Ways of Inhabiting Academia: Ethnographic experiments with #Colleex in Cieszyn

Francisco Martínez, University of Leicester

FIG 1 Chocolate ethnography. Photo by Zoe Aiano

How do academic conferences shape anthropological research? And how do anthropological events change the participants in turn?

From 4 to 6 July 2019, over fifty scholars and artists met in Cieszyn (Poland) to explore novel forms of knowledge production, cultivating cross-disciplinary accents and gaining an experimental sensibility in fieldwork, in an event organised by the #ColleexEASA network and the local friends of the Institute of Political Critique (Świetlica Krytyki Politycznej “Na Granicy” w Cieszynie).

I arrived to Cieszyn a day before the event to attune myself to the surroundings. Well aware of the gastronomic and architectural pleasures of central Europe, my first impression, after a walk, was to notice the prominence of the Olza river and its bridges, which have served for many years as the geopolitical border between Czech Republic and Poland.

FIG 2 Olza river. Photo by Francisco Martínez

Walking continued during the workshop, yet through the outlands and suburbs of the anthropology, practicing boundary work while re-equipping our modes of performing ethnographic methods (Estalella and Sánchez Criado 2018). We discussed not just the actually existing ways of doing ethnography, but also epistemological deviations that create ways of knowing and learning differently, and by extension, ways of inhabiting academia differently.

The theme of the event was ‘The use-full-ness of the experiment’, and the description read like this:

“Experiments are singular events producing the unexpected: Throwing us questions we didn’t have, changing our notions of values, and creating the conditions of their own appreciation … From practical experiments that test what we already know to experiments carried out for the sake of them, experiments often challenge notions of value–this goes also for the value of the experiment itself. A situation that is not unusual in the experiments of artists and anthropologists: Working with their counterparts in the field and engaging in multiple collaborations, they interfere in coded hierarchies of value and subvert obvious notions of need in shared experimental exercises”.

Some of the participants came for crafting a taste for experimentation, or perhaps just to get a sip of it. All fine, those are also welcome. Some others, including myself, came to Cieszyn though willing to stay longer on the boundaries of what we know in the field, or even to lose ourselves there, not always finding the way back to our corresponding centres. I remember that after my talk, Tomás Sánchez Criado encouraged me to be even more excessive, more radical, intensifying the practice of surprise, searching for ways to go beyond the limit.

The exercise of re-training ourselves unequivocally involves unlearning, walking through the fertile ambiguity of the experiment, being open to the consequences of the unknown in the way we do research. Tomás talk was precisely about learning to relate, pedagogically and research-wise, proposing a sensorially engaged understanding of the relations taking place in the controlled space to experiment, whereby we draw together people to do things otherwise.

FIG 3 Tomasz Rakowski. Photo by Zoe Aiano
FIG 4 Eeva Berglund. Photo by Zoe Aiano

The repetition of an experiment leads always to its transformation, as a questioned answer to the coming, concluded Thomas Binder in his lecture; the same with an academic format, and with a walk.

During her talk, Eeva Berglund tried to bring Tim Ingold to the urban space, inviting us to walk with her towards a multisensorial sustainability science, building a capacity to be affected – a living inquiry. As she insisted, how to “solve problems” and issues of usefulness might go together with having fun, and the use of unusual methodologies should be noted for coping with contemporary risks, the background of economic hardship among researchers, and the crisis of crisis.

Also Ewa Klekot invited us to walk, to visit the river and to stay on the border while flying a kite. Her workshop consisted of making kites with our hands, flying them on the bridge, and exhibiting the nicest ones in the conference venue. Another experiment geared towards beyond human thought and perception was also organised by Hermione Spriggs. In her “Agility training”, she designed a series of preparatory exercises for engaging with hard-to-access perspectives beyond human worlds, combining animal empathy with muscular agility.

