Live visuals: history, theory, practice

Abstract

interactive documentary might take. The final chapter, written by a collective of Indigenous and Caribbean women, draws together many of the book’s themes including parallels between Indigenous knowledge, human and non-human agency, interspecies relationality, and interactive documentary networks. While a critique of Interactive Documentary: Decolonising Practice-Based Research could be levelled at the varying degrees to which the chapters expand our understanding of the key concepts of interactive documentary, decolonisation and practice-based research, this is also its strength. The chapters, which invariably range from the more theoretical to the practice-based, and from traditional essays to interviews, create a sense of the polyphony that Aston and Odorico champion in their early chapter. The majority of documentary scholarship continues to be written from the dominant centres of cultural production. This volume, then, makes a necessary contribution to the ever-evolving documentary project with lesser theorised projects from the Global South and beyond, and with some of the strongest contributions grounded in embodied experience. These perspectives provide much needed insights into how documentary can increasingly be used as a tool for centring non-Western knowledge systems.