Search

Copyright of Africania: Inonu University Journal of African Studies is the property of Africania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Organization Manifesto celebrates 30 years of Organization as a vital force in critical management and organization studies. It reaffirms the journal's commitment to radical pluralism, within a non-hegemonic mode that avoids reproducing relations of dominance and subordination. Central to scholarship published and welcomed in Organization are five performative forms of critical scholarship that engage with power in different ways: revealing hidden power dynamics, reconnecting fragmented relations, reimagining post-capitalist futures, rehearsing equitable practices, and rebelling against oppressive systems. These forms encourage a dynamic intellectual space that resists canonical constraints and aligns critique with evolving socio-political realities. As a living intellectual project, the manifesto stresses self-reflective engagement with the journal's legacy and its contemporary role. It calls for action to foster community renewal through supporting diverse scholars, enacting caring practices in academia, promoting critical methodologies, and advancing scholarly activism. By emphasizing inclusivity, transdisciplinarity, and political engagement, the Organization Manifesto aims to sustain the journal as a leading platform for transformative critical scholarship. Looking ahead, it invites collective contributions to reimagine and co-construct practices that promote justice and equity in academia and beyond. [ABSTRACT FROM AUTHOR]

This study investigated the metaphoricity of the noun “corruption” in the manifestos of Ghana’s two leading parties: the New Patriotic Party (NPP) and the National Democratic Congress (NDC). The study explored how metaphors have shaped the political narrative on corruption from 1996 to 2024 through the use of Conceptual Metaphor Theory (CMT). Data on the word corruption from 14 manifestos were analysed for its metaphorical expressions based on the imprints of the preceding verb and other collocates. The findings revealed that corruption is metaphorically framed as war, disease, bushfire, business, and commodity. Opposition parties used these metaphors more frequently to critique incumbent governments and influence voters. The study highlights the strategic use of metaphors in shaping public perceptions of corruption, suggesting that metaphorical language serves as a powerful rhetorical tool in political discourse that influences electoral outcomes and governance narratives. This study contributes to the growing body of literature on political discourse by demonstrating how metaphorical language shapes the public’s perception of corruption.

The essay is dedicated to the 120th birthday of the classic of Cuban literature Alejo Carpentier and the 110th birthday of the prominent Argentine writer Julio Cortázar. Despite the fact that they belonged to different generations, these like-minded writers, creators of the new Latin American novel, had much in common. Their interest in the fantastic serves as their shared artistic orientation in the essay, although the very nature of the fantastic in these writers’ works is completely different: in case of Carpentier, the founder of magical realism, we are talking about his formula of lo real maravilloso, rooted in the reality of the continent; as for Cortázar, one is faced here with his individual intellectual mythologizing. However, despite the differences in their poetics, both writers were united by the polemical intensity of their manifestos and interviews, both fought for the marvelous and the fantastic in literature as opposed to all sorts of cliches, banalities, snobbish prejudices, and literary fashion. For example, both received a creative impulse — each in his own way — by recoding and rearranging reminiscences and quotations from André Breton's Surrealist Manifesto. Defending their artistic principles and political convictions, both writers “played seriously”, as Cortázar said, and it is as evidenced by the examples of what they created “on a bet”.

This article investigates the influence of electoral manifestos on the online communication of electoral candidates. Our study addresses electoral candidates' conflict between party discipline and individual issue prioritisation. Building on the salience framework, we examine the thematic congruence between manifestos and online communication. Moreover, we test which issues are emphasised during the 2017 German federal election campaign. To this end, we created an original topic dictionary based on party manifestos. Applying the dictionary, we classify 143,969 tweets by 797 candidates. Our analyses demonstrate that manifestos shape the online communication of electoral candidates substantially. The findings show that electoral candidates of left–wing parties focus on core issues over time. Our results not only highlight the authority of party leadership, but also suggest that politicians do not tap the whole potential of online communication. [ABSTRACT FROM AUTHOR]