FIG 5 Flying the kite. Photo by Francisco Martínez.
FIG 6 Making the kite. Photo by Tomás Criado
Fieldwork research is embodied and alive, being part of a haphazard accumulation of notes, things, observations, feelings, ideas, encounters and time regimes. This was one of the key messages of Guy Julier, not merely translated and transmitted through words, but also performed in a multimodal presentation. For months, Julier has been studying how Helsinki has become a prime destination for investment funds through property development, including housing complexes, and so-called, “smart cities”. His way of analysing the verticality and horizontality of contemporary urban planning was not, however, based on choosing one of the two perspectives, but through juxtaposing different vistas and answers to the question “How is a community planned?”, which was complemented itself by a series of simple yet highly revealing questions such as: Who are the workers? Where is the money coming from? And what is made purposely invisible through design?

Julier made use of his body as sensing record, embodying the fieldnotes of his research performatively. In his talk, Julier re-enacted what use-value does an hour have for the different agents involved in the creation of a “smart city”, trying to transmit that embodied knowledge by playing roles through t-shirts of different colours. This was, perhaps, the most magical moment of the whole workshop, seeing how one us explores the limits of research through performative iterations and embodied imagination.

FIG 7 Guy Julier during his performance. Photo by Zoe Aiano

The summer when I found my academic subculture

A common mistake among Funding institutions and conservative anthropologists is to take academic formats and methods without time, as if they don’t mature, evolve, age, mutate. This is not the case of #Colleex, fundamentally open to new ways of extending our discussions and of developing our competences and sensibility to contemporary times, and also self-reflexive about the way academic conferences generate conditions that facilitate the production and dissemination of knowledge.

Local organisers, Tomasz Rakowski, Eva Rossal, and Joanna Wowrzeczka made of the Institute of Political Critique a place for multidisciplinary accommodations. They gathered people to share their questions and think through the relationship between the possible and the actual together, our tools and concepts, our notions of evidence, the future we imagine and of our own worth as academics.

FIG 8 Fran and Tomás searching for a disciplinary route. Photo by Zoe Aiano

Experimental knowledge production is characterised by temporal and spatial concentration. In Cieszyn, Martin Büdel and Zoe Aiano invited us to embrace the aesthetics of experimenting, illustrating different circumstances encountered in the field while filming. Also Maica Gugolati and Ofri Lapid foregrounded the importance of creating an atmosphere of sensing and sharing, demonstrating them all that the experimental is not necessarily difficult or intellectual, in some cases, it can be quite enjoyable.

The two #Colleex workshops organised so far have had as key aim to refigure the relationship between anthropologists and informants. However, if paying attention to the themes discussed, one can find differences between them, or perhaps a sense of evolution. The first #Colleex workshop, organised in Lisbon (13th–15th July 2017), was more focused on how documentation and multi-modal formats intervene in our research and the embodiment of knowledge. There were discussions about twitter as an ethnographic device, about colonial legacies and venues for experimentation, and also fundamental questions of what is a fieldnote, who is an anthropologist, and what is anthropological knowledge.

The second workshop, however, was rather focused on pedagogical designs and epistemic limits, on re-training ourselves, on failures, risks and vulnerability, on affects and shame, the weight of tradition and national myths, and also about different materialisations (and aesthetics) of knowledge. In Cieszyn, there was a (sometimes felt taxonomical) effort to define experimentation, while in Lisbon the programmatic exercise was to ground and delineate the meaning of collaboration.

FIG 9 Reunion. Photo by Francisco Martínez

The #Colleex workshop in Cieszyn was an event in which anthropologists did not present minced facts, but produced knowledge in situ, with the rest of participants, entailing along a new approach to the particular devices of undertaking fieldwork. In a self-critical way, we also reflected if these formats could be pedagogically powerful but politically toothless; also discussed about the sustainability of the experiment, and the infrastructures that alternative formats of engaging with fieldwork unequivocally require.

