Academic literature on the topic 'Nepean, Point (Vic ) History'

2022 marks forty years since Patrick Brantlinger posed the question ‘What is Sensational About the Sensation Novel?’ Since then, scholars have continued to probe and extend early definitions of sensation fiction as a short-lived subgenre dealing with secret crimes taking place in genteel Victorian settings. Research on sensation fiction has developed apace, and scholars have developed approaches utilising methodologies from media studies, history of science, disability studies, and beyond. In doing so, they have greatly expanded the range of sensation novelists studied. Such research (benefitting from the enormous spread of digitisation since Brantlinger’s article) has also highlighted the significance of serialisation, adaptation, and experimentation in sensation fiction and the relationship between form and content has continued to be of interest. The past decade has also seen an interest in sensation as a global publishing phenomenon and this has led to scholars tackling more fully issues of race, racism, and national identity in sensation fiction. The articles in this issue build upon these recent interventions and seek to point out possible new paths in the study of sensation fiction.

At the close of the nineteenth century, amid pervasive fears of decadence and widespread pessimism, Frederic Leighton (1830–96) completed Flaming June (1895). Taking as its starting point Victorian responses to the work that seem incomprehensible to viewers today, this paper examines the possible meaning behind Flaming June's more impenetrable iconography. The following discussion highlights the significance of thermodynamics in the work's cultural context. It examines the impact of an implication of the second law of thermodynamics, known as the Sun's heat death – a fated apocalyptic event – and suggests that this resonated with late Victorian audiences plagued by concerns of degeneration and decadence. Considered within this context, this paper reveals further layers of meaning embedded within the imagery of Flaming June available to a Victorian audience, but which have since been eclipsed by a dominant focus on other aspects of the painting's cultural milieu.

Ouida’s Under Two Flags (1867) is not a widely read Victorian novel today, but it is offers important insight into the philosophical concerns of a novelist who was hugely popular in her time. In Under Two Flags, Ouida explores what she saw as the epistemological problem developing in the nineteenth century, a nihilistic view that promoted scepticism, aestheticism, and idleness, which is a perspective she believed was responsible for the demise of the aristocracy. Wishing to restore the power and position of the aristocracy, Ouida sends her protagonist Bertie Cecil, a dandy who embodies the aestheticism and ennui of the upper class, to the French Foreign Legion in order to make an important social and psychological point. Ouida draws upon the legend that the French Foreign Legion rehabilitated its wayward recruits to present a society in which something is demanded of Bertie and where he rises to that demand. Symbolically speaking, Bertie regains his inheritance and his title in the novel only after a radical transformation that restores him, and by implication the aristocracy, to a foundational moral and chivalrous code.

Focusing on the Gothic trope of the discovered manuscript, this essay examines Ann Radcliffe's representations of the past in The Romance of the Forest ( 1791 ). Radcliffe's third Gothic novel is set in seventeenth-century Roman Catholic France, but was published in the immediate aftermath of the French Revolution. The narrative follows the plight of its orphan heroine, Adeline, who finds herself taking refuge in a ruined abbey located in a gloomy French forest under the protection of Pierre de la Motte (a Frenchman fleeing Paris with his family). During her stay, Adeline enters a secret room and unearths a decaying manuscript. From this point onwards, the narrative is interspersed with fragments of the script, which records the harrowing experiences of someone who was murdered there many years ago. Concentrating on the manuscript and Radcliffe's utilisation of the Burkean sublime for historical purposes, this paper contends that The Romance of the Forest can be read as a complex response to shifting notions of history engendered by the outbreak of the French Revolution. What does Radcliffe's representation of the script reveal about the past and to what extent are her historical attitudes shaped by the culturally chaotic events of the early 1790s?

The best-selling Victorian novelist Marie Corelli (1855–1924) is a literary figure enmeshed in contradictions. Famously refusing to identify as a New Woman writer, she was known for her womanly heroines and her own ultra-feminine style of dress. She shunned press photographers and ferociously protected her privacy. But Corelli was equally ferocious in her ambition for literary success and fame, and she does not altogether fit in with those women writers of the nineteenth century who staged an outer show of dominant domestic vocation and cast their fame as an unsought consequence of their natural genius. Through examination of Corelli's self-fashioned orphanhood, this article seeks to highlight her as an example of a fin-de-siècle woman writer who resisted consignment to the transgressive New Woman image and more traditional gender roles. Taking Corelli's critically neglected 1914 novel Innocent: Her Fancy and His Fact as its focal point, and analysing the success of her self-fashioning by drawing upon the remembrances of members of Corelli's local community in Stratford-upon-Avon, recorded as part of the Shakespeare Birthplace Trust's Oral History Project, this article explores the ways in which Corelli strengthened her orphan identity in her later fiction and, in so doing, strove to legitimise female authorship and celebrity.

