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4. Conceptual Materiality and Sculptural Critique
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What Does It Mean to Be Truly Open Access?
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Casino Open Today
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Association, Affect, and Material Reading Practices of Anna Laetitia Barbauld
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Peer Review Models, Publication Types, Open Access, and the Future
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The Use Of Scrap Materials in Architecture: A Conceptual and Practical Analysis Of Junkitechture Practices
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Adventure Time’s World-Building: Analyzing Its Opening Title Sequence and the Mobile Map
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Thinking of Water as a Material Witness: An Attempt to Fill the Voids in the Archive of the Moscow Canal (1932–37)
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Comparative Shading Analysis of Public Open Spaces in Mixed-Use Developments
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Herd / Lab || Flock / Cube: Livestock Production, Relational Aesthetics and New Materialism in Contemporary Irish Visual Arts Practice & Memoir
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Long-Distance Shield Tunneling Through Flexible Casings and Atmospheric Pressure Chamber Opening for Obstacle Removal in Urban Central Areas
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Implementing Indigenous Data Sovereignty in Rights Management: Local Contexts in Cultural Institutions
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Does Fair Use Survive the License? Fair Use in the Licensed Landscape: Rights, Risks, and Realities
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Copyright Law and the Visual Arts: Legislation, Litigation, and Community Practice
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Making Waves: Toward a New Model for Copyright Education
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Appendix: Recent VRA Copyright & Fair Use Work
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Letter from the Editors
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The Changing Landscape of Fair Use: Survey Responses
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“[B]oth in body and mind”: Gothic, Affect, and Power in Eliza Parsons’s The Mysterious Warning (1796)
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The Gendered Duality of Coldness in the Portrayals of Eliza Hayley
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Curious Objects: Form and Feeling in Mary Leapor's Thing Poems
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Managerial Forms: Narrative, Information, and Household Government in the Diaries of Sarah Cowper
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Epic Anger and Shame in Lucy Hutchinson’s Order and Disorder
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Queer Excess and Hybrid History in Elizabeth Cary’s Edward II