Copyright of Mediterranean Journal of Gender & Women's Studies (KTC) / Akdeniz Kadın Çalışmaları ve Toplumsal Cinsiyet Dergisi is the property of Mediterranean Journal of Gender & Women's Studies (KTC) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This practice-based paper presents The Lesbian Quilt Manifesto. This document frames, and states the aims of my practice-led research method. It is a polemical proposal for the Quilt as an effective methodology for re-visioning lesbian archive materials. The manifesto is part of a lineage of queer manifestos that demand and declare, including the Lesbian Avengers, ACT Up, Zoe Leonard and Paul B. Preciado. The Lesbian Quilt Manifesto answers some important questions like: What is a quilt? What is a lesbian? Why would you make a lesbian quilt? The manifesto situates the research method within the histories of women's marginalized creative production, domestic labor and communication through craft. It unsettles cozy, complacent imaginings of the quilt as a passive historical object, and re-positions the quilt as a dangerous object. [ABSTRACT FROM AUTHOR]

Emergent digital technologies provide cultural heritage spaces with the opportunity to reassess their current user journey. An immersive user experience can be developed that is innovative, dynamic, and customised for each attendee. Museums have already begun to move towards interactive exhibitions utilising Artificial Intelligence (AI) and the Internet of Things (IOT), and more recently, the use of Virtual Reality (VR) and Augmented Reality (AR) has become more common in cultural heritage spaces to present items of historical significance. VR concentrates on the provision of full immersion within a digitised environment utilising a headset, whilst AR focuses on the inclusion of digitised content within the existing physical environment that can be accessed through a medium such as a mobile phone application. Machine learning techniques such as a recommender system can support an immersive user journey by issuing personalised recommendations regarding a user's preferred future content based on their previous activity. An ethical approach is necessary to take the precautions required to protect the welfare of human participants and eliminate any aspect of stereotyping or biased behaviour. This paper sets out a human-centred manifesto intended to provide guidance when inducing smart digital immersion in cultural heritage spaces. A review of existing digital cultural heritage projects was conducted to determine their adherence to the manifesto with the findings indicating that Education was a primary focus across all projects and that Personalisation, Respect and Empathy, and Support were also highly valued. Additionally, the findings indicated that there were areas with room for improvement such as Fairness to ensure that a well-balanced human-centred system is implemented. [ABSTRACT FROM AUTHOR]

This manifesto critically examines the unfolding integration of Generative AI (GenAI), chatbots, and algorithms into higher education, using a collective and thoughtful approach to navigate the future of teaching and learning. GenAI, while celebrated for its potential to personalize learning, enhance efficiency, and expand educational accessibility, is far from a neutral tool. Algorithms now shape human interaction, communication, and content creation, raising profound questions about human agency and biases and values embedded in their designs. As GenAI continues to evolve, we face critical challenges in maintaining human oversight, safeguarding equity, and facilitating meaningful, authentic learning experiences. This manifesto emphasizes that GenAI is not ideologically and culturally neutral. Instead, it reflects worldviews that can reinforce existing biases and marginalize diverse voices. Furthermore, as the use of GenAI reshapes education, it risks eroding essential human elements—creativity, critical thinking, and empathy—and could displace meaningful human interactions with algorithmic solutions. This manifesto calls for robust, evidence-based research and conscious decision-making to ensure that GenAI enhances, rather than diminishes, human agency and ethical responsibility in education. [ABSTRACT FROM AUTHOR]

This report from EPI is based on work that the think tank has done over the last year and looks at the manifestos of the Conservatives, Labour, Liberal Democrats, Greens and Reform UK as they affect England and tries to match manifesto commitments to a research evidence base. There port notes that international comparisons show that England's high attaining pupils are on a par with some of the highest performing countries in the world. But England's biggest challenge is a long tail of low attainment that is correlated with economic disadvantage, special educational needs, and particular ethnic groups. [ABSTRACT FROM AUTHOR]

