Elin Már Øyen Vister is artist and forager with their base on Røst, South -Westernmost part of Lofoten (Norway/Sápmi). With a broad background in audio and music (as DJ and producer, and in-field recording and radio), they bring an interdisciplinary approach and experience of a multitude of practices to their expression. Már is occupied with listening as life practice and as a way to compose, sense, and experience the world, much inspired by Pauline Oliveros’s Deep Listening philosophy and aesthetic philosophy.

Aaliyah-Jade Bradbury is a proud Indigenous woman from the Larrakia Nation of Garramilla (Darwin) and Erubam Le peoples of Meriam Mir. She is the first Indigenous woman to win an Emmy Award, for her work as a producer on the film Harley & Katya (2022).

Nina Tonga (PhD, University of Auckland) is a curator of contemporary art and Assistant-Professor of Pacific Art History in the Art and Art History Department at The University of Hawai’i at Mānoa. Nina is from the villages of Vaini and Kolofo’ou in the Kingdom of Tonga and was born and raised in Aotearoa New Zealand. Nina has a long history as a curator and writer of Pacific art and visual culture. She curated the acclaimed exhibitions Pacific Sisters: Fashion Activists (2018-2019) and Mataaho Collective: Te Puni Aroaro (2022) at the Museum of New Zealand Te Papa Tongarewa, and To Make Wrong/ Right/ Now (2019), the second international Honolulu Biennial. Her curated solo exhibitions include projects by Lemi Ponifasio, Nike Savvas, Chiharu Shiota and Dame Robin White.

Dr. Kanako Uzawa is an Ainu scholar, artist, and rights advocate. She is the founder of AinuToday, a global online platform that delivers living Ainu culture and people. She is an Assistant Professor for the Global Station for Indigenous Studies and Cultural Diversity at Hokkaido University in Japan. Her most recent work engages with Ainu art exhibitions, as a guest curator in collaboration with the University of Michigan Museum of Art in the United States, as an associated researcher at the Museum of Cultural History at the University of Oslo in Norway. She is also an editorial board member of AlterNative: an International Journal of Indigenous Peoples in New Zealand, Aotearoa.During her youth, she encountered negative representations and discrimination towards the Ainu and discovered a stark contrast between the general public view and her people. She began to wonder what does it mean to be Ainu in the twenty-first century? This gave her motivation to explore a way to express the contemporary livelihood of the Ainu. She obtained her master in Indigenous Studies and doctorate degree in Community Planning and Cultural Understanding from the UiT Arctic University of Norway, Tromsø in 2020. She’s held an internship in the Project to Promote ILO Policy on Indigenous and Tribal Peoples (PRO 169) at the International Labour Organisation, Geneva Switzerland. She contributes to collaborative research and Ainu performing art on the multifaceted articulations of Indigenous knowledge through museums and theaters as artist.

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Coby Ann Edgar (she/her) is a proud Larrakia, Jingili and Anglo woman from the Northern Territory. Coby currently lives and works on Gadigal Country. She has worked in government institutions for over a decade and has recently switched to independent work and part-time work with Agency Projects - a not for profit that responds to an identified need expressed by First Nations peoples. Coby is interested in how training and professional development of First Nations peoples on Country can empower their communities economically. In her spare time she likes to make pickles with her finance Bec and play guitar. Rebecca Barnott-Clement (she/her) is a Digital Preservation Analyst employed at the Art Gallery of New South Wales, situated on Gadigal land, where she works with a range of departments to improve their digital systems and processes, and prepares complex digital objects for preservation. With a background in Time-Based Art Conservation, Rebecca enjoys the challenges and opportunities posed by new and emerging technologies, and the flexible thinking required when working collaboratively with teams to find tailored digital solutions. Rebecca lives with her beautiful fiancé Coby and their menagerie of pets in Redfern, on Gadigal land, where she spends her spare time making pickles, darning and mending clothes, and fussing in the garden.

