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This paper examines transhumanist communication through the analysis of The Fable of the Dragon-Tyrant by Nick Bostrom. Philosopher of the posthuman, the author uses the literary text to illustrate the ideological debate which opposes on the one hand a strong enthusiasm for technoscientific progress, and on the other hand the fear linked, at the same time, to the loss of control of human on its creations and the disappearance of conventional ethical benchmarks. Partly taking up the model of utopian construction, the author polarizes and reduces the advent of the posthuman to the virtuous. The analysis proposed here is that of the narrative of the transhumanist rhetoric developed by Bostrom and the idealization of his intellectual project. The reading of the main scenes of The Fable highlights the levers of the author’s narrative strategy as well as the moral and social issues of a potential evacuation of part of the human condition: aging, mortality.

Keywords: transhumanismes, transhumanisms, transhumanismo, posthuman, posthumain, posthumano, comunicación, communication, communication, littérature contemporaine, contemporary literature, literatura contemporánea

In 2023, la Maison MONA, a cultural non-profit organization, launched an initiative on Linked Open Data (LOD) in the public art sector. Meant to explore the uses and possibilities of LOD, this project will identify current initiatives, while focusing on the needs and challenges specific to the public art sector. It also aims at raising awareness among artists and cultural workers about best practices in the structuring and use of cultural data. The issue “Towards a Digital Commons of Public Art” documents the progress of this project. This first article presents its genesis and objectives, before discussing its cornerstone, the Wikidata, Wikimedia Commons and Wikipedia platforms.

Keywords: Données ouvertes et liées, Art public, Wikimédia, Linked Open Data, Public art, Wikimedia

The 2024 United States presidential election cycle has been unprecedented in many aspects. From voter predictability to media presence and public opinion on pressing sociopolitical issues, this essay examines the events and campaign strategies that have made this cycle especially turbulent and different from those that came before it.

Keywords: États-Unis, élection, président, élections présidentielles 2024, politique, vote, parti politique, candidat à la présidence, candidate à la présidence, partisan, campagne présidentielle, campagne électorale, Parti démocrate, Parti républicain, Donald Trump, Kamala Harris, United States, election, president, 2024 presidential elections, politics, vote, political party, presidential candidate, partisan, presidential campaign, electoral campaign, Democratic, Republican, Donald Trump, Kamala Harris

The 2024 United States presidential election cycle has been unprecedented in many aspects. From voter predictability to media presence and public opinion on pressing sociopolitical issues, this essay examines the events and campaign strategies that have made this cycle especially turbulent and different from those that came before it.

Keywords: Campagne électorale, Campagne présidentielle, Candidat à la présidence, Candidate à la présidence, Candidats à la présidence, Candidates à la présidence, Donald Trump, Élection, Élections présidentielles 2024, États-Unis, Kamala Harris, Parti démocrate, Parti politique, Parti républicain, Partisan, Politique, Président, Vote, 2024 presidential elections, Democratic, Donald Trump, Election, Electoral campaign, Kamala Harris, Partisan, Political party, Politics, President, Presidential campaign, Presidential candidate, Republican, United States, Vote