Posthumanistic ideas associated with the rejection of anthropocentric discourses and practices and implying (in transhumanism) the technological transition of man and society to a fundamentally new level of existence and organization of life, have a solid history of almost four decades. In Russia, with the exception of top essays such as “A Cyborg Manifesto” by Donna Haraway or “The Transhumanist FAQ” by Nick Bostrom, posthumanist conceptology began to take root intensively since the 10s. 21st century. Then “Cannibal Metaphysics” by Eduardo de Castro and “Being Ecological” by Timothy Morton first appeared on the Russian market. Gradually, the transmission of posthumanist ideas gained more intense momentum. Today, the domestic literary market features transhumanist literature (“Upgrade to Superhumans”), new anthropology, or “postanthropology,” marking the boundaries “beyond man,” representation of indigenous thinking, a series of books about socio-natural phenomena (“Insectopedia,” by Hugh Raffles, “How forests think” by Eduardo Kohn, “Gathering moss” by Robin Kimmerer), as well as new ontologies (Graham Harman, Ian Bogost), revising the classical subject-object picture of the world. Posthumanism can no longer be considered an inconspicuous cultural phenomenon. It is not surprising that sharp critical reactions appeared in the form of monographic studies. The article provides reviews of current Russian posthumanist literature and criticism. Particular attention is paid to the critical agenda, which positions posthumanism as a carrier of apocalyptic strategies for humans. The need for a careful study of the intellectual phenomenon and the search for common grounds for a constructive dialogue between cultures and concepts are argued.

The manifesto format was not chosen by chance. As a rule, manifestations are not acceptable in the scientific community and are practiced to proclaim a new order of things. Historically, social groups have declared their intentions in manifestos of various kinds. This circumstance is also true for contemporary cases such as manifestos of cyborgs, hackers, “Evolution 2045”, etc. Digital anthropology as a subject of manifestation looks anomalous, since it is not related to the interests of a specific social group or force. The intentions of the authors of this manifesto are to proclaim an alternative to the scientific research mainstream. The subject area and thesaurus of digital anthropology historically began to take shape in the Western countries. Due to qualitative and quantitative empirical research, the network has become a kind of analogue of a “field” for the study of behavioral practices, the specifics of thinking, and mythology that makes its way into virtual communication and Internet content. In an attempt to maintain ideological continuity with ethnographic and field research, digital anthropology ignored the conceptual and generalizing statement about a person. The latter was formed in the discourse of philosophical anthropology, not only a historical philosophical movement, but also a current field of knowledge that produces reflexive generalized knowledge about human beings. In the manifesto, the subject of digital anthropology is significantly clarified, and its definition is also given as a result of the reassembly of the subject.

This interview with Frigga Haug explores the thirteen thesis which were developed collectively during three different international conferences and Frigga Haug authored the 13 theses. The goal was to make the feminist movement sustainable with a Marxist spirit and to bring Marxism to life. The theses are a work in progress, a framework for the foundation of a Marxist-feminist international, they are sustainable enough for them to stand the test through the specific changed conditions of our historically determined spaces of movement, and flexible enough that they would not harden into chains. [ABSTRACT FROM AUTHOR]

This article focuses on the memoir manifesto as an intersection of forms and analyzes Michelle Bowdler’s Is Rape a Crime? (2020) as being representative of this subgenre in the current ‘manifesto moment.’ Bowdler as author narrates through the lens of trauma, with an emphasis on the affects the political reflection of trauma evokes. Through the personal narrative, her anger about the injustices of rape culture is explored and affective truths are disclosed without adhering to the hegemonic narrative of overcoming trauma. Instead, the book narrates an emotional arc from lonely suffering to communal activism, engaging the reader in a mode of angry witnessing.

