There is today a growing variety of types of memory mediations that often go further than memorialisation and heritage-building. Comics are undoubtedly part of this movement as their verbal-visual storytelling form tends to prompt layered responses from reader-viewers. Reader-viewers find themselves surprised, moved, and transformed by that reading experience. In this article, we take as a case study a comic page laying out the impact of agriculture’s industrial organisation in France shared by Les Soulèvements de la Terre (The Earth Uprisings) and its sister organisation, the Bassines Non Merci collective. It is a good example to address our central questions of how multimodal languages such as this one-page comic facilitate the process of transformative learning and how such multimodal forms allow one to move from memory-making, crystallising a specific event, to an amplification of engagement that leads to collective action. In short, it allows us to study the specific mechanisms and affordances that multimodal modes of communication, such as comics, possess as tools for transformative learning. In the first section of the article, we investigate the different types of relational engagement that can lead to transformative learning in comics. The second section focusses more specifically on emotions and their role in transformative learning. Finally, we look at the specific comics mechanisms that support transformative learning. Specifically, we look at how comics create a disjunction, give meaning to that disjunction, and help reader-viewers practise real or imaginary resolution that impact identity formation.

This paper contributes to the emerging field of forest pedagogies by foregrounding mangroves as critical sites for learning with more-than-human entanglements in polluted worlds. Engaging with planetary strategies of corresponding, evidencing and circulating, we approach mangroves as complex, contested and vital ecotones. We explore how mangroves invite pedagogical attention to the lived realities of toxicity, urbanisation and forms of contamination in the emergence of the Anthropocene. We conceptualise mangroves as “unruly edges” that unsettle binary distinctions between forest and estuary, fresh and saline waters and call for an estimation, historisation and analyses of interspecies entanglements. This position grounds a critical pedagogical project of “riparian struggles,” fostering mutual learning among river-zone inhabitants across planetary contexts. Through a case study in the Guanabara Bay region of Rio de Janeiro, we present filmmaking as a threefold tactic that (1) situates mangrove struggles within broader historical geographies, (2) supports community-based and student learning with contaminated ecologies and (3) circulates tactics of mangrove struggles across academic, educational and public spheres. Ultimately, we propose mangroves as more-than-human classrooms where practices of habitability with toxicity can be cultivated, unsettling paradigms of ecological purity and expanding forest imaginaries within the field of Critical Forest Studies.

This inquiry explores how eco-phenomenology reveals our relational engagement with forests inspiring a philosophy of education nurturing an ethos of mystery useful to teacher education, and the unsettling and decolonising of Western settler views of a Canadian forest. Through eco-phenomenological descriptions and interpretations, immediate lived experiences in a forest reveal three concepts: the sylvan fringe, the clearing and the care structure. Respectively, the ontological, epistemological and axiological domains of poetism, as a philosophy of education consist of physis (presencing-absencing), poetic knowledge (known-unknown) and dwelling (care structure). The relationship between Critical Forest Studies (CFS) and teacher environmental education is furthered by considering currents in environmental education and programming. CFS and poetism each resonate with the holistic current of environmental education and are well suited to the systematic programming of environmental education in teacher education.

In an era of accelerating ecological degradation, how might experimental art practices help audiences foster deeper, more empathetic engagement with the intelligence of living systems? This paper explores the potential of contemporary art, when aligned with ecological science, to reframe forest regeneration as a site of aesthetic and ethical inquiry — by regarding the forest as a primary composer within artistic and ecological frameworks. It asks: how might this approach underpin a novel form of “Critical Forest Pedagogy” capable of deepening our understanding of the collective natural intelligence of the living world and encouraging long-term conservation?

To test these ideas, a new art-science project, Forest Art Intelligence, was initiated, framing a regenerating forest as an evolving, living artwork. Because forests evolve through stages mediated by life, death, regeneration and human influence, those stages of growth can also be framed as “process art” — a practice that values each stage of an artwork’s transformation. Collectively therefore this approach proposes a form of art-led “Critical Forest Pedagogy” suited to engaging communities traditionally unaligned with conservation, while remaining relevant to ecologically cognate audiences. It further asks whether this framing might promote a rethinking of restrictive, human-centred definitions of intelligence that underpin generative AI.

This study conducts a historical analysis tracing the evolution of climate change narratives from the late 1960s to the present. The analysis produces a comprehensive map of these narratives and identifies three key shortcomings that still need to be addressed in academic literature. First, there are inherent limitations to each narrative, which operate within the confines of their respective theoretical frameworks, shaped by their unique perspectives. Second, climate narratives are not isolated but interconnected; new narratives often emerge from earlier ones, forming a continuum that evolves over time. This dynamic corresponds closely to the three structural dimensions of narrative analysis. Third, existing climate narratives insufficiently incorporate perspectives from territories and cultural contexts beyond dominant Western geographies, thereby marginalising non-Western voices and experiences. As a result, many cultural and political factors that influence responses to climate change remain underrepresented, narrowing how we understand this global issue.