Canadian Journal of Communication https://cjc-online.ca/index.php/journal A journal of research and scholarship encompassing the field of communication studies giving emphasis to Canadian work and Canadian issues. Canadian Institute for Studies in Publishing Press en-US Canadian Journal of Communication 0705-3657 Hosting Cultures: Placing the Global Data Centre "Industry" https://cjc-online.ca/index.php/journal/article/view/3773 <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; break-before: avoid; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Background: </strong>The article uses fieldwork conducted among data centre professionals in Ireland to theorize the relationship between “hosting” and local business culture at the heart of data supply chains.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; break-before: avoid; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Analysis: </strong>There has been a growth in data centres in Ireland since the 2007–2008 financial crisis, and technology companies have overtaken finance in the country’s business cultures and strategies. Companies and semi-state institutions use conferences, promotional materials, and knowledge dissemination events to advertise Ireland as a place to host data and business.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; break-before: avoid; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Conclusion and implications: </strong>This article concludes that the logics by which local culture and global business cooperate can be better understood by looking at middle managers and the facilitators of data supply chains in addition to macro-scale processes.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; break-before: avoid; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Contexte : </strong>Cet article se base sur un travail de terrain effectué parmi les professionnels de centres de données en Irlande afin de théoriser la relation entre « hébergement » et la culture d’entreprise locale qui est au cœur des chaînes d’approvisionnement de données.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Analyse : </strong>On a pu observer une croissance du nombre de centre de données en Irlande depuis la crise financière de 2007–2008. Au même moment, les sociétés technologiques ont pris le pas sur la finance dans les cultures d’entreprise et les stratégies nationales. Les sociétés et les institutions semi-étatiques utilisent les colloques, les matériaux publicitaires et les événements de diffusion de la connaissance dans le but de promouvoir l’Irlande comme lieu d’hébergement des données et des entreprises.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Conclusion et implications : </strong>L’article conclut que les logiques de coopération entre la culture locale et les entreprises mondiales peuvent être mieux comprises si l’on s’attache aux gestionnaires intermédiaires et à ceux qui facilitent les chaînes d’approvisionnement de données en plus des processus à l’échelle macro.</p> Patrick Brodie Copyright (c) 2021 Patrick Brodie http://creativecommons.org/licenses/by-nc-nd/2.5/ca/ 2021-06-21 2021-06-21 46 2 26 pp 26 pp 10.22230/cjc.2021v46n2a3773 Staking a Claim: Mineral Mining, Prospecting Logics, and Settler Infrastructures https://cjc-online.ca/index.php/journal/article/view/3781 <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; break-before: avoid; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Background: </strong>Various jurisdictions around the world have adopted online mineral staking platforms, designed to create a seamless process for acquiring mineral rights. This article considers how territory is mediated through staking practices and emerging digital prospecting procedures by tracing the implementation of Mineral Titles Online, Canada’s first web-based mineral title interface.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; break-before: avoid; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Analysis: </strong>The article draws on archival materials, explores legal cases, and analyzes the staking application to examine how this practice reconstructs settler colonial logics.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; break-before: avoid; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Conclusion and implications: </strong>The staking application operates as an infrastructure of ongoing colonial extractivism, yet is open to various forms of political intervention—as demonstrated by communities who undermine its intended use.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; break-before: avoid; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Contexte :</strong> Diverses juridictions dans le monde ont établi des plateformes en ligne pour gérer les titres miniers; ces plateformes sont conçues de manière à faciliter la revendication d’un titre. Cet article considère les effets sur le territoire qu’ont les demandes de droits miniers et les récentes procédures en ligne pour faire ces demandes. Il le fait en examinant la mise en place de Mineral Titles Online, la première interface en ligne au Canada consacrée à la gestion de titres miniers.