An individual-based model of the early life history of mackerel (Scomber scombrus) in the eastern North Atlantic, simulating transport, growth and mortality

The main purpose of this paper is to provide the core description of the modelling exercise within the Shelf Edge Advection Mortality And Recruitment (SEAMAR) programme. An individual-based model (IBM) was developed for the prediction of year-to-year survival of the early life-history stages of mackerel (Scomber scombrus) in the eastern North Atlantic. The IBM is one of two components of the model system. The first component is a circulation model to provide physical input data for the IBM. The circulation model is a geographical variant of the HAMburg Shelf Ocean Model (HAMSOM). The second component is the IBM, which is an i-space configuration model in which large numbers of individuals are followed as discrete entities to simulate the transport, growth and mortality of mackerel eggs, larvae and post-larvae. Larval and post-larval growth is modelled as a function of length, temperature and food distribution; mortality is modelled as a function of length and absolute growth rate. Each particle is considered as a super-individual representing 10 super(6) eggs at the outset of the simulation, and then declining according to the mortality function. Simulations were carried out for the years 1998-2000. Results showed concentrations of particles at Porcupine Bank and the adjacent Irish shelf, along the Celtic Sea shelf-edge, and in the southern Bay of Biscay. High survival was observed only at Porcupine and the adjacent shelf areas, and, more patchily, around the coastal margin of Biscay. The low survival along the shelf-edge of the Celtic Sea was due to the consistently low estimates of food availability in that area.

Performing Resistance/Negotiating Sovereignty: Indigenous Women's Perofrmance Art in Canada

Performing Resistance/ Negotiating Sovereignty: Indigenous Women’s Performance Art In Canada investigates the contemporary production of Indigenous performance and video art in Canada in terms of cultural continuance, survivance and resistance. Drawing on critical Indigenous methodology, which foregrounds the necessity of privileging multiple Indigenous systems of knowledge, it explores these themes through the lenses of storytelling, decolonization, activism, and agency. With specific reference to performances by Rebecca Belmore, Lori Blondeau, Cheryl L'Hirondelle, Skeena Reece and Dana Claxton, as well as others, it argues that Indigenous performance art should be understood in terms of i) its enduring relationship to activism and resistance ii) its ongoing use as a tool for interventions in colonially entrenched spaces, and iii) its longstanding role in maintaining self-determination and cultural sovereignty.

Short reflections on the history of African communication

This article aims to propose a chronological subdivision in the history of African communication. African communication today is one of the most important axes for implementing development strategies, sustaining education, health, and schooling programmes, and so on. However, many of these programmes fail due to a lack of or ineffective communication between international organisations, local elite and lay people. The reasons for this situation must be found in Africa’s history of communication, which has undergone radical transformations in its different phases. Using the functionalist analysis drawn up by Jakobson, this article proposes a new chronological subdivision of Africa’s history of communication, reflecting on the current contradictions in contemporary communication in Africa.

La ofensiva cinematográfica de la URSS en la guerra civil española

This article explores Soviet cinema and the Spanish Civil War, 1936-1939. The article focuses on three separate components of Moscow’s cinematic operations vis-à-vis the Spanish imbroglio: 1.) the distribution of Soviet-made feature films in the Loyalist zone, 2.) the production of Soviet propaganda newsreels on Spanish subjects intended for distribution within the Soviet Union, and 3.) the significance of the Spanish war for Soviet cinema throughout the balance of the Bolshevik period. The narrative and conclusions herein are supported by new research from archives in both Spain and the Russian Federation, as well as analyses of films rarely if ever discussed in the scholarly literature, either within film studies or twentieth century European history.

History, an Exit Strategy: The Retrofuture Fabulations of kara lynch

A cartographer constructs a map of an individual creative history, that of the American artist kara lynch, as it emerges in connection to a collective history of African American cultural expression. Positioning history as complex, dynamic systems of interwoven memory networks, the map follows lynch’s traversals through various “zones of cultural haunting”: places where collective memories made invisible through systematic processes of cultural erasure may be recovered and revived. Through these traversals, which are inspired by lynch’s “forever project” Invisible, the map covers such terrains as haunted narratives, mechanisms of abstraction and coding within African American media production, water as an informational technology, the distribution of memory in blood, the dialectics of materiality and immateriality that frame considerations of black subjectivity, and the possibility that place of music might not be the site of sound but instead the social production of memory.