Climate Activists and the Politics of Making Kin Not Babies

In this article, I explore the interwoven problematics of populationism and reproductive futurism. I engage Donna Haraway\u27s slogan Make Kin Not Babies as an analytic to examine a multi-year case study of two climate activist groups in the United States and United Kingdom—Conceivable Future and BirthStrike, respectively. Both groups organized around how climate predictions were disrupting their reproductive plans and desires. Consequently, they became enmeshed in unrelenting populationism as people misinterpreted and misrepresented their work. As the organizers attempted to avoid populationist framings, they unintentionally reinforced the family as a counter-narrative, providing media outlets with personal stories of how climate change could threaten the reproductive orders of baby making. Thus, I attend to the reproductive politics in these groups\u27 messaging to unearth subjectivities beyond the family and move towards multispecies flourishing. I argue that feminist technoscience can use Haraway\u27s slogan, its celebrations and critiques, to confront the unavoidable entanglements between climate, reproduction, family, and population—the anticipatory logics and the personal, political, and planetary scales upon which these categories operate

Unveiling Factory Logics: Contemporary Art Galleries and the Production of the Colonial-Contemporary

Much has been written about the museum\u27s genealogy. Born out of the dual revolutions (French andIndustrial) and an inheritor of Enlightenment ideals, museums have been compared to tombs, Foucault’scarceral archipelago, cathedrals, department stores and, more recently, entertainment centres, epitomizedin the neologism \u27blockbuster exhibition\u27. But what of the museum\u27s sister space that, while sharingelements of its lineage, is descended from an altogether different ancestor (albeit one that came of agewith the museum): contemporary art galleries situated within now-defunct industrial buildings? At thecore of this paper is the argument that recent accounts of former industrial complexes-turned-art gallerytypically ignore the ‘factory logics’ that underpin their spaces, a colonial legacy that includes extraction,exploitation, dispossession, ecocide, and alienation.Industrial Resonances opens with a brief history of the modern factory from an unlikely source: Frenchphilosopher Charles Fourier\u27s Phalanstery (1808). Designed to combine production of goods and serviceswith family life and entertainment, the Phalanstery provided the architectural and ideological blueprint forthe modern factory and paved the way for the creation of entire industrial regions. As the IndustrialRevolution further embedded ‘factory logics’ in our social fabric, buildings for producing power,munitions, and other commodities became infrastructures that “ordered social and natural worlds”(Cowan, 2017). Two case studies (Italy\u27s Arsenale di Venezia & Toronto’s Power Plant for ContemporaryArt) provide different approaches to the appropriation of decommissioned industrial sites, anddemonstrate how such spaces continue to operate as infrastructure for a transnational art market. Itconcludes by asking how we might attend to modernity’s crumbling vestiges to inhabit them in ways thatmake space for non-hierarchical, decolonial feminist art and experiences grounded in intimacy, kin, andaffective plurality (Lugones, 2010; Machado de Oliveira, 2021; Robinson, 2024; Wilson, 2016)

Reassembling and Reimagining a Lost Future: A Semiotic Analysis of "The Millennium Ended on the Day I Left Home" as a Media Text

The digital age has made a massive reservoir of images and texts readily available for people, allowing them to engage with signs and sign systems across different times and places, no longer limited to their current temporal-spatial settings. Dreamcore is one of the Internet subcultures that utilize this repository of signs, revive signifiers from the past, and grant them new signifieds that better reflect their subjectivities today. In many cases, online spaces provide a haven for those who wish to travel astray from the hegemonic ideological narrative, which prescribes specific ways of making and interpreting meanings. Specifically, this paper will focus on a Dreamcore image that is produced by @Maomaozizaitaopao, a Chinese artist who posts most of her artworks on the Chinese social media platform Xiaohongshu. Using Roland Barthes’ heuristic for semiotic analysis, this paper ascertains to uncover the image’s meaning-making process, arguing that the image generates meanings through disturbing the naturalization of myths and reimagining sign systems associated with progress and modernity. This paper demonstrates that “The Millennium 1” disrupts the conventional naturalization process by incorporating signs from past temporalities and reassembling them to construct new sign systems and meanings, which reflect the generation’s present disillusionment towards a future promised but lost. This paper will 1) introduce the context of the Dreamcore subculture and “The Millennium 1,” 2) identify the signifiers and signifieds in the text, 3) analyze the structural relations between signs, 4) examine the codes and conventions, and 5) analyze the mythic meanings and ideological workings

Know Way Out: Epistemological Uncertainty and the Tacen in Junius 11

In Old English literature, the word tacen (sign) is a site of epistemological contestation. MS Junius 11 constructs a coherent theology of signs that offers a framework for navigating this contestation. Reading fourteen occurrences across the manuscript’s Old Testament poems, this essay argues that Junius 11 stages the repeated failure of visual and communal verification of the sign to demonstrate the limits of empirical and rational tests (false or ambiguous tacen, as with Eve’s vision), while demonstrating successful interpretations of the tacen through verification grounded in knowledge of God’s consistent character across time (e.g., Adam’s skepticism, the Israelites’ crossing at the Red Sea, and Abraham’s covenantal obedience). Situating these poems in the theological lineage of Augustine and the political context of the tenth-century Benedictine Reform, this essay proposes that Junius 11 models a theology of signs that anticipates and parallels the Benedictine Reform’s struggle over interpretative and institutional authority