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Analyse :</strong> Cet article passe en revue du matériel d’archives, explore des affaires judiciaires, et analyse le processus de revendication d’un titre afin d’évaluer dans quelle mesure les plateformes pour gérer les titres reproduisent une logique de colonialisme de peuplement.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Conclusion et implications :</strong> Le processus pour déposer une demande de droits miniers perpétue un extractivisme colonial tout en restant exposé à diverses interventions politiques, tel que démontré par certaines communautés qui parviennent à miner le processus désiré.</p> <p> </p> <p> </p> Hannah Tollefson Copyright (c) 2021 Hannah Tollefson http://creativecommons.org/licenses/by-nc-nd/2.5/ca/ 2021-06-21 2021-06-21 46 2 10.22230/cjc.2021v46n2a3781 Infrastructure that Sings: Kwawaka'wakw Social Media for Wild Salmon in the Broughton Archipelago https://cjc-online.ca/index.php/journal/article/view/3835 <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; break-before: avoid; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Background: </strong>As an exercise in decolonizing infrastructural approaches to communications, this article applies the framework of “Two-Eyed Seeing” to the example of Kwawaka'wakw social media communications related to the occupation of fish farms in the Broughton Archipelago in 2017. </p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Analysis: </strong>Kwawaka'wakw social media communications worked to enact a “living infrastructure,” upholding reciprocal relations with salmon and ocean waters, in support of the mutual flourishing of the waters, salmon, and people.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Conclusions and implications: </strong>Kwawaka'wakw nations and their allies drew on social media to shift communicational channels beyond mainstream media. This supported Kwawaka'wakw in building relationships with broader publics, who helped pressure government to make change.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; break-before: avoid; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Contexte : </strong>Dans le but de décoloniser les perspectives infrastructurelles sur la communication, cet article emploie une approche à double perspective (« Two-Eyed Seeing ») afin d’examiner l’usage des médias sociaux fait par les Kwawaka'wakw pour communiquer sur l’occupation d’installations piscicoles dans l’archipel de Broughton en 2017. </p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Analyse : </strong>En communiquant par médias sociaux, les Kwawaka'wakw ont cherché à mettre en place une « infrastructure vivante » qui maintiendrait des relations de réciprocité avec les saumons et l’océan dans le but de favoriser l’épanouissement collectif du saumon, des eaux et des humains.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Conclusions et implications : </strong>Les nations Kwawaka'wakw et leurs alliés ont recouru aux médias sociaux afin de contourner les médias traditionnels. Leur approche leur a permis de rejoindre des publics plus larges qui ont aidé à mettre de la pression sur le gouvernement pour qu’il effectue des changements.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; break-before: avoid; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Contexte : </strong>Dans le but de décoloniser les perspectives infrastructurelles sur la communication, cet article emploie une approche à double perspective (« Two-Eyed Seeing ») afin d’examiner l’usage des médias sociaux fait par les Kwawaka'wakw pour communiquer sur l’occupation d’installations piscicoles dans l’archipel de Broughton en 2017. </p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Analyse : </strong>En communiquant par médias sociaux, les Kwawaka'wakw ont cherché à mettre en place une « infrastructure vivante » qui maintiendrait des relations de réciprocité avec les saumons et l’océan dans le but de favoriser l’épanouissement collectif du saumon, des eaux et des humains.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Conclusions et implications : </strong>Les nations Kwawaka'wakw et leurs alliés ont recouru aux médias sociaux afin de contourner les médias traditionnels. Leur approche leur a permis de rejoindre des publics plus larges qui ont aidé à mettre de la pression sur le gouvernement pour qu’il effectue des changements.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; break-before: avoid; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Contexte : </strong>Dans le but de décoloniser les perspectives infrastructurelles sur la communication, cet article emploie une approche à double perspective (« Two-Eyed Seeing ») afin d’examiner l’usage des médias sociaux fait par les Kwawaka'wakw pour communiquer sur l’occupation d’installations piscicoles dans l’archipel de Broughton en 2017. </p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Analyse : </strong>En communiquant par médias sociaux, les Kwawaka'wakw ont cherché à mettre en place une « infrastructure vivante » qui maintiendrait des relations de réciprocité avec les saumons et l’océan dans le but de favoriser l’épanouissement collectif du saumon, des eaux et des humains.