Both #Colleex workshops managed to constitute a counter cultural approach to method, and a sense of communitas among participants, relying on the locality, but also creating a collective spirit that goes beyond the locality. I did not feel these gatherings as the typical one-night-stand scholarly encounter of traditional conferences, but something close to falling in love, as one of those Linklater’s “Before the Sunrise” films. For me, to join the #Colleex was like to be part of an urban tribe or subculture back in my teenager period, call it steam punk, skater like, neo-romantic, mod, gothic, anarchist, also agrofolky, hacker, queer and a bit Hare Krishna too, all of this is in #Colleex.

Events such as the one experience in Cieszyn make possible a different way of inhabiting academia, attending to alternative modes of knowing, learning and acting in the field, while creating a renewed public for ethnographic experimentation. We need to peripheralise ourselves from time to time, instead of always leaning towards a core (disciplinary, epistemic, geographical). It is positive to unsubscribe ourselves to the standard and the central, even if temporarily, as a way of re-training ourselves and understanding the world with more perspectival vistas, as a way of pushing further toward the limits of what one dares to do and imagine in anthropology.

FIG 10 Ofri Lapid. Photo by Francisco Martínez

Parasitic Reading

Alyssa Grossman and I organised the format “Parasitic Reading”, intended as an open-ended reading intervention. The exercise consisted of a platform for knowledge-contagion created through acts of collective, out-loud reading. This pedagogical experiment aimed to invoke archaic forms of storytelling in which people were assembled and communities were formed by gathering to listen and tell stories. It is also inspired by a learning prototype originally designed by Rosario Talevi and by the knowledge transfer form proposed at the end of Ray Bradbury’s novel “Fahrenheit 451”, in which people try to preserve written ideas by recalling books verbatim. Our proposal of parasitic reading had four specific yet complementary goals: To instigate a new kind of attentive listening practice, to see what happens when someone else reads your own work, to try and make something new out of all of the fragments, and to generate an imaginary sense of community, even if temporarily. For this workshop, a dozen of participants submitted an experimental fragment of any written text that they would like to share with the rest of the group. These textracts were a poem, a fieldnote, a song, an extract from a novel, from an academic paper, from an artistic catalogue, or from a how-to-guide or cookbook…

Here below my three favourite contributions:

  • Ofri Lapid

I said, Maybe he does really know how to read. So he turned (the pages) over and cleared his throat. Heeeeeeeheehe, he said. Then he frowned and kept on raising his eyes, and nodding his head. After that he made a little bow and began to read. It says: Telente. Ten-telente. Ten-ten-ten-te telenten telelen ten ten ten, ten ten ten ten. Telelenten. Ten ten. Tentelen. My Europe. My Manaos. My Para. Telententen. Ten ten telelen. Ten tan tan. Tan tan ten telen. Telen. Ten ten telelen. Telen telen telen ten ten ten ten ten. Telelen ten ten ten ten ten, he read from it.

  • Hermione Spriggs

Excerpt from “Spring Gobbler Strategies”, Dane County Conservation League http://www.dccl.org/information/turkey/turkeyhunt.htm

The more the bird roars, the more you feel an uncontrollable urge to cluck and yelp. But be careful! Too much calling at first light can hang a tom on his limb as he waits for the hot “hen” to sail or walk beneath his roost tree. And the longer he sits up there and fails to see a girl, the more he smells a rat. When the bird finally flies down 30 minutes later, there’s a good chance he’ll run the other way.

So fight the urge to call too early. Wait until pink illuminates the sky. Then give a bird some pillow talk to let him now you’re there. A couple of sultry tree clucks and yelps are about right.

If the turkey bellows shut the heck up! He has honored you as a hen, he likes what he heard, and he knows where you are. Let him fly down and come looking for you. But if the tom fails to gobble, cluck and yelp a little louder to focus his attention in your direction.

If he still doesn’t talk, it’s no big deal. Listen for the bird to fly down, then hit him with a spirited hen cackle. Try flapping a Primos turkey wing against your leg to sound like a hen pitching to the ground. If the tom gobbles and steps your way, you might not need to call again. But if he hangs up after 5 minutes or so, cluck, yelp and purr a little louder. As long as the turkey hangs around and gobbles keep playing the game.