Mad Conductors is a participatory performance that arises out of a desire to transmute and transform personal experiences of electroshocks and psychiatric memory loss. It is an exploration of electricity, shock, connection, memory (loss), and collective mad ways of being. What happens when energy is transferred? Who or what conducts the ensemble? How can we hold memory as a community? How can we hold the gaps? What resources do mad ancestors and archives offer? In Mad Conductors, we investigate and play with these questions through writing, movement, doodling, sound, and other mediums we invent. Our engagements have happened in community settings, universities, nature, and especially with people with lived mad experiences. Together, we work to create supportive spaces to tend to ourselves and each other while we imagine and experiment with new openings, pathways, and futures of care. Our essay examines our collaboration as an embodied form of dramaturgy. While psychiatric memory loss can be (and often is) deeply painful, we also suggest that these experiences can point us toward new strategies for collectively holding and narrating memory. Accordingly, we structure our performance engagements not only in relation to our subject matter (psychiatric memory loss) but also in relation to the supports we need as mad collaborators to safely and joyfully engage this material. Rather than scripting a set production, we use our skills as artists to build a diverse range of containers, from participatory performances, university workshops, and house visits. While not necessarily conforming to conventional definitions of performance, we consider each engagement to be equally on par with the others; they are all Mad Conductors performances. The resulting project offers a flexible set of environments, actions, and modes of engagement, all while inviting participants into dramaturgical contact with mad forms of knowledge production. In this essay, we weave photos, questions, and responses from Mad Conductors events with individually authored vignettes addressing our personal experiences as both collaborators and friends. Taken together, this divergent compositional structure reflects the nonlinear, fragmentary, and partial qualities of memory loss, conveying alternate qualities of mad experience in both content and form—what we understand as a mad dramaturgical praxis. Plain Language Abstract (adapted by Kelsie Acton with Daniel Foulds) In Mad Conductors we invite the audience to work together to make the performance with us. We wanted to do this project because doctors shocked one of our brains with electricity. Electroconvulsive therapy is when doctors run electricity through someone’s brain to treat their mental health. But it often causes memory loss. We both have memory loss from the ways doctors treated our mental health. Now we want to make these experiences into art. We want to make art for other people with these experiences. Our project explores many themes: electricity shock connection memory (loss) ways of being mad together Our project also asks many questions: What happens when energy moves from one place to another? Who or what tells a group of people how to move? How can a group of people remember together? How can we recognize and live with memory gaps? How can the people who were mad before us help us? How can old documents and records of mad people help us?  In our Mad Conductors performances, we ask these questions through writing, movement, drawing, sound, other ways we make up.  Our performances have happened in places where mad people are, universities, and nature. We work with other mad people to make our performances. As we create the performance together, we support ourselves and other people. We also try out new ways of caring. Our essay talks about working together through the lens of dramaturgy. This means that we are interested in how stories are told. Stories about the kinds of memory loss we have experienced are often painful. However, we believe that if we tell these stories in a different way, we could create new ways for making and sharing memories. Even when we can’t quite remember everything perfectly on our own. We think about this when we create performances with community members, teach workshops for college students, andvisit friends’ homes. All of these are Mad Conductors performances. We hope each one lets people experience the stories we tell in different ways. In our essay, we share photos, questions, and what people said from our Mad Conductors performances. We also share writing about working on the performances. We write about many topics. We ask a lot of questions. We don’t have many answers. We hope that these different ways of writing remind you of the way we don't remember everything. We also hope that these different ways of writing let you experience a new way of telling stories about memory loss.

Women are a growing population in prisons in Canada. When women leave prison, community-based organizations (CBOs) can provide immediate material resources, and facilitate connection to healthcare and other services. We conducted an environmental scan of CBOs that support women leaving prison in order to identify potential gaps in service delivery, and identified 86 CBOs distributed across ten provinces, with a lack of services in rural areas and a general lack of housing. The rapid growth in the incarceration of women has not been met with an investment in CBOs. We call for an investment in, and increased attention towards, community-based housing as both a reentry service and an alternative to incarceration.

Keywords: femmes, women, prison, prison, criminalisation, criminalization, logements communautaires, community housing, community organization, organisation communautaire

As part of the Kwe l’Université! Project, an initiative aimed at supporting the perseverance and academic success of Indigenous students at the university level, a competency profile for the student role was developed. This initiative responded to an identified need: few existing frameworks explicitly address the competencies related to being a student, especially in Indigenous contexts. The development of this profile, carried out between 2019 and 2025, was based on a rigorous approach combining the analysis of existing frameworks, a review of literature on school perseverance in Indigenous settings, and consultations with Indigenous students as well as Indigenous and non-Indigenous researchers and professionals. Inspired by the Medicine Wheel, the competency profile is structured around four roles: collaborator, communicator, organizer, and reflective strategist. Integrated into the Kwe l’Université! Learning Wheel, the profile guides the design of courses that take Indigenous realities into account and allows students to document their learning in an evolving portfolio. It also supports personalized guidance by the Kwe l’Université! support team, thereby fostering the engagement of Indigenous learners throughout their academic journey.

Keywords: métier d’étudiant, ⁠⁠⁠⁠⁠⁠⁠papel do estudante, ⁠⁠⁠⁠⁠⁠⁠oficio de estudiante, ⁠⁠⁠⁠⁠⁠⁠student role, persévérance scolaire, student competencies, perseverancia escolar, competências do estudante, perseverança escolar, perfil de competencias, school perseverance, profil de compétences, éxito académico, competency profile, réussite universitaire, perfil de competências, sucesso acadêmico, Kwe l’Université!, academic success, Kwe l’Université!, Kwe l’Université! Indígena, Indígena, Autochtone, Kwe l’Université!, Indigenous