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Conclusions et implications : </strong>Les nations Kwawaka'wakw et leurs alliés ont recouru aux médias sociaux afin de contourner les médias traditionnels. Leur approche leur a permis de rejoindre des publics plus larges qui ont aidé à mettre de la pression sur le gouvernement pour qu’il effectue des changements.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;"> </strong></p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;"> </strong></p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"> </p> Shirley Roburn Copyright (c) 2021 Shirley Roburn http://creativecommons.org/licenses/by-nc-nd/2.5/ca/ 2021-06-21 2021-06-21 46 2 24 pp 24 pp 10.22230/cjc.2021v46n2a3835 Infrastructure and the Form of Politics https://cjc-online.ca/index.php/journal/article/view/3833 <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; break-before: avoid; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Background: </strong>This article surveys recent engagement with infrastructure across several fields, with particular attention to analyses of the relationship between infrastructure, extractive capitalism, and settler colonialism. </p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Analysis: </strong>The article treats infrastructure as a form of non-discursive politics and examines the critical status of the concept in light of the historical and contemporary implications of infrastructure in colonialism, settler colonialism, and racial capitalism. </p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Conclusions and implications: </strong>The article concludes that treatments of infrastructure in recent critical feminist, queer, and Indigenous thought open new possibilities for rethinking politics, communication, and media.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; break-before: avoid; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Contexte : </strong>Cet article examine l’engagement récent en matières d’infrastructures dans plusieurs domaines, et accorde une attention particulière aux analyses des relations entre les infrastructures, le capitalisme extractif et le colonialisme-habitant.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Analyse : </strong>L’article traite l’infrastructure comme une forme de politique non-discursive et examine le statut critique du concept en relation avec des implications historique et contemporaines de l’infrastructure dans le colonialisme, le colonialisme-habitant et le capitalisme racial. </p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Conclusions et implications : </strong>L’article conclut que le traitement de l’infrastructure dans la pensée critique, féministe, queer et indigène récente ouvre de nouvelles possibilités pour repenser la politique, la communication et les médias.</p> Darin Barney Copyright (c) 2021 Darin Barney http://creativecommons.org/licenses/by-nc-nd/2.5/ca/ 2021-06-21 2021-06-21 46 2 10.22230/cjc.2021v46n2a3833 Gaming Extractivism: Indigenous Resurgence, Unjust Infrastructures, and the Politics of Play in Elizabeth LaPensée’s Thunderbird Strike https://cjc-online.ca/index.php/journal/article/view/3785 <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; break-before: avoid; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Background:</strong> Indigenous-led struggles against fossil fuel infrastructure in North America have become increasingly visible. These struggles occur on the ground as well as through cultural production that performs cultural resistance.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Analysis:</strong> This article examines Anishinaabe, Métis, and settler-Irish media theorist and artist Elizabeth LaPensée’s video game Thunderbird Strike as a form of Indigenous cultural resistance to extractivism.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Conclusion and implications:</strong> Thunderbird Strike expresses the necessity of halting the expansion of extractivism by inviting players to participate in the sabotage of unjust infrastructure. In asking players to enact the very forms of generative resistance that the game articulates at a narratological level, Thunderbird Strike reveals the possibilities for video games to prefigure the transition to a decolonial, post-extractive future.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; break-before: avoid; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Contexte :</strong> Les luttes menées par les groupes autochtones contre l’infrastructure des combustibles fossiles en Amérique du Nord deviennent de plus en plus visibles. Ces conflits se produisent sur les plans du territoire et de la « résistance culturelle ».