  • Elisa Ayerza Taber

Fom Mar Paraguayo by Wilson Bueno. Translated by Erín Moure (pages 45-46).

one dusk après une autre I sit ici on this sofa diagonal to the window, and in sitting it’s presque as if everything’s crumbling into bits: cramps in the guts: setting sun weaving humid nuances: spaces from où move déjà les occupations cérémoniales of light and lune: between the crowns of sombreros or entre les durs vides of the fig tree that devastate into shadow and suspicion in the crépuscule of the beach town: figuier, couronne, sombreros: la ancestral speech of fathers and grands-pères that infinitely vanishes into memory, they entertain all speech et tricot: these Guaraní voices eternalize so simply as they go on weaving: ñandu: there is no better fabric than the web des leaves tissées all together, ñandu, together and between the arabesques that, symphoniques, interweave, in a warp and weft of green and bird et chanson, in the happy amble of a freedom: ñanduti: ñandurenimbó:

Things we feel and know – exploring ethnography with #Colleex in Cieszyn, July 2019

A personal account of our 2nd #Colleex Workshop in Cieszyn by Eeva Berglund (originally published on her blog)

Colleex 2019 2 Tomas SC
From Ofri Lapid’s open format: “On the Surface of Text: A Reading Session with Props”, photo Zoe Aiano

I’m inclined to consider that the world is not just complex but that many of the most disturbing aspects of it are deliberately opaque. This applies whether we enter the problem via the existential anxieties of climate politics, the sabotaging of democracy or the machinations of digitally performed cognitive capitalism. Not that everything can or should be rendered transparent. It is the case though, that never-before-seen computing power, ubiquitous surveillance infrastructures and incomprehensibly big data notwithstanding, the world and its workings strike me as increasingly resistant to being known.

All this complicates residual ideas of knowledge translating into power. It confuses or at least contextualises the very idea of intellectual effort. Those things aside, for many of us, working things out together brings many joys and other rewards.

This I rediscovered with force again, with the #Colleex Collaboratory for Experimental Ethnography. #Colleex, an EASA-network, engages with experimental modes of research in and around anthropology. Since 2016 #Colleex has been collectively imagining how to pursue enquiry at the same time as pursuing change. This gives it a somewhat design anthropological hue.

Under the title, The use·ful·less·ness of the experiment, the Second #Colleex Workshop in Cieszyn, Poland, last July energised around forty people to strengthen our capacity to imagine, to think and to feel our way around ethnography today.

The workshop also helped me not just to do but to appreciate and value slowing down. To invoke Isabelle Stengers as well as the call for proposals, the meeting encouraged lingering with questions and provoked us to ask ourselves: why are we doing this work? (Not, I believe, in order to dismiss or critique, but in order to be clearer).

Cieszyn opening 2019
On the banks of the Olza River, photo Guy Julier

On the border

The July sunshine is now but a memory. It was the publication, last week, of Repair, Brokenness, Breakthrough, edited by Francisco Martinez and Patrick Laviolette, that pushed me to finally write about the event. (I have a text in the book, and won’t review it.) In the poetic introduction to the collection, Fran, who is also involved in #Colleex (seen standing on the right in the photo above), writes: “Brokenness feels like something, but one does not know what it looks like, and even less how to verbalise that something” (2019: 28 ebook). Other authors in the book revel in the trickiness of capturing important things in words, or even trying to do anything as definite as “capturing”.

As with #Colleex, the book’s focus seems to be on how to keep things open. Indeed, how can one cope with a world where so much is deliberately made to go unnoticed and to be beyond democratic control?

The Cieszyn workshop had this ethos too. An implicit impulse ran through the workshop, an activist or perhaps Actor Network-style principle, of prizing open the old and the new black boxes all around us, that are quietly anchoring and materialising binary logics – us versus them as much as one versus zero – into the everyday.

This ethos of opening was, for me, powerfully instantiated in the location. Cieszyn is a delightful town on the Polish-Czech border. On the other side of the Olza River is now Czech Cieszyn. There we found more good beers and yet another currency. All we had to do was simply walk over a bridge, past former border checkpoints.