Electorates expect politicians seeking public office to make known in advance, their intended programs in form of proposal. This is usually presented in speech in form of manifesto. Times within number, manifestos have always precede voting proper whereby the electorates evaluate politicians based on their manifestos. While intention is socially difficult to measure, this study adopts artificial neural network machine learning approach to map-measure the manifestos of politicians and their eventual performance in office. Due to changes in political names and structure, the study could only utilized the manifesto data of the two most popular political parties in Nigeria, from 2007 to 2019. The result of the empirical analysis shows that the model evaluation accuracy stood at 67%. With more adequate data, this result can be improved upon by subsequent research work.

In March 2007, a manifesto entitled ‘Pour une “littérature-monde” en français’, appeared in Le Monde. Signed by forty-four writers, the piece announces a ‘révolution copernicienne’ against the hierarchized distinction between French and Francophone literature which continues to prevail. Since its publication, academics have debated the validity of the proposed terminology and posited a number of alternatives. The result, I argue in this manifesto which serves as a response, is of having once again taken the floor from the writers themselves. I instead advocate for listening to their own voices in (self-)defining literatures of French expression.

The article examines such a phenomenon of American politics as the party platform. The article reflects its features in comparison with European interpretations of the concept of “party program”. The author’s definition of the concept “party platform” is given, which is based on a consideration of the definitions of domestic and foreign policy researchers of the concept “party program”. The article focuses on the foreign policy parts of the platforms of the main US political parties. The ideological approaches and conditions that influence the formation of the foreign policy part of the party platform are considered (from factors such as political expediency to the personal views of US presidential candidates). An example of a comparative analysis of the foreign policy parts of the platforms of the US Republican and Democratic parties is given. Based on a comparative analysis of the foreign policy parts of the platforms of the main US political parties, the author proposes his own methodology for determining the similarities and differences of party platforms. This methodology allowed the author of the article to plot the similarities and differences in the foreign policy approaches of the US Republican and Democratic parties from 2000 to 2020. The comparative analysis carried out by the author allows us to say that the platforms of the main US political parties can be used to analyze the foreign policy course of different US administrations and make forecasts on Washington’s foreign policy.

During its 75 years of existence as a nation, Pakistan has experienced significant periods of drastic military rule. These circumstances have notably heightened political instability, contributing to intensifying the enduring conflict between left- and right-wing factions within the country. This turmoil has significantly affected the country’s social fabric, giving rise to a climate of inequality, disillusionment, and disorientation. The visual culture of Pakistan plainly reflects the country’s sociopolitical unease and turbulence. The notion of freedom of expression, in any form, is almost non-existent in this challenging environment. Within this oppressive atmosphere, visual artists operate a delicate balance between attempting to maintain the integrity of their aesthetic practices and not compromising their political expression. Any activism that addresses social and political inequalities or resists the status quo, even though performed moderately, often results in penalties, censorship, or even the destruction of their work. Nevertheless, certain artists persist in creating art that challenges and highlights social issues amid the prevailing oppression. My contribution here utilizes Jürgen Habermas’s Public Sphere theory to examine the discourse on art activism. It investigates how art has the potential to serve as a platform for criticism and resistance in Pakistan’s current political context.

This paper critically assesses Business Process Management (BPM) education in Poland and provides evidence-based recommendations for improvement. Through a survey of 44 BPM educators, the study evaluates BPM lifecycle coverage, IT tool utilization, and incorporation of the Six Core Elements of BPM. The findings reveal a focus on process modeling and analysis, identifying gaps in the way the entire BPM lifecycle is addressed. Despite the utilization of various IT tools, there is a notable absence of coverage for emerging topics such as process mining, AI, and Robotic Process Automation. Only 12% of courses cover all Six Core Elements of BPM, and there is a critical gap in student education, which is the underrepresentation of the People and Culture elements. The paper concludes with a manifesto for greater alignment between academic education and industry needs through comprehensive BPM curricula, dedicated software tools, and more robust coverage of the strategic and governance aspects of BPM. This will bridge the gap between academic education and real-world BPM applications, so that graduates can be better prepared for the challenges of the modern business landscape, which can enhance the quality and effectiveness of BPM education, thereby aligning it with the evolving demands of the business environment and contributing to the growth and competitiveness of organizations in Poland. [ABSTRACT FROM AUTHOR]