</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Analyse :</strong> Cet article interroge Thunderbird Strike (2017), un jeu vidéo d’Elizabeth LaPensée—anishinaabe, métisse, irlandaise-canadienne—en tant que type de résistance autochtone culturelle aux pratiques extractivistes.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Conclusion et implications :</strong> L’auteur démontre que Thunderbird Strike<em style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important;"> </em>incite l’arrêt de l’extractivisme en invitant ses participants à saboter « l’infrastructure injuste ». En demandant aux participants de promulguer les formes de résistance générative que le jeu articule au niveau de la narratologie-même, Thunderbird Strike dévoile le potentiel des jeux vidéos de préfigurer la transition à un futur décolonial et post-extractif.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"> </p> Jordan B. Kinder Copyright (c) 2021 Jordan B Kinder http://creativecommons.org/licenses/by-nc-nd/2.5/ca/ 2021-06-21 2021-06-21 46 2 23 pp 23 pp 10.22230/cjc.2021v46n2a3785 Acoustic Infrastructure: The Sounds and Politics of Radio Tests in American Emergency Broadcasting https://cjc-online.ca/index.php/journal/article/view/3783 <p><strong>Background:</strong> The Emergency Alert System (EAS) is an emergency broadcasting infrastructure that originated in American radio and serves as the basis for systems in newer media and in Canada. Its design of self-propagating acoustic signals anticipates a nation-scale catastrophe but also subordinates smaller crises.</p> <p><strong>Analysis:</strong> Adopting theory from infrastructural media studies, this article examines the reasoning and functionality evident in regulatory proceedings, broadcaster and media researcher assessments, and the sonic structure of test and warning signals.</p> <p><strong>Conclusion and implications:</strong> A machinic approach to addressing media publics took shape in the acoustic operations of the EAS. Tied to a deregulatory drive that has eroded radio’s emergency function, the EAS produces a suspended temporality that must be understood as a combined effect of the infrastructure, its content, and its context.</p> <p><strong>Contexte :</strong> L’Emergency Alert System (EAS) est un système de radiodiffusion d’urgence qui a pris naissance dans la radio américaine et qui a servi de base pour des systèmes adaptés à des médias plus récents ainsi que pour des systèmes canadiens. Conçu sous forme de signaux acoustiques qui s’autopropagent, il peut prévoir une catastrophe à l’échelle nationale mais en même temps il subordonne de plus petites crises.</p> <p><strong>Analyse :</strong> Cet article emprunte certaines théories des études sur les infrastructures médiatiques pour examiner le raisonnement et la fonctionnalité présentes dans les procédures réglementaires, les évaluations par les radiodiffuseurs et par les chercheurs en médias, et la structure sonique de signaux d’essai et d’avertissement.</p> <p><strong>Conclusion et implications :</strong> Les opérations acoustiques de l’EAS ont permis le développement d’une approche machinique pour s’adresser aux publics médiatiques. Dans le contexte d’un élan de déréglementation qui a diminué la fonction d’urgence de la radio, l’EAS produit une temporalité suspendue qu’il faut comprendre comme étant l’effet cumulatif de l’infrastructure, de son contenu et de son contexte.</p> Andy Kelleher Stuhl Copyright (c) 2021 Andy Kelleher Stuhl http://creativecommons.org/licenses/by-nc-nd/2.5/ca/ 2021-06-21 2021-06-21 46 2 20 pp 20 pp 10.22230/cjc.2021v46n2a3783 From Labrador to Leipzig: Film and Infrastructures Along the Fur Trail https://cjc-online.ca/index.php/journal/article/view/3809 <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; break-before: avoid; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Background</strong>: Since 1919, the Hudson’s Bay Company has sponsored films to document and advertise its trading operations. Films such as <em style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important;">Hudson’s Bay Company Centenary Celebrations </em>(1919), <em style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important;">The Heritage of Adventure </em>(1920), and <em style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important;">Leipzig Exhibition footage </em>(1930) offered views of North American landscapes and Hudson’s Bay Company trading posts and department stores alongside ethnographic footage of Indigenous Peoples.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Analysis</strong>:<strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;"> </strong>Drawing on archival research conducted at the Hudson’s Bay Company Archives and textual film analysis of these “fur films,” this article theorizes their production and circulation within settler visual culture.