Abstract. The 1951–2009 drought history of China is reconstructed using daily soil moisture values generated by the Variable Infiltration Capacity (VIC) land surface macroscale hydrology model. VIC is applied over a grid of 10 458 points with a spatial resolution of 30 km × 30 km, and is driven by observed daily maximum and minimum air temperature and precipitation from 624 long-term meteorological stations. The VIC soil moisture is used to calculate the Soil Moisture Anomaly Percentage Index (SMAPI), which can be used as a measure of the severity of agricultural drought on a global basis. We have developed a SMAPI-based drought identification procedure for practical uses in the identification of both grid point and regional drought events. As a result, a total of 325 regional drought events varying in time and strength are identified from China's nine drought study regions. These drought events can thus be assessed quantitatively at different spatial and temporal scales. The result shows that the severe drought events of 1978, 2000 and 2006 are well reconstructed, which indicates that the SMAPI is capable of identifying the onset of a drought event, its progression, as well as its termination. Spatial and temporal variations of droughts in China's nine drought study regions are studied. Our result shows that on average, up to 30% of the total area of China is prone to drought. Regionally, an upward trend in drought-affected areas has been detected in three regions (Inner Mongolia, Northeast and North) from 1951–2009. However, the decadal variability of droughts has been weak in the rest of the five regions (South, Southwest, East, Northwest, and Tibet). Xinjiang has even been showing steadily wetter since the 1950s. Two regional dry centres are discovered in China as the result of a combined analysis on the occurrence of drought events from both grid points and drought study regions. The first centre is located in the area partially covered by the North and the Northwest, which extends to the southeastern portion of Inner Mongolia and the southwest part of Northeast. The second one is found on the central to southern portion of the South. Our study demonstrates the applicability and the value of using modeled soil moisture for reconstructing drought histories, and the SMAPI is useful for analyzing drought at different spatial and temporal scales.

Abstract. The recent fifty-nine year (1951–2009) drought history of China is reconstructed using daily soil moisture values generated by the Variable Infiltration Capacity (VIC) land surface macroscale hydrology model. VIC is applied over a grid of 10 458 points with a spatial resolution of 30 km × 30 km, and is driven by observed daily maximum and minimum air temperature and precipitation from 624 long-term meteorological stations. The VIC soil moisture is used to calculate the Soil Moisture Anomaly Percentage Index (SMAPI), which can be used as a measure of the severity of agricultural drought on a global basis. We develop a SMAPI-based drought identification procedure for practical uses in the identification of both grid point and regional drought events. As the result, a total of 325 regional drought events varying in time and strength are identified from China's nine drought study regions. These drought events can thus be assessed quantitatively at different spatial and temporal scales. The result shows that the severe drought events of 1978, 2000 and 2006 are well reconstructed, indicating SMAPI is capable of indentifying the onset of a drought event, its progressing, as well as its ending. Spatial and temporal variations of droughts on China's nine drought study regions are studied. Our result shows that on average, up to 30% of the total area of China is prone to drought. Regionally, an upward trend in drought-affected areas has been detected in three regions Inner Mongolia, Northeast and North during the recent fifty-nine years. However, the decadal variability of droughts has been week in the rest five regions South, Southwest, East, Northwest, and Tibet. Xinjiang has even been wetting steadily since the 1950s. Two regional dry centers are discovered in China as the result of a combined analysis on the occurrence of drought events from both grid points and drought study regions. The first center is located in the area partially covered by two drought study regions North and Northwest, which extends to the southeastern portion of Inner Mongolia and the southwest part of Northeast. The second one is found in the central to southern portion of the drought study region South. Our study demonstrates the applicability and the value of using modeled soil moisture for reconstructing drought histories, and SMAPI is useful to analyzing drought at different spatial and temporal scales.