Bridge to Czech Republic 2019
From Poland to the Czech Republic, photo Guy Julier

For one born in the 1960s, and who frequently crossed the Iron Curtain as a child, this evoked memories and feelings that are particularly poignant in this 30th-anniversary week of the literal dismantling of the Berlin Wall.

Our local hosts at the “Political Critique Dayroom in Cieszyn” have been doing projects with local youth since 2009. They have been drawing attention to the social and economic (I might say “designed”) barriers affecting life chances alongside more material ones, like walls or rivers. In a place like this keeping things open, resisting binaries, is subtle but consequential work.

Some examples

Openness was cleverly materialised by Natalia Romik and her nomadic architecture. Walking around small Polish communities, she has literally introduced residents to the histories of previous, Jewish, inhabitants of those places. Together with her extensive research into Jewish heritage in architecture and urban life, her portable archive encloses and discloses at the same time.

Natalia R and box 2019
Photo by Zoe Aiano

I was delighted by a phrase Natalia use in passing: “compulsive urban management”. It stayed with me as I reflected on Guy Julier’s re-presentation of six, variously “useful” 60-minute performances in Kalasatama, Helsinki. But it’s above all the use·ful·less·ness of this supposedly sustainability-oriented, “smart city” urban experiment that is worth pondering. That Guy, better known for his critical take on things, expressed his surprise in finding a new empathy with Kalasatama through these performances, suggests another way the workshop encouraged openness.

It’s cliché perhaps that artistic work and material objects lend themselves to resisting closure. Not surprisingly then, a good portion of the programme involved either performing or reflecting on material things. Similarly, film and image featured strongly, perhaps most movingly (and amusingly) for me in Zoe Aiano’s work with the Wild Pear collective. Thanks also to Zoe for some of the photos here!

The workshop practiced the ethos of openness also in the so-called open format. We had already practiced this in Lisbon two years previously in efforts to shift away from academic conventions of meeting and learning from each other. Tomás Sanchez Criado with our Polish organisers, Eva Rossal (pictured below) and Tomasz Rakowski, guided us through a programme that sometimes required patience and trust in the situations, devices, performances, experimental installations and other mini-experiments on offer. That patience was, at least for me, amply rewarded.

Eva Rossal Cieszyn 2019
Eva Rossal in Ofri’s Reading Session with Props, photo Zoe Aiano

There were also formats that somehow put me in mind of the cyborg. In what I think of as a Harawayesque way, all formats drew us to connect with whatever parts, from whatever angles we could, using whatever hinges we could, resulting in temporary yet potentially fruitful [sic] monsters.

Some formats involved text and words materialised in different ways (Elisa Taber, Ofri Lapid), not simply to play around, but to examine the powers of the written word. We also practiced becoming tricksters, manipulating plastic, paper, coins, polystyrene and smartphone screens, to lure other animals and anticipate the unknowable with Hermione Spriggs. As creatures with many senses, we also trained our ears with Piotr Cichocki’s DJ set and our taste buds with Christy Spackman’s hyper-designed chocolate.

Colleex 2019 1
Martin Büdel and Francisco Martinez, photo Zoe Aiano

Luckily for me, there was also scope for presenting more conventionally (with PowerPoint as support), so I was able to simply to relate some of my experiences of doing activist walking research.


Before the workshop, Tomás and I talked about the importance of confusion in fieldwork situations, something we both have experienced but also written about. It has a role in research and teaching, but it can be hard to persist in academia with the things that we feel and perhaps even see but can’t put into words. Contemporary academic conditions of work only aggravate this situation.

Gathering together as #Colleex, inviting social scientists as well as designers, artists and architects to share in papers and open formats, we put our creativity to work on the spot and in variously fleeting ways. As Tomás and Adolfo Estalella have also discussed in print, anthropology needs to open up to more interventive methods of engaging – discovering but also designing the world.

