CineWorlding is a deep dive into MacDonald's highly original approach to digital audiovisual filmmaking and perhaps the most nuanced articulation of research-creation yet to come out of music studies. Ethnomusicology is exploding. CineWorlding throws fuel on the flames and offers exciting new critical pathways for scholars and students.

Ellen Waterman, Professor, Helmut Kallmann Chair for Music in Canada, and Director, Research Centre for Music, Sound, and Society in Canada, Carleton University, Canada

Don't try to contain it, or sequester it in a discipline, or organize it into a method. CineWorlding is more-than making a film, it is the very making-thinking worlding calls for when it becomes cinematic. More-than human, more-than sited, cineworlding is a practice that must be experimented to do its work. It is neither your work alone, nor mine. It is what occurs in the interstices, in the ecotone 'where individual ecologies, digital cinema technology ecosystem, ethnographic research ecosystem, philosophy ecosystem, cinematic art ecosystem interfere/entangle/interpenetrate each other to produce a rich ecological zone where new complex beings proliferate.' Take cineworlding as a lure and move it into your pedagogical practices. Make it a technique, and be made by it.

Erin Manning, Professor of Studio Arts and Cinema, Concordia University, Canada

With CineWorlding, musician, ethnographer and filmmaker Michael MacDonald poetically demonstrates how the cinematic medium creates new forms of thinking, knowing, and experiencing the audio-visual world we increasingly inhabit.

Christopher Salter, Professor of Immersive Arts, Zurich University of the Arts, Switzerland