This paper takes as its starting point the conceptual metaphor ‘life is a journey’ as defined by Lakoff and Johnson (1980) in order to advance a new reading of William Michael Rossetti's Democratic Sonnets (1907). These political verses may be defined as cognitive-semantic poems, which attest to the centrality of travel in the creation of literary and artistic meaning. Rossetti's Democratic Sonnets is not only a political manifesto against tyranny and oppression, promoting the struggle for liberalism and democracy as embodied by historical figures such as Napoleon, Mazzini, Cavour, and Garibaldi; but it also reproduces Rossetti's real and imagined journeys throughout Europe in the late nineteenth century. This essay examines these references in light of the issues they raise, especially the poet as a traveller and the journey metaphor in poetry. But its central purpose is to re-read Democratic Sonnets as a cognitive map of Rossetti's mental picture of France and Italy. A cognitive map, first theorised by Edward Tolman in the 1940s, is a very personal representation of the environment that we all experience, serving to navigate unfamiliar territory, give direction, and recall information. In terms of cognitive linguistics, Rossetti is a figure whose path is determined by French and Italian landmarks (Paris, the island of St. Helena, the Alps, the Venice Lagoon, Mount Vesuvius, and so forth), which function as reference points for orientation and are tied to the historical events of the Italian Risorgimento. Through his sonnets, Rossetti attempts to build into his work the kind of poetic revolution and sense of history which may only be achieved through encounters with other cultures.

Since it was restored to the English theatre during the 1930s, Volpone has enjoyed a unique currency amongst Ben Jonson's works; it has had a more consistent and successful performance history than any other of his plays. Although its beast fable scheme has apparently rendered it more immediately accessible (and allegedly more universal) than the author's humours comedies, it has also provoked responses of ambivalence and unease, in that its coupling of the animal and the human actively unsettles the ethical relations between nature, culture, economics and morality that the allegory ostensibly intends to clarify. In performance, the play has given rise to a critical discourse of vituperation, deviance and excess which reflects the tensions and contradictions endemic to the cultural vocabulary of anthropomorphism. Theatre practice has dealt with the play's problems and provocations by incorporating the image of the animal into an inclusive, consensual and predominantly realist mode of characterization and mise en scène. A notable exception was in 1968, when Tyrone Guthrie directed a production for the National Theatre at the Old Vic which literalized animal identities to the point of excess. The result was a radically contradictory rethinking of the play, and of the performance vocabularies which have been, and can be, deployed to animate it.

IntroductionThis essay considers three design projects as microprotests. Reflecting on the ways design practice can generate spaces, sites and methods of protest, we use the concept of microprotest to consider how we, as designers ourselves, can protest by scaling down, focussing, slowing down and paying attention to the edges of our practice. Design microprotest is a form of design activism that is always collaborative, takes place within a community, and involves careful translation of a political conversation. While microprotest can manifest in any design discipline, in this essay we focus on visual communication design. In particular we consider the deep, reflexive practice of listening as the foundation of microprotests in visual communication design.While small in scale and fleeting in duration, these projects express rich and deep political engagements through conversations that create and maintain safe spaces. While many design theorists (Julier; Fuad-Luke; Clarke; Irwin et al.) have done important work to contextualise activist design as a broad movement with overlapping branches (social design, community design, eco-design, participatory design, critical design, and transition design etc.), the scope of our study takes ‘micro’ as a starting point. We focus on the kind of activism that takes shape in moments of careful design; these are moments when designers move politically, rather than necessarily within political movements. These microprotests respond to community needs through design more than they articulate a broad activist design movement. As such, the impacts of these microprotests often go unnoticed outside of the communities within which they take place. We propose, and test in this essay, a mode of analysis for design microprotests that takes design activism as a starting point but pays more attention to community and translation than designers and their global reach.In his analysis of design activism, Julier proposes “four possible conceptual tactics for the activist designer that are also to be found in particular qualities in the mainstream design culture and economy” (Julier, Introduction 149). We use two of these tactics to begin exploring a selection of attributes common to design microprotests: temporality – which describes the way that speed, slowness, progress and incompletion are dealt with; and territorialisation – which describes the scale at which responsibility and impact is conceived (227). In each of three projects to which we apply these tactics, one of us had a role as a visual communicator. As such, the research is framed by the knowledge creating paradigm described by Jonas as “research through design”.We also draw on other conceptualisations of design activism, and the rich design literature that has emerged in recent times to challenge the colonial legacies of design studies (Schultz; Tristan et al.; Escobar). Some analyses of design activism already focus on the