An election manifesto reflects the vision of a political party in its effort to gain support from potential voters to win seats. Most political parties will produce manifestoes that promise development projects to drive the country's economy, provide employment opportunities as well as combat abuse of power. The 2021 Sarawak State Election (SSE21) was an election that attracted the attention of state and federal observers. For the first time, the Gabungan Parti Sarawak (GPS) was contesting after the disbandment of Sarawak Barisan Nasional (BN) in 2018. In addition, it was also the first election for the new Sarawak Chief Minister, Abang Johari Openg. SSE21 was the first battleground for several Sarawak nationalist parties such as Parti Sarawak Bersatu (PSB) and Parti Bumi Kenyalang (PBK). Using critical discourse analysis, this article aims to analyse the content of GPS, PSB and PBK's manifestoes. The focus of this study is the issue of state nationalism, state development and inter-ethnic relations presented in the manifesto. [ABSTRACT FROM AUTHOR]

A survey of text-based art in the 60th Venice Art Biennale 2024 in connection to politics and the Anthropocene. [ABSTRACT FROM AUTHOR]

Copyright of Perspectivas de la Comunicación is the property of Journal Perspectivas de la Comunicacion, PhD in Communication, University of La Frontera and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

As we see the makings of the Fifth Industrial Revolution, we are required to revisit the essence of management as a concept not only as a business practice. Scientific management principles have shaped corporations' functioning and have defined why we associate business with efficiency and effectiveness as a consistent feature of the history of industriousness. The systematic and systemic crises that some now refer to as a state of polycrises due to their relentlessness, signal that the intractable problems that underpin them exacerbate volatility, uncertainty, complexity and ambiguity as operating conditions that corporations need to function in. These conditions make us simultaneously consider our hitherto used measures of success as unsustainable. Therefore, we are called to redesign the way corporations are managed to break-through the current stalemate of (mal)practices that limit progress and threaten sustainability on the planet. This paper is an invitation to cocreate a new management manifesto. At the core of such a manifesto lies a reassessment of the practice of management, to not only rethink its essence but also its relationship to leadership, responsibility, practical judgement and collective action. Doing so would open possibilities and potentialities that would shape the future of management and allow it to realise its impact to shape a better world. It would also initiate a process of rediscovering that management as originally conceived is integral to human flourishing; as, management after all is also MAN-AGEMENT. [ABSTRACT FROM AUTHOR]

We are the Amplify Podcast Network and we are reimagining the sound of scholarship. The Amplify manifesto is a collaborative soundwork that expresses the core values of the Amplify Podcast Network, an academic podcasting research project and community. This work advocates for scholarly podcasting as an innovative form of academic publishing. We believe that scholarly podcasts create new knowledge, out loud and in conversation, by embracing experimentation, making space for different voices, and building new communities through collaboration and openness. Co-created by Stacey Copeland and Hannah McGregor, and sound-designed by Copeland, the manifesto embodies the Amplify project ethos of playfulness, experimentation, and inclusivity we argue is essential to the growth of podcasting as an academic form. [ABSTRACT FROM AUTHOR]

The prior issue of Krisis (42:1) published Critical Naturalism: A Manifesto, with the aim to instigate a debate of the issues raised in this manifesto – the necessary re-thinking of the role (and the concept) of nature in critical theory in relation to questions of ecology, health, and inequality. Since Krisis considers itself a place for philosophical debates that take contemporary struggles as starting point, it issued an open call and solicited responses to the manifesto. This is one of the sixteen selected responses, which augment, specify, or question the assumptions and arguments of the manifesto.