Colleex 2019 3
Reflecting on the last day with Tomasz Rakowski, Hermione Spriggs, Natalia Romik, Maica Gugolati, Marcelo Rossal, photo Zoe Aiano

It is and was tempting to endorse everything we did as creative, and to be optimistic about what the open format could do and how it might become valued. But I think what I took away from the event was something different. It was a sense – a feeling – of researchers with others struggling to make sense, and succeeding in doing so with a fresh (to me at least) courage to actually be intellectual. Maybe this is in addition to being playful or creative, but do I want to emphasise the critical intellect.

To make an academic reference is surely thus warranted. Isabelle Stengers writes about experimenting:

“What is at stake here is ‘giving to the situation the power to make us think’, knowing that this power is always a virtual one, that it has to be actualised. The relevant tools, tools for thinking, are then the ones that address and actualise this power of the situation, that make it a matter of particular concern, in other words, make us think and not recognise” (p.185)

– Stengers, I. (2005). Introductory notes on an ecology of practices. Cultural Studies Review11(1), 183–196.

Maybe open formats have many functions. Following Stengers they can be tools for thinking. The most provocative ones for me, were those that were open not just to fresh thought, but to the world, which the best of them managed to offer to us in that small situation at the border.

I started this post with a complaint that the world seems ever harder to know. I’ll conclude by noting that though it may be confusing to develop ethnographic experimentation as a tool to redress this problem, it can be powerful.

Border in Cieszyn 2019 EB
Looking across the border towards Cieszyn, photo Eeva Berglund

1st Colleex workshop – Live tweets of the event

Live tweets of ‘Ethnographic Experimentation: Fieldwork Devices and Companions’, First Workshop of the #Colleex Collaboratory for Ethnographic Experimentation, an @EASAinfo network | 13th–15th July 2017, Jardim Botânico Tropical, Lisbon




1st Colleex Workshop – Draft Programme

Dear #Colleex,

Thank you for your patience, you’ll be pleased to find here a PDF version of the draft programme for the Ethnographic Experimentation workshop in Lisbon, containing not only a schedule, but also the distribution of:  (a) paper sessions with abstracts; and (b) the open formats (Audiovisuals, exhibitions, open formats, and permanent activities) and their abstracts).

It will be a packed three days as you will see, with paper sessions and formats/interventions mingling with each other. The entire event will take place within Lisbon’s Jardim Botânico Tropical. Hopefully accommodation issues are gradually sorting themselves out. Here is the link to the info again.

We will send separate emails to paper givers and format organizers with more details by June 12th and generally do what we can to help you make the best of the event.

A quick reminder: papers should be 3000 to 4000 words long, and submitted to us by June 15th so they can be pre-circulated.

We hope we won’t be altering any of it very much, though we realize that there may have to be some unavoidable changes so please let us know if we have made a mistake somewhere.

 To assist with quickly finalizing the programme, please confirm your participation by registering on eventbrite by 2nd June 8th June (use the ‘Participant Registration’ tab)

Details of possible provided lunches, exact venues and the social event will be provided later.

Once participation has been confirmed, we will convert the provisional programme into a more definitive one.

All the best,

The organizing committee

1st Colleex workshop: Accommodation and practical info in Lisbon

Dear Colleex

For those of you attending the First Colleex Workshop in Lisbon, we’d like to share a few tips allowing you to organize your trip. We’d recommend  to do it ASAP.


The workshop will start on Thursday 13th July before lunch, and continue to Saturday 15th July until 16.00. There will be an informal get-together on the Wednesday evening (12th) for those already in Lisbon.

We hope you can stay for the whole duration of the workshop. The organisation will try to arrange lunch for everyone each day. Each colleex will have to arrange his/her breakfasts and dinners, though.