micro or the minor. For example, in their design of social change within organisations as an experimental and iterative process, Lensjkold, Olander and Hasse refer to Deleuze and Guattari’s minoritarian: “minor design activism is ‘a position in co-design engagements that strives to continuously maintain experimentation” (67). Like minor activism, design microprotests are linked to the continuous mobilisation of actors and networks in processes of collective experimentation. However microprotests do not necessarily focus on organisational change. Rather, they create new (and often tiny) spaces of protest within which new voices can be heard and different kinds of listening can be done.In the first of our three cases, we discuss a representation of transdisciplinary listening. This piece of visual communication is a design microprotest in itself. This section helps to frame what we mean by a safe space by paying attention to the listening mode of communication. In the next sections we explore temporality and territorialisation through the design microprotests Just Spaces which documents the collective imagining of safe places for LBPQ (Lesbian, Bisexual, Pansexual, and Queer) women and non-binary identities through a series of graphic objects and Conversation Piece, a book written, designed and published over three days as a proposition for a collective future. A Representation of Transdisciplinary ListeningThe design artefact we present in this section is a representation of listening and can be understood as a microprotest emerging from a collective experiment that materialises firstly as a visual document asking questions of the visual communication discipline and its role in a research collaboration and also as a mirror for the interdisciplinary team to reflexively develop transdisciplinary perspectives on the risks associated with the release of environmental flows in the upper reaches of Hawkesbury Nepean River in NSW, Australia. This research project was funded through a Challenge Grant Scheme to encourage transdisciplinarity within the University. The project team worked with the Hawkesbury Nepean Catchment Management Authority in response to the question: What are the risks to maximising the benefits expected from increased environmental flows? Listening and visual communication design practice are inescapably linked. Renown American graphic designer and activist Sheila de Bretteville describes a consciousness and a commitment to listening as an openness, rather than antagonism and argument. Fiumara describes listening as nascent or an emerging skill and points to listening as the antithesis of the Western culture of saying and expression.For a visual communication designer there is a very specific listening that can be described as visual hearing. This practice materialises the act of hearing through a visualisation of the information or knowledge that is shared. This act of visual hearing is a performative process tracing the actors’ perspectives. This tracing is used as content, which is then translated into a transcultural representation constituted by the designerly act of perceiving multiple perspectives. The interpretation contributes to a shared project of transdisciplinary understanding.This transrepresentation (Fig. 1) is a manifestation of a small interaction among a research team comprised of a water engineer, sustainable governance researcher, water resource management researcher, environmental economist and a designer. This visualisation is a materialisation of a structured conversation in response to the question What are the risks to maximising the benefits expected from increased environmental flows? It represents a small contribution that provides an opportunity for reflexivity and documents a moment in time in response to a significant challenge. In this translation of a conversation as a visual representation, a design microprotest is made against reduction, simplification, antagonism and argument. This may seem intangible, but as a protest through design, “it involves the development of artifacts that exist in real time and space, it is situated within everyday contexts and processes of social and economic life” (Julier 226). This representation locates conversation in a visual order that responds to particular categorisations of the political, the institutional, the socio-economic and the physical in a transdisciplinary process that focusses on multiple perspectives.Figure 1: Transrepresentation of responses by an interdisciplinary research team to the question: What are the risks to maximising the benefits expected from increased environmental flows in the Upper Hawkesbury Nepean River? (2006) Just Spaces: Translating Safe SpacesListening is the foundation of design microprotest. Just Spaces emerged out of a collaborative listening project It’s OK! An Anthology of LBPQ (Lesbian, Bisexual, Pansexual and Queer) Women’s and Non-Binary Identities’ Stories and Advice. By visually communicating the way a community practices supportive listening (both in a physical form as a book and as an online resource), It’s OK! opens conversations about how LBPQ women and non-binary identities can imagine and help facilitate safe spaces. These conversations led to thinking about the effects of breaches of safe spaces on young LBPQ women and non-binary identities. In her book The Cultural Politics of Emotion, Sara Ahmed presents Queer Feelings as a new way of thinking about Queer bodies and the way they use and impress upon space. She makes an argument for creating and imagining new ways of creating and navigating public and private spaces. As a design microprotest, Just Spaces opens up Queer ways of navigating space through a process Ahmed describes as “the ‘non-fitting’ or discomfort .... an opening up which can be difficult and exciting” (Ahmed 154). Just Spaces is a series of workshops, translated into a graphic design object, and presented at an exhibition in the stairwell of the library at the University of