The act of writing and/or reading a manifesto is inherently political: bearing the weight of historical struggles and contemporary aspirations. Situating the camera inside my mouth, this video art piece reclaims the manifesto as an intimate, visceral experience, grounding it in the physicality of the body. This artistic approach invites the viewer to traverse the blurred boundaries between reader and performer, queerness and academia, provoking contemplation on the deeply personal and subjective nature of the inside of my mouth. My body is a manifestation of queer activism and activity, highlighting that it’s not merely about the words spoken but the understanding rooted in life experiences and embodied knowledge. As I read my The Southern Butthole Manifesto with a dildo camera inside my mouth, the words become unintelligible, mirroring the material, historical, and experiential complexities inherent in the manifesto’s message. This deliberate refusal to be clearly understood underscores the challenge of understanding, akin to the difficulty of comprehending the manifold layers of my queer experience as someone from the global south based in the global north (where interpretations of my body differ significantly.) Reflecting on the expectations such as “learn German to get a better job”, or “if you don’t speak English, you won’t be part of the international art market”, or “if you don’t change your voice, you will never have a partner”, or “you need to change the way you speak to stay here” (it was at the end of my first semester in Social Sciences, in 1998), reinforces the disparities in how my body and voice are perceived in these two contrasting worlds. The division between South and North transcends mere geopolitics; it extends into the realm of discourse, influencing our experiences, freedoms, movements, and ways of being. These discourses shape our possibilities, our accesses, and our ways to be understood. Consequently, when my southern language is not comprehended by northern ears, I grapple with the question: What should I do? In response to Gayatri Spivak’s query about whether the subaltern can speak, I affirm yes, the subaltern can speak. The issue lies in the unwillingness of those in power to listen. To maintain this lack of receptivity, they have devised tools that are intentionally inscrutable, elusive, and inaccessible. While some embrace so-called “science” with its narratives and empirical evidence, others rely on whispers, prayers, and dreams to understand the world beyond its surface. The question here is what holds more significance: what is said, what is heard, who is speaking, within or outside the confines of the mouth, what is sense, or what the eyes perceive. This multifaceted work challenges conventional perceptions of language and communication, inviting viewers to delve into the intricacies of embodied knowledge and the relentless struggle for recognition in the face of linguistic, political and geographical disparities.

This essay is a record of the experience of the ongoing war in Ukraine, presented from the perspective of the contemporary dance artist Anton Ovchinnikov. Captured almost in statu nascendi, his moral dilemmas and difficult choices—personal and artistic—constitute a kind of a war diary, a record of a moment in history. The author also asks important questions about artistic responsibility, whose relevance resounds ever more strongly in the face of the continuing conflict. Joanna Szymajda’s introduction offers a historical panorama of artistic phenomena and attitudes in response to the state of war. The author focuses on 20th- and 21st-century artists, showing the variety of formats and aesthetics in the works of such major figures as Martha Graham, José Limón, John Cranko, and Rami Be’er, among others.

In addition to being heinous crimes, acts of terrorism are complex chronopolitical events. Perpetrators, victims, survivors, families, and authorities manage their relationship to the events by engaging with and giving shape to time, or, rather, to a plurality of times. To perform this time work, they avail themselves of different genres, which serve as chronopolitical tools. This article discusses three such genres: the manifesto, the timeline, and the memorial site. These genres belong not only to different phases of the terror attacks but also to different actors. They are used to shape temporal progression in ways that enable specific forms of action, survival, and memory. The article takes the 22 July 2011 attacks in Norway as an example to map and analyze the role of these chronopolitical genres in managing the multiple times of terror. [ABSTRACT FROM AUTHOR]

The article focuses on the International Congress for Infrathin Studies (ICIS), which employs surrealist concepts and methods to investigate the intersection of religion and surrealism. Topics include the genesis of the ICIS during the COVID lockdown, its experimental activities such as the Infrathin Seminar, and its manifesto advocating for a suspended "theology" characterized by ambiguity and chance, akin to surrealist art.