Please note that July is high season in Lisbon and accommodation demand is very highWe have two suggestions for accommodation in the Belém area (where the Jardim Tropical is located):

1) Terrace Hostel

A number of double rooms and beds in shared dorms are being held especially for the workshop in the Terrace Hostel 

Workshop participants can book by specifying “ICS- Institute of Social Sciences” in their email booking. Hostel staff will then group participants into rooms unless you specify that you want a double room for a slightly higher price. Prices are as follow:

Rates per night:

– double room: 55€

– twin room: 55€

– twin room in bunkbeds: 50€

– room for 8 people: 19€ per bed

– room for 6 people: 21€ per bed

– room for 4 people: 24€ per bed

All rooms have a shared bathroom.

Terrace Hostel offers a fully equipped kitchen, free wi-fi internet in all the rooms, cable TV, DVD’s, books and security lockers.

To get the special price, the hostel suggest to book through the link you find in their website (the offer does not work with Booking.com or AirBnb), and payment can be done via bank transfer. Please note that this offer is only valid until the 10th of May.

2) The Pensão Residencial Setubalense

The Pensão is also reserving rooms for workshop participants until the 15th of June. Prices are as follow:

Rates per night:

– single room: 46€ + 1€ tourist tax

– double room: 53€ + 2€ tourist tax

– triple room: 68€ + 3€ tourist tax

You can book the room through this link specifying that your reservation is for the ICS – Institute of Social Sciences conference.


We will set up a google doc/excel sheet to help you find roommates in case you want to share a room. You can fill in your own details and communicate with everyone else in the workshop using this documentYou can also use the document in case you’d prefer to make other accommodation arrangements.


Belém  is the southwesternmost civil parish of the municipality of Lisbon. Situated at the mouth of the River Tagus, it is located 6 kilometres (3.7 mi) west of the city centre and 2 kilometres (1.2 mi) west of Ponte 25 de Abril (25th of April Bridge). Many of Portugal’s distinctive buildings and landmarks are located in this area, including the Jerónimos Monastery and the Tower of Belém. Beside, Belém also hosts several of the most interesting museums of the city: the newest Museum of Art, Architecture and Technology (MAAT), the  Museum Berardo (contemporary art), the Museum of Ethnology, the National Museum of Archaeology, the Coaches Museum.

There are several buses that go to the city center (15E, 714, 728) and the train takes you to central Station Cais do Sodre in less than 10 minutes. For those who enjoy long walks you can reach the city centre through a pedestrian and cycling path by the river.

Lisbon practical information

Jardim Botânico Tropical

Lisbon Airport

Lisbon Airport, practical info

Lisbon Metro | Map (PDF)

Public transportation, info


Lisbon does not love…


Image Credits Olivais, Lisboa CC BY

Colleex workshop venue: Jardim Botânico Tropical (Lisbon)

The first Colleex meeting will be held in the Tropical Botanic Garden of Lisbon located in Belem, an iconic neighbourhood that encapsulates the legacy of Portuguese colonial history. In recent years, the garden underwent a process of renovation and monumentalization as an artistic and cultural heritage site, aimed at promoting scientific culture and heritage preservation on tropical science and the history of Portuguese science and technology. Its colonial legacy is a controversial aspect of this renewed institutional interest.

Ethnographic Experimentation, Colleex Workshop CFP and venue description (PDF)

Continue reading Colleex workshop venue: Jardim Botânico Tropical (Lisbon)

Ethnographic Experimentation. 1st Colleex workshop

Ethnographic Experimentation
Fieldwork Devices and Companions

13th–15th July 2017, Jardim Botânico Tropical, Lisbon

First International Workshop of the #Colleex
Collaboratory for Ethnographic Experimentation, an EASA network

Deadline extended: Friday 24 March

Call for papers

“Fieldwork is not what it used to be” (Faubion and Marcus, 2009). The investigation of previously ignored social domains and the incorporation of new sensibilities beyond its typically verbal or visual conventions, have expanded ethnography: Anthropologists now engage in novel forms of relationship and intervention, and enter into heterodox exchanges with other disciplines like arts and design. The invocation of experimentation in fieldwork is part of this widened exploration of ethnographic modalities that reshape the norm and form of fieldwork.

Ethnographic Experimentation, Colleex Workshop CFP (PDF) Continue reading Ethnographic Experimentation. 1st Colleex workshop