Joel Taylor is a senior researcher at the Norwegian Institute for Cultural Heritage Research (NIKU) specialising in conservation and heritage studies. He has worked a variety of institutions including National Museums and Galleries of Wales, English Heritage, and University College London (UK), University of Oslo (Norway) and the Getty Conservation Institute (USA) and holds a PhD and BSc (hons) in conservation from Cardiff University (UK). He has published on preventive conservation, sustainability and decision-making in conservation, critical and digital heritage, the intersection of intangible and tangible heritage, and intergenerational issues in the conservation of and access to heritage. Abstract: This contribution describes how some concepts in intergenerational justice can help unpack notions of heritage transmission. Concepts such substitutability, infinite saving and reciprocity have helped progress the understanding of intergenerational concerns including climate change ethics.Where intergenerational justice deals with the preservation of assets as a public good, however, heritage preservation can divide, disturb, even erase other narratives. Recent turns in Heritage Studies and social justice allow us to interrogate this and contextualise these concepts more effectively.Breaking this down helps raise questions about the roles of mainstream conservation in this context.

Organic plant-based lunch, beautifully prepared by Rebecca Hawkes at Wilder Kitchen. Wilder Kitchen is a food studio based in Oslo specialising in utilising seasonal plants to connect people with nature through curated events. Food is created with the bounty offered by local organic farmers and supplemented with wild foraged ingredients. Wilder Kitchen hosts events that tell stories, offers up experiential dining and opportunities to connect with the neighbourhood and your neighbours.

Saara-Maija Pesonen, a conservator at the Sámi Museum Siida, has worked on two major repatriations since 2021. Graduating as an object conservator in 2020, she is now writing her master’s thesis on repatriation from a conservation perspective. Her research explores the role of conservation in reconnecting repatriated objects with the Sámi community, focusing on how conservation efforts can support this process.

Maritea Dæhlin is an interdisciplinary artist who lives and works in Norway and Mexico. She is interested in human behaviours, emotions, rituals and encounters. Her work spans between devised theater, video performance, performance art and text. Her art comes off as playful, non-linear and sometimes absurd. Dæhlin's studies include a BA in Devised Theatre with Digital Arts at Dartington College of Arts in England (2007-2010) and a 2-year acting course at Nordic Black Express in Oslo (2005-2007). Dæhlin is currently an associated artist at Black Box Theater and a recipient of a 3 year-long work grant for artists by the Arts Council Norway. In 2020 her theater performance I WANT TO BE TRADITIONAL was nominated for the Norwegian critic’s prize.

Gunvor Guttorm served as rector of the Sámi University College from 2015 to 2019. She holds the position of Professor in duodji (Sámi arts and crafts, traditional art, applied art) at the Sámi University College in Guovdageaidnu/Kautokeino, Norway. Throughout her tenure, she has imparted her extensive knowledge to both undergraduate and graduate students, offering courses that blend practical skills with theoretical understanding. A prolific scholar, Guttorm has authored numerous articles exploring the evolution of traditional Sámi art and craft within modern contexts. Her work delves into how ancestral knowledge and techniques are adapted to contemporary lifestyles, highlighting the dynamic nature of Sámi cultural heritage. In addition to her academic contributions, she has actively participated in exhibitions across Sápmi and internationally, showcasing the richness and diversity of Sámi handicrafts to a global audience.

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Panelists: Ellen Bals, Tharrron Bloomfield, Liisa-Rávná Finborg, Saara-Maija Pesonen, Dylan Robinson Panel conversation is moderated by Anne May Olli. Anne May Olli is Director at RiddoDuottarMuseát. Olli has a background as objects conservator from the University of Oslo and completed a master's degree in 2013 on Pesticides in Sami cultural heritage material. She has worked in Sami museums part- and full time since 1996 and held the position of Director since 2016. As a Northern Sami she grew up on a farm in Karasjok, which she also runs today. Her father is originally from the costal Sami (Sjøsame) area of Trollholmsun in Porsanger and Olly herself is married into the reindeer herding community. From her background she has wide knowledge in the diversity of northern Sami culture and livelihood.

Closing discussion facilitated by Asti Sherring Asti Sherring is the Manager Changeable and Digital Collections, National Museum of Australia and Time-based media art consultant at Museum of New Zealand - Te Papa . Asti held the position of senior time-based art conservator at the Gallery of New South Wales between 2015-20. Asti is currently undertaking doctorate research at the University of Canberra and is Honorary Senior Lecturer, Humanities, Arts and Social Science, Australian National University.

Transmitting the Intangible committees