Technology Sydney. It protests the requirement of navigating heteronormative environments by suggesting ‘Queer’ ways of being in and designing in space. The work offers solutions, suggestions, and new ways of doing and making by offering design methods as tools of microprotest to its participants. For instance, Just Spaces provides a framework for sensitive translation, through the introduction of a structure that helps build personas based on the game Dungeons and Dragons (a game popular among certain LGBTQIA+ communities in Sydney). Figure 2: Exhibition: Just Spaces, held at UTS Library from 5 to 27 April 2018. By focussing the design process on deep listening and rendering voices into visual translations, these workshops responded to Linda Tuhiwai Smith’s idea of the “outsider within”, articulating the way research should be navigated in vulnerable groups that have a history of being exploited as part of research. Through reciprocity and generosity, trust was generated in the design process which included a shared dinner; opening up participant-controlled safe spaces.To open up and explore ideas of discomfort and safety, two workshops were designed to provide safe and sensitive spaces for the group of seven LBPQ participants and collaborators. Design methods such as drawing, group imagining and futuring using a central prototype as a prompt drew out discussions of safe spaces. The prototype itself was a small folded house (representative of shelter) printed with a number of questions, such as:Our spaces are often unsafe. We take that as a given. But where do these breaches of safety take place? How was your safe space breached in those spaces?The workshops resulted in tangible objects, made by the participants, but these could not be made public because of privacy implications. So the next step was to use visual communication design to create sensitive and honest visual translations of the conversations. The translations trace images from the participants’ words, sketches and notes. For example, handwritten notes are transcribed and reproduced with a font chosen by the designer based on the tone of the comment and by considering how design can retain the essence of person as well as their anonymity. The translations focus on the micro: the micro breaches of safety; the interactions that take place between participants and their environment; and the everyday denigrating experiences that LBPQ women and non-binary identities go through on an ongoing basis. This translation process requires precise skills, sensitivity, care and deep knowledge of context. These skills operate at the smallest of scales through minute observation and detailed work. This micro-ness translates to the potential for truthfulness and care within the community, as it establishes a precedent through the translations for others to use and adapt for their own communities.The production of the work for exhibition also occurred on a micro level, using a Risograph, a screenprinting photocopier often found in schools, community groups and activist spaces. The machine (ME9350) used for this project is collectively owned by a co-op of Sydney creatives called Rizzeria. Each translation was printed only five times on butter paper. Butter paper is a sensitive surface but difficult to work with making the process slow and painstaking and with a lot of care.All aspects of this process and project are small: the pieced-together translations made by assembling segments of conversations; zines that can be kept in a pocket and read intimately; the group of participants; and the workshop and exhibition spaces. These small spaces of safety and their translations make possible conversations but also enable other safe spaces that move and intervene as design microprotests. Figure 3: Piecing the translations together. Figure 4: Pulling the translation off the drum; this was done every print making the process slow and requiring gentleness. This project was and is about slowing down, listening and visually translating in order to generate and imagine safe spaces. In this slowness, as Julier describes “...the activist is working in a more open-ended way that goes beyond the materialization of the design” (229). It creates methods for listening and collaboratively generating ways to navigate spaces that are fraught with micro conflict. As an act of territorialisation, it created tiny and important spaces as a design microprotest. Conversation Piece: A Fast and Slow BookConversation Piece is an experiment in collective self-publishing. It was made over three days by Frontyard, an activist space in Marrickville, NSW, involved in community “futuring”. Futuring for Frontyard is intended to empower people with tools to imagine and enact preferred futures, in contrast to what design theorist Tony Fry describes as “defuturing”, the systematic destruction of possible futures by design. Materialised as a book, Conversation Piece is also an act of collective futuring. It is a carefully designed process for producing dialogues between unlikely parties using an image archive as a starting point. Conversation Piece was designed with the book sprint format as a starting point. Founded by software designer Adam Hyde, book sprints are a method of collectively generating a book in just a few days then publishing it. Book sprints are related to the programming sprints common in agile software development or Scrum, which are often used to make FLOSS (Free and Open Source Software) manuals. Frontyard had used these techniques in a previous project to develop the Non Cash Arts Asset Platform.Conversation Piece was also modeled on two participatory books made during sprints that focussed on articulating alternative futures. Collaborative Futures was made during Transmediale in 2009, and Futurish: Thinking Out Loud about Futures (2015).The design for Conversation Piece began when Frontyard was invited to participate in the Hobiennale in 2017, a free festival emerging from the “national climate of