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This article sets the development of urban cultural scenes in Palestine within a global frame of uneven development. It draws on field work in Haifa (in the 1948 Palestinian territories) and Ramallah (in central West Bank) to argue that the shift toward neoliberalism in 1985 and its sedimentation through the Oslo Accords in 1993 amount to a "transformed settler colonialism," one more intimately tied to flows of global capital. I use articulation as evoked by Stuart Hall and Gillian Hart to critically assess how historically embedded cultural practices conjoin and splinter around the political economic shifts toward neoliberalism in the post-Oslo conjuncture. The article foregrounds the urban cultural scenes as vantage points into a "relational comparison" that crosses the "Green Line" and remains attuned to the specific dynamics of urban spatial and cultural production in relation to settler colonialism and global capitalism. I situate the artists' responses as practices of articulation that elaborate conjunctural possibilities within the confines of capitalist and colonial structural limits. The article argues that despite their critique of the key processes of neoliberalization and colonialism, Palestinian artists remain subsumed by the processes' structuring logics. Thus, the article makes three contributions: (1) a centering of articulation and relational comparison as a method of understanding the constitutive relationship between colonial and global capitalist modes of accumulation; (2) an analysis of settler colonialism as a historically differentiated structure that changes and transforms in a given spatiohistorical conjuncture; and (3) a foregrounding of the role of Palestinian artists through a focus on conjunctural possibilities and practices of articulation. [ABSTRACT FROM AUTHOR]

In their claim to distance from reality, maps seek power from representation. Maps are constituted by a particular set of practices that are enmeshed within wider social relations. Maps, then, are a powerful vantage point for understanding the geometries of power. Under settler colonialism, geography is constantly reshaped and reconfigured by expansionist and eliminatory logics. Such is the case in Palestine, where Israeli settler colonialism has fragmented the map of historic Palestine into messily separated archipelagos. As Palestinian geographies are constantly being reconfigured under Israeli settler colonialism, can maps catch up? How do we locate Palestine on the map? I take up these questions by focusing on the 1948 and 1967 Palestinian territories as two spatio‐temporally differentiated locations of settler colonial spatial reconfiguration. Using a counter‐map designed by Palestinian artist Haya Zaatry, I highlight the importance of counter‐mapping in bringing into sharp relief the conjunctural layering of dispossession in Palestine. If dominant colonial maps are about the neat packaging of lived realities into dominant spatio‐temporal demarcations, counter‐maps are about highlighting the ghostly stories and embodied spatial practices and processes of living within and beyond such demarcations. [ABSTRACT FROM AUTHOR]

The article focuses on the complexities of settler colonialism in historic Palestine and its impact on Palestinian geographies. Topics include the transformation of physical spaces through infrastructural developments, the interplay between capitalism and colonialism in shaping Palestinian experiences, and the theoretical frameworks provided by Stuart Hall for understanding the dynamics of domination and resistance within these geographies.

Tackling how racial justice and climate crisis are entangled, this essay introduces a speculative cartography experiment entitled The World We Became: Map Quest 2350. A collaboration between a collective of artists, poets, academics, curators, architects, and activists, this digital humanities project maps global ecological crises and shared Black, Asian, Pacific, Middle Eastern, Latin American, Caribbean, and Indigenous futures. Intentionally produced in a multimedia format, the born-digital speculative design experiment features visual and audio components presenting a planetary vision of the year 2350 as an underwater future in ruins. The atlas connects five transnational imaginaries that rescript the geographic boundaries of what we currently understand to be South Asia, the South Pacific, the Middle East, North America, Latin America, and the Caribbean. Situating nation-state borders as recent constructs, in this creative exercise the natural environment becomes a model for imagining interspecies relationality and co-presence. Mangroves and atolls form portals to speculative futures of non-human existence beyond the climate crisis and the impact of racial extractive capitalism. Anchored in five locales, the collective text brings together a global vision of survivance addressing migration, dispossession, Asian diaspora, Native sovereignty, Black fugitivity, and broader questions of global indigeneity. With life emerging from the ruins, this atlas forms a digital blueprint of suboceanic futures and the practice of interrogating what justice could mean in the far future. [ABSTRACT FROM AUTHOR]