oriented by a “documentation paradigm” (Norton 2021: 123-125) expressed through documentary research methodologies committed to dominant regimes of truth. Traditional ethnography has been too committed to forms of reductive and exclusive Humanism critiqued by more than a century of well-known and well-read scholarship. There must come a time when the weight of this philosophical critique overcomes the theoretical and methodological foundations of ethnography. The evidence is readily available: neither subjects nor objects are clearly distinguishable, autonomous, rational, fully reflexive, discernable. Technologies (techne/technics) are not separable from the knowledges that they produce, nor are simple and transparent communication mediums. CineWorlding is wayfinding in the middle of collective conceptual, social, technological, environmental ecological in-foldings. This wayfinding or study is a cinematic research-creation approach to posthuman ecological music studies. | Music studies, popular music, ethnomusicology, documentary cinema, audiovisual studies

Michael MacDonald is Professor | (Ethno) Musicology, Cultural Studies | Social Innovation Institute Steering Committee Member | Social Innovation Institute Researcher at MacEwan University. Their stated interests include CineWorlding (MacDonald 2023) is a portmanteau of cinema and worlding. Worlding, as Donna Haraway (2008; 2016) and others have noted is rhythmic, vibrational, entangled in-folding. All becoming is becoming-with. Michael's research investigates how cinematic research-creation might contribute to an expanding idea of what audiovision and music studies can do. By contrast, cine-ethnomusicology has traditionally been oriented by a “documentation paradigm” (Norton 2021: 123-125) expressed through documentary research methodologies committed to dominant regimes of truth. Traditional ethnography has been too committed to forms of reductive and exclusive Humanism critiqued by more than a century of . This summary considered all 2 collected sources.