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Conclusions and implications</strong>:<strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;"> </strong>Tracing the films’ paths from the Eastern Arctic to Montréal, and from London, England, to Leipzig, Germany, this article demonstrates how these moving pictures participate in the entanglement of settler and infrastructural projects that characterize early twentieth-century Canada.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; break-before: avoid; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Contexte : </strong>Depuis 1919, la Compagnie de la Baie d’Hudson a commandité des films pour rendre compte de ses opérations commerciales et pour faire connaître celles-ci. Des films comme Hudson’s Bay Company Centenary Celebrations (1919), The Heritage of Adventure (1920), et Leipzig Exhibition Footage (1930) offrent des perspectives sur des paysages nord-américains et sur les postes de traite et les magasins à rayons de la Compagnie ainsi que des scènes de peuples autochtones à valeur ethnographique.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Analyse : </strong>Cet article se fonde sur une recherche menée aux Archives de la Compagnie de la Baie d’Hudson et sur une analyse textuelle de « films à fourrures » pour examiner la production et la circulation de ces derniers dans un contexte de culture visuelle colonisatrice.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Conclusions et implications : </strong>Cet article retrace les parcours de ces films de l’Arctique de l’Est jusqu’à Montréal, et de Londres, Angleterre jusqu’à Leipzig, Allemagne, en démontrant comment ceux-ci contribuent à l’enchevêtrement de projets coloniaux et infrastructurels qui caractérise le Canada au début du 20e siècle.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"> </p> Rachel Webb Jekanowski Copyright (c) 2021 Rachel Webb Jekanowski http://creativecommons.org/licenses/by-nc-nd/2.5/ca/ 2021-06-21 2021-06-21 46 2 24 pp 24 pp 10.22230/cjc.2021v46n2a3809 Mediating the Tree: Infrastructures of Pulp and Paper Modernity in The Bowater Papers https://cjc-online.ca/index.php/journal/article/view/3859 <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; break-before: avoid; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Background:</strong> Through a close reading of the four issues of<em style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important;"> The Bowater Papers</em>, this article aims to understand the rise of a paper modernity and to reinsert it—as material and infrastructure—into media studies.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Analysis:</strong> Producing wood paper is a strain on the landscape and the environment. <em style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important;">The Bowater Papers</em> showcases the histories and material possibilities of paper media products. A paper-dependent modernity can be understood as an infrastructural assemblage of harvesting, production, circulation, and consumption.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Conclusion and implications:</strong> Paper calls for a natural history and geography of media. Thinking about the mediations from tree to paper through the encompassing notion of “xylomedia” is a way of articulating the intersection of the material, environmental, and infrastructural in media studies. Today is still a paper world, one that is also the age of lignin, package, and Amazon.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; break-before: avoid; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Contexte :</strong> Par une lecture attentive des quatre numéros de <em style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important;">The Bowater Papers</em>, nous cherchons à comprendre l’essor de la forme moderne du papier. Se faisant, nous le réinsèrerons—en tant que matériau et infrastructure—dans le champ des études médiatiques. </p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Analyse </strong><em style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important;">: </em>La production de papier de bois est lourde de conséquences pour l’environnement. <em style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important;">The Bowater Papers</em> nous renseigne sur des aspects historiques et matériels du papier. La modernité, dépendante du papier, peut ainsi être appréhendée comme un assemblage infrastructurel liant récolte, production, circulation et consommation. </p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Conclusion et implications </strong><em style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important;">: </em>Le papier appelle une histoire et une géographie naturelles des médias. Penser aux médiations de l’arbre au papier avec le concept de « xylomedia » est une façon d’articuler l’intersection du matériel, de l’environnement et de l’infrastructure dans l’étude des médias. Nous vivons toujours dans un âge du papier, un âge qui est aussi celui de la lignine, des paquets, et d’Amazon.