uncertainty within the arts, influenced by changes to the structure of major arts organisations and diminishing funding opportunities.” The Hobiennale was the first Biennale held in Hobart, Tasmania, but rather than producing a standard large art survey, it focussed on artist-run spaces and initiatives, emergant practices, and marginalised voices in the arts. Frontyard is not an artist collective and does not work for commissions. Rather, the response to the invitation was based on how much energy there was in the group to contribute to Hobiennale. At Frontyard one of the ways collective and individual energy is accounted for is using spoon theory, a disability metaphor used to describe the planning that many people have to do to conserve and ration energy reserves in their daily lives (Miserandino). As outlined in the glossary of Conversation Piece, spoon theory is:A way of accounting for our emotional or physical energy and therefore our ability to participate in activities. Spoon theory can be used to collaborate with care and avoid guilt and burn out. Usually spoon theory is applied at an individual level, but it can also be used by organisations. For example, Hobiennale had enough spoons to participate in the Hobiennale so we decided to give it a go. (180)To make to book, Frontyard invited visitors to Hobiennale to participate in a series of open conversations that began with the photographic archive of the organisation over the two years of its existence. During a prototyping session, Frontyard designed nine diagrams that propositioned ways to begin conversations by combining images in different ways. Figure 5: Diagram 9. Conversation Piece: p.32-33One of the purposes of the diagrams, and the book itself, was to bring attention to the micro dynamics of conversation over time, and to create a safe space to explore the implications of these. While the production process and the book itself is micro (ten copies were printed and immediately given away), the decisions made in regards to licensing (a creative commons license is used), distribution (via the Internet Archive) and content generation (through participatory design processes) the project’s commitment to open design processes (Van Abel, Evers, Klaassen and Troxler) mean its impact is unpredictable. Counter-logical to the conventional copyright of books, open design borrows its definition - and at times its technologies and here its methods - from open source software design, to advocate the production of design objects based on fluid and shared circulation of design information. The tension between the abundance produced by an open approach to making, and the attention to the detail of relationships produced by slowing down and scaling down communication processes is made apparent in Conversation Piece:We challenge ourselves at Frontyard to keep bureaucratic processes as minimal an open as possible. We don’t have an application or acquittal process: we prefer to meet people over a cup of tea. A conversation is a way to work through questions. (7)As well as focussing on the micro dynamics of conversations, this projects protests the authority of archives. It works to dismantle the hierarchies of art and publishing through the design of an open, transparent, participatory publishing process. It offers a range of propositions about alternative economies, the agency of people working together at small scales, and the many possible futures in the collective imaginaries of people rethinking time, outcomes, results and progress.The contributors to the book are those in conversation – a complex networks of actors that are relationally configured and themselves in constant change, so as Julier explains “the object is subject to constant transformations, either literally or in its meaning. The designer is working within this instability.” (230) This is true of all design, but in this design microprotest, Frontyard works within this instability in order to redirect it. The book functions as a series of propositions about temporality and territorialisation, and focussing on micro interventions rather than radical political movements. In one section, two Frontyard residents offer a story of migration that also serves as a recipe for purslane soup, a traditional Portuguese dish (Rodriguez and Brison). Another lifts all the images of hand gestures from the Frontyard digital image archive and represents them in a photo essay. Figure 6: Talking to Rocks. Conversation Piece: p.143ConclusionThis article is an invitation to momentarily suspend the framing of design activism as a global movement in order to slow down the analysis of design protests and start paying attention to the brief moments and small spaces of protest that energise social change in design practice. We offered three examples of design microprotests, opening with a representation of transdisciplinary listening in order to frame design as a way if interpreting and listening as well as generating and producing. The two following projects we describe are collective acts of translation: small, momentary conversations designed into graphic forms that can be shared, reproduced, analysed, and remixed. Such protests have their limitations. Beyond the artefacts, the outcomes generated by design microprotests are difficult to identify. While they push and pull at the temporality and territorialisation of design, they operate at a small scale. How design microprotests connect to global networks of protest is an important question yet to be explored. The design practices of transdisciplinary listening, Queer Feelings and translations, and collaborative book sprinting, identified in these design microprotests change the thoughts and feelings of those who participate in ways that are impossible to measure in real time, and sometimes cannot be measured at all. Yet these practices are important now, as they shift the way designers design, and the way others understand what is designed. 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