This qualitative study is set in a UK art school where participants are adult-learners on a postgraduate course. A 'critical thinking club' is described at work in a constructivist classroom where meaning is built through experiential teaching and learning. Three themes of: barriers in education for adult-learners; scaffolded stages to develop thinking skills; and how practice-focused research could contextualise participants' art-practice are considered and discussed. Adult-learners articulate their thoughts about developing critical thinking in a 'community of inquiry' and results are visualised in a five-point manifesto, leading to a discussion on possible practical ways of operationalising and developing critical thinking with students. [ABSTRACT FROM AUTHOR]

The article confronts genre theory with considerations of temporality. Starting from the assumption that the genres of essay and manifesto lend themselves to divergent constructions of time, it interrogates the artificiality of generic demarcations and highlights formalisations of time in the blended genre of the essay manifesto. Considering select representative texts, the article brings into view manifold dynamics that might otherwise be missed, especially with regard to temporality. Rather than assuming contrastive constructions of time on a spectrum of tension between the poles of duration (length of time and permanence) and momentariness (brevity and transitoriness), the article introduces the concept of dialectical gestures of time in the sense of two interrelated, mutually constitutive notions of momentary duration and enduring momentariness. As is shown, foregrounding dialectical temporal gestures in the essay manifesto highlights critical functional aspects of this form, including polemical disruption and explorative reflection. [ABSTRACT FROM AUTHOR]

In the challenging – and frightening – times in which we now live, education is seen as playing a key role in making change for the better. However, the Department for Education's (2022) strategy on education for sustainability and climate change, applicable to schools in England, is lacking in many areas and fails to address students', teachers', and teacher educators' priorities. Crucially, the environment and climate emergency greatly concerns many children and young people and these issues should be addressed across the whole curriculum, not just in geography and science. Further, there needs to be more focus on emotions rather than facts, wellbeing rather than the economy. So, the question is: How can we 'green' art, craft and design education to ensure it is both effective and affective? Art can change the world because it is 'homeless, endless, and edgeless' – this sounds exciting but does not aid teachers in curriculum design. In this paper I will share an emergent manifesto for an environmentally responsible art, craft and design (ACD) curriculum... [ABSTRACT FROM AUTHOR]

The consumption of technical and vocational education and training has increased exponentially over the past two decades. In terms of inclusion, it is without a doubt that today's TVET sector is a far cry from what it was before the democratic government took over the baton from the apartheid government. TVET has become a refuge to many hopefuls from the historically disadvantaged sectors of society who, due to a range of apparent reasons, would ordinarily not have managed to partake in tertiary education. To many South African youth, TVET presents an avenue for the acquisition of a skill that will give them a fighting chance at escaping the harsh recurrence of poverty, economic inactivity and resource deprivation they are subjected to almost on a daily basis. However, beneath this silver lining lies a growing public disgruntlement over the TVET system's inability to steadfastly deliver quality education and transform the lives of students, by instilling in them agency for self-regulated and collaborative innovation that will turn them into formidable and assertive role players in the knowledge societies, come the fourth industrial revolution (4IR). To understand the crux of public mistrust in TVET college education in South Africa, an extensive body of literature was reviewed. The findings of the paper point to strategic factors (which in the main are attributed to a lack of effective leadership and managerial skills) and contextual factors that occur at a campus level, as major causes of public mistrust in TVET education. The paper concludes by tabling a manifesto for changing the status quo ahead of the advent of 4IR. [ABSTRACT FROM AUTHOR]

Feminists have utilized manifestos and utopias in order to make important, often revolutionary, contributions to international law. However, these engagements have not been reflected in the substance of international law. The sources of international law – specifically customary international law – rely on a narrow understanding of historical knowledge. This article centres the 1924 manifesto and the 'New International Order' created by the Women's International League for Peace and Freedom, as tools to assess the exclusion of the under-utilized history of feminist peace work from the sources of international law. This allows for a reflection on customary international law's weaknesses and reaffirms the importance of feminist approaches to international law. [ABSTRACT FROM AUTHOR]

