Victoria University

Not all states that have vessels registered under their flag take responsibility for the actions of those vessels and their crews. When enforcement is not carried out by flag states, illegal, unreported and unregulated (IUU) fishing can proliferate and have a serious impact on fish stocks in areas such as the seas around Antarctica. In this article, Rachel Baird evaluates the measures taken by the Commission on the Conservation of Antarctic Marine Living Resources (CCAMLR) to address the issue of IUU fishing. Port state controls, catch documentation schemes, vessel lists and other options are discussed. She concludes that CCAMLR provides some encouraging examples as to how the global problem of IUU fishing may be addressed.

For the past few years, as concerned academics and educators in South African higher education, we have come together to meet/think/drink coffee/eat/discuss our research and teaching practices in a coffee shop that overlooks the Rondebosch Common, a public space and national heritage site. The Common invited us to take our thoughts for a walk and we embarked on numerous walking encounters that affected and troubled us in many ways. Our walks became research-creation events that surfaced the implicatedness of our white settler privilege. As we grappled with the complexities and ambivalences grounded in our relationality with this contested site, we were prompted to explore hauntology as a theoretical orientation for our pedagogical practices. Walking with/through the demarcated land that is surrounded by privilege in terms of buildings, services and residences enacted and materialised entanglements of the past/present/future histories. We felt an exchange of affect between those pres...

In this article, we take up works of disability artists whose practices engage with the act of walking/traversing as a method and form of sense-making. Specifically, we take up two performances by blind theatre artist Alex Bulmer—May I Take Your Arm? (2018) and Blind Woman in Search of a Narrative (2018-2020) —in which walking, specifically ‘walking-together,’ is embedded as both a performative element and an integral mode of inquiry. We think about what Bulmer’s works, along with works by Carmen Papalia and Arseli Dokumaci, teach us about knowing and being known through an urban landscape, creating a ‘cripistemology’ (McRuer & Johnson, 2014) that builds on David Serlin’s (2006) notion of ‘disabling the flâneur.’ Throughout this arts-based inquiry, we suggest that Bulmer advances a practice of ‘cripping the flâneur’ (Campbell, 2010) as she demonstrates how we might come to know ourselves, our cities, our neighbours, and blindness through the epistemological vantage-point of blindness.