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Attention to the senses in arts practice has developed in parallel to and sometimes overlapping or in collaboration with ethnographic work on the senses (see, for example, Zardini, 2005; Jones, 2006a, b, c). It is not within the scope of this book to undertake an art historical review of the senses. Instead, I draw out some of the most salient contemporary parallels and connections between these fields. There is already a growing literature concerning the relationship between anthropology and arts practice (Silva and Pink, 2004; Schneider and Wright, 2006, 2013; Ravetz, 2007; Schneider, 2008), some of which places some emphasis on sensoriality (Grimshaw and Ravetz, 2005) and highlights a turn to collaborative arts practice, noting how an anthropological approach can bring to the fore issues around the politics and power relations of such collaborations (Schneider and Wright, 2013).

There are some obvious crossovers between sensory ethnography and creative practice, such as the work of the ethnographic filmmaker David MacDougall (see MacDougall, 1998, 2005), the audiovisual practice of the sociologist Christina Lammer (e.g. 2007, 2012) and soundscape studies (e.g. Drever, 2002; Feld, 1991, 2003). These works are discussed in the following chapters. Specific connections tend to be less frequently made between ethnography, the senses and arts practices as developed in installation and performance art. Nevertheless, there are interesting parallels between recent developments in sensory ethnographic methods and arts practice. Perhaps the clearest example is in forms of practice in each discipline that uses walking as a method of research (e.g. the arts practice of Sissel Tolaas (see Hand, 2007) and the ethnographic practice of e.g. Katrín Lund, 2006, 2008; Jo Lee Vergunst, 2008; and Andrew Irving, 2010, 2013), representing or engaging audiences in other people’s sensory experiences or in specific smell- or soundscapes (e.g. the work of Jenny Marketou, discussed by Drobnick and Fisher, 2008). These discussions of arts practice and the sensory ways of knowing that are implied through them invite a consideration of how sensory ethnography practice might develop in relation to explorations in art. Contributors to Schneider and Wright’s Anthropology and Art Practice (2013) also bring questions around the senses to the fore. Some of these examples are discussed in Chapter 8.