Scholarship on the radicalization processes that lead to violence has consistently suggested there are limitations to online radicalization models noting that offline connections to extremist groups are typically required, as well. As the extent to which people’s social and political identities are increasingly online, this research investigates how content consumed online may correlate to rationales for violent action. Exploration of this thesis was carried out in a case analysis of Buffalo mass shooter Payton Gendron. Specifically, the manifesto he created prior to the attack overtly argues that his radicalization was informed entirely by online spaces, even listing the specific sites that were instrumental to his radicalization. The manifesto was evaluated in terms of where the content came from and the extent to which the document was plagiarized from specific online sources. Results suggest that the rationale provided for the attack was almost entirely sourced from the online sites Gendron claimed were foundational to forming his ideology. This suggests consistency between his claim to have been radicalized online and the radicalizing spaces online he frequented. Results are considered in the context of various deradicalization and radicalization prevention strategies.

"Ufffff! So what are we going to do?" ... this is how this film/essay begins. It starts with a conversation between three (maybe more) people in the kitchen of an apartment. The situation seems to be tense, but at the same time, with some charge of emotion. In the upper right edge of the image, we can find an image with the Palestinian flag. Today is November 12, 2023, the armed conflict that began in the city of Gaza a few weeks ago and slowly destroys the city and inhabitants, is still active. This methodology, which is intended to be decidedly anachronistic, in its sense of current against linear narrative time, acts interdependently with the content of each embrace. The unexpected form in which this audiovisual essay manifests itself is entirely related to the form of the project and the content of its non-narrative.

Este texto se faz ao modo de um manifesto, por meio de uma escrita-oficina (Pontin; Godoy, 2017), provocando uma tessitura que instaura a urgência de se pensar e agir na construção de relações outras com a educação em ciências da natureza nos espaços educativos. Mobilizando, assim, ensinagens e aprendizagens que se tecem nas brechas de observações simpáticas, experimentações atentas e processos autoeducativos, com/em meio à/pela vida, que cultivem múltiplos modos de habitar e constituir o mundo. Emerge, desse manifesto, a partir de um fazer escritural-oficineiro, um convite aos/às educadores/as, não menos desassossegador, mas banhado de vitalidade, alegria e boa sorte, de que criem circunstâncias e pensamentos com-vida na educação e nas ciências da natureza.

Social researchers have been adapting methods and practices in response to COVID-19. In the wake of these adaptations, but still in the midst of intersecting crises that the pandemic has exacerbated or shifted (e.g. health-social-political-economic), researchers face a future suffused with methodological uncertainties. This paper presents a Collaborative Research Manifesto that responds to this by promoting markers for meaningful collaborations in future research. The manifesto was co-written primarily through a series of workshops and events that were designed to identify challenges within, and potential for, collaborative research. Through this exploratory collaborative qualitative process, we highlight what the future of such research could look like and describe methodological commitments that collaborative researchers should embody. The discussion draws on wider methodological literature to articulate the key role that 'collaborative research' can offer in uncertain times whilst being sensitive of the limitations of our assertive and radical programme. [ABSTRACT FROM AUTHOR]

The definition of the specific role of the laboratory medicine professionals (conventionally known as "laboratorists"), their specific areas of activity, and their relationships with all the potential stakeholders, are aspects that are still largely debated in the context of the modern healthcare. To this end, in recent years we have attempted to respond to various unresolved issues (through a "Manifesto of Laboratory Medicine"), by defining a precise identity of the laboratorist, and elaborating a set of ten themes (the content of the "Manifesto") focused on specific areas for improvement. Almost five years after its publication, some aspects highlighted in the Manifesto have benefited from a significant evolution, while others remain partially or largely unanswered, as will be analyzed and discussed in detail in this article. [ABSTRACT FROM AUTHOR]