</p> Aleksandra Kaminska Rafico Ruiz Copyright (c) 2021 Aleksandra Kaminska, Rafico Ruiz http://creativecommons.org/licenses/by-nc-nd/2.5/ca/ 2021-06-21 2021-06-21 46 2 29 pp 29 pp 10.22230/cjc.2021v46n2a3859 The Bridge Spanning Past, Present, and Future: Time Infrastructure https://cjc-online.ca/index.php/journal/article/view/3829 <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; break-before: avoid; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Background:</strong> This article considers the temporal aspects and effects of infrastructure that bridges past, present, and future rather than connecting places or delivering services. </p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Analysis:</strong> Four “moments” of time infrastructure will be considered in the case of a reconstructed heritage wooden bridge: heritage sites that link to the past, undertakings that mark the present, endeavours that project the current society forward into the future, and the forgetful overlooking of infrastructure as a taken-for-granted and abject temporality. </p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Conclusion and implications:</strong> This requires a topological approach, studying “infrastructurality” as heterochronic and as a liminal “super-object” that transcends its normative presence and Euclidean dimensions.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; break-before: avoid; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Contexte : </strong>Cet article examine les aspects et effets temporels des infrastructures qui relient passé, présent et futur plutôt que de relier des lieux ou de fournir des services.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Analyse : </strong>Quatre « moments » de ces infrastructures temporelles seront considérés par rapport à un pont en bois patrimonial reconstruit : les sites patrimoniaux qui évoquent le passé, les initiatives qui marquent le présent, les efforts qui projettent la société actuelle vers l’avenir, et l’oubli de l’infrastructure car on la considère comme temporalité abjecte qui va de soi.</p> <p style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; margin-bottom: 1.5rem; margin-top: 0px; orphans: 3; widows: 3; color: #000000; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"><strong style="box-sizing: border-box; background: transparent !important; box-shadow: none !important; text-shadow: none !important; font-weight: bolder;">Conclusion et implications : </strong>Cette étude requiert une approche topologique où l’on envisagerait l’« infrastructuralité » comme hétérochronique et comme « super-objet » liminal transcendant sa présence normative et ses dimensions euclidiennes.</p> Rob Shields Copyright (c) 2021 Rob Shields http://creativecommons.org/licenses/by-nc-nd/2.5/ca/ 2021-06-21 2021-06-21 46 2 17 pp 17 pp 10.22230/cjc.2021v46n2a3829 Afterword: Infrastructural Fantasies https://cjc-online.ca/index.php/journal/article/view/4147 Nicole Starosielski Copyright (c) 2021 Nicole Starosielski http://creativecommons.org/licenses/by-nc-nd/2.5/ca/ 2021-06-21 2021-06-21 46 2 6 pp 6 pp 10.22230/cjc.2021v46n2a4147 Ghost https://cjc-online.ca/index.php/journal/article/view/4063 Kate Maddalena Copyright (c) 2021 Kate Maddalena http://creativecommons.org/licenses/by-nc-nd/2.5/ca/ 2021-04-24 2021-04-24 46 2 7 pp 7 pp 10.22230/cjc.2021v46n2a4063 A History of Women Cartoonists https://cjc-online.ca/index.php/journal/article/view/4045 Erika Chung Copyright (c) 2021 Erika Chung http://creativecommons.org/licenses/by-nc-nd/2.5/ca/ 2021-06-21 2021-06-21 46 2 3 pp 3 pp 10.22230/cjc.2021v46n2a4045 Managing Media and Digital Organizatations https://cjc-online.ca/index.php/journal/article/view/3999 Maria Borkowski Copyright (c) 2021 Maria Borkowski http://creativecommons.org/licenses/by-nc-nd/2.5/ca/ 2021-06-21 2021-06-21 46 2 3 pp 3 pp 10.22230/cjc.2021v46n2a3999 Information Activism: A Queer History of Lesbian Media Technologies https://cjc-online.ca/index.php/journal/article/view/3985 Nelanthi Hewa Copyright (c) 2021 Nelanthi Hewa http://creativecommons.org/licenses/by-nc-nd/2.5/ca/ 2021-06-21 2021-06-21 46 2 3 pp 3 pp 10.22230/cjc.2021v46n2a3985 Making Open Development Inclusive: Lessons from IDRC Research https://cjc-online.ca/index.php/journal/article/view/4053 Amanda Hunter Copyright (c) 2021 Amanda Hunter http://creativecommons.org/licenses/by-nc-nd/2.5/ca/ 2021-06-21 2021-06-21 46 2 3 pp 3 pp 10.22230/cjc.2021v46n2a4053 Special Issue: Materials and Media of Infrastructure https://cjc-online.ca/index.php/journal/article/view/4167 Amanda Kaminska Rafico Ruiz Copyright (c) 2021 Amanda Kaminska, Rafico Ruiz http://creativecommons.org/licenses/by-nc-nd/2.5/ca/ 2021-06-21 2021-06-21 46 2 10.22230/cjc.2021v46n2a4167 Guest Editorial: Materials and Media of Infrastructure https://cjc-online.ca/index.php/journal/article/view/4115 Aleksandra Kaminska Rafico Ruiz Copyright (c) 2021 Aleksandra Kaminska, Rafico Ruiz http://creativecommons.org/licenses/by-nc-nd/2.5/ca/ 2021-06-21 2021-06-21 46 2 8 pp 8 pp 10.22230/cjc.2021v46n2a4115