Generative Knowledge in an Asymmetrical Media Ecology: A review of a review of Paolo Granata’s Generative Knowledge

Generative Knowledge in an Asymmetrical Media Ecology: A review of a review of Paolo Granata’s Generative Knowledg

Managerial Media Ecology: Employing the Multidisciplinary Humanities for Leadership and Management Communication

Managerial Media Ecology: Employing the Multidisciplinary Humanities for Leadership and Management Communicatio

Cinq décennies depuis Prejudices and Antipathies

How has the evolution of both library classification and the critical classification field affected the legacy and relevance of one of its most celebrated works? Sanford Berman’s 1971 monograph Prejudices and Antipathies: A Tract on the LC Subject Heads Concerning People, while being by no means the first to critically assess the Library of Congress Subject Headings (LCSH), gained significant interest (both positive and negative) from the cataloguing community. Steven A. Knowlton’s 2005 follow-up article Three Decades Since Prejudices and Antipathies: A Study of Changes in the Library of Congress Subject Headings examined the impact of Berman’s book on the LCSH. In 2025, this paper returns to Berman’s book to follow up on both works. Through an analysis of trends across published critical classification literature of the past five decades—in particular in relation to the approach taken by the book to criticism of the Library of Congress and LCSH in comparison to other topics—this paper examines how the landscape of critical classification has changed and, through that, how perceived obstacles and goals have shifted in the half century since the publication of Berman’s book, in order to examine its place and legacy.Comment l\u27évolution de la classification bibliographique et du domaine de la classification critique a-t-elle affecté l\u27héritage et la pertinence de l\u27un de ses ouvrages les plus célèbres ? La monographie de Sanford Berman intitulée Prejudices and Antipathies: A Tract on the LC Subject Heads Concerning People, publiée en 1971, n\u27était certes pas la première à évaluer de manière critique les vedettes-matières de la Bibliothèque du Congrès (LCSH), mais elle a suscité un intérêt considérable (tant positif que négatif) de la part de la communauté des catalogueurs. En 2005, Steven A. Knowlton a examiné l\u27impact du livre de Berman sur les LCSH avec son article Three Decades Since Prejudices and Antipathies: A Study of Changes in the Library of Congress Subject Headings. En 2025, cet article revient sur le livre de Berman pour faire le point sur ces deux publications. En examinant les tendances émergentes dans la recherche critique sur la classification au fil des cinq dernières décennies, et en mettant l’accent sur l’approche de Berman pour critiquer la Bibliothèque du Congrès et les termes LCSH par rapport à d’autres sujets, cet article explore l’évolution du paysage de la classification critique. Il examine comment les défis et les objectifs perçus ont évolué depuis la publication du livre de Berman, tout en évaluant sa pertinence et son héritage

Emdodiment of the Intertwined

Consequential to the traumatic societal and political situation in my motherland, Iran, the number of Iranian diasporas has increased all over the world, and the Persian cultural, social, and political borders have beenexpanded much wider than their geographical ones. While this immigrant populace living in the receiversocieties is still affected psychologically, and physically by the traumas coming from their land of origin.For this thesis, I as an Iranian female artist, living in exile, and as a cancer survivor, interrogating my bodyand my soul, about what I have experienced in my social-political time and place. The research applied acombination of studio-based exploration through video performance and sculptural installation, supportedby library-based investigation which lies in the intersection of psychoanalysis, trauma’s physical andpsychological impacts, displacement, politics, and art. I use the idea of Jungian archetypes alongside GaborMaté\u27s work in When the Body Says No to argue that the social-political traumas from the homeland willnever be erased from immigrants\u27 bodies, minds, and souls. I examine how the chronic pain that runsthrough my body is interwoven with the trauma of people living in Iran through the sense of empathy, andhow this situation could be explored through the lens of such Jungian archetypes as the Caregiver. My workvisually explores reconstructing Iranian cultural elements, like the Persian rug, through/with my body. TheRoutes of Blood is a creation of Persian rug sand installation, which embodies my labor, physical presence,soul, and mind in the space, simultaneously. In The Woven Bodies Series, the image of my body throughrepetition forms the textile patterns of the Persian Rug. The act of performing with the rug and itsdocumentation symbolically represents my memories of my motherland and the trauma that resonatesthrough the afflictions of the chronic pain I have experienced. The research project is a visualization of thetrauma experienced in my Iranian body in the disassociated space of a diasporic context within Canada

Table of Contents, Preface, and Acknowledgments

Table of Contents, Preface, and Acknowledgment