Sonic agencies of climate change refers to the relational fluxes of human and nonhuman agencies sounding and musicking the climate crisis. This article discusses what understandings of Indigenous onto-epistemologies of the nonhuman in commercial music can contribute to the notion and vice-versa. In Greenland, site of the rapidly melting North Polar Ice Cap, popular song lyrics in Inuit Greenlandic or Kalallissut as well as their music videos and album cover art engage nonhuman aspects of human internal experiences and societal coming-to-terms around global heating. Sonic agencies of climate change is used here to investigate how emotion, affect, protest, and debate through musicking—which music scholarship tends to approach anthropocentrically—navigate the nonhuman as well as human-nonhuman relationalities. Relevant Greenlandic musical contents pose alternatives to an epistemology behind climate change, while their commercialization relies on environmentally destructive industries. Sonic agencies of climate change may be politically, ideologically and otherwise complex and contradictory.

The Inter-American Commission on Human Rights (IACHR) issued a landmark merits decision in 2025 holding the United States internationally responsible for the torture and death of Mexican national Anastasio Hernández Rojas, and for denying his family justice. The Commission found violations of the protections of life, humane treatment during arrest, health, and access to justice in the American Declaration of the Rights and Duties of Man (American Declaration) and ordered the United States to reopen the criminal investigation, impose sanctions, provide legal remedies and adopt non-repetition measures, including aligning use-of-force standards with international law, such as banning electric shock weapons, after specific legal findings of torture by the European Court of Human Rights and the UN Rapporteur, which both regarded its use as disproportionate, unnecessary, and inhumane.1

This presidential address discusses the developing body of research on the quality and idiosyncrasies of historical data, focusing in particular on historical census microdata. I argue that greater attention to source criticism as a genuine subfield of social science history is essential for four reasons: to fully benefit from the expansion of big historical data, to imagine new ways to analyze historical data beyond the intentions of creators, to share insights with a wider range of scholars, and to contribute nuanced perspectives on historical data to public debates surrounding the use of these sources. I contend that historians outside social science history are vastly underestimating the creativity that is happening in our field. I also argue that social science historians are underestimating how important our work is to informing public discourse.

While physical and mental health are widely recognized dimensions of human well-being, this article introduces philosophical health as a crucial third dimension that addresses our fundamental orientation in life and our deeper sense of purpose. As we face unprecedented global challenges, from environmental and political crises to technological disruption, philosophical health offers practical wisdom for creating what Leibniz called ‘the best of all possible worlds’: one where individual fulfilment and collective flourishing become complementary, offering ‘compossible’ rather than competing goals. The article concludes by suggesting how philosophical health can be cultivated through regular practice, suggesting that this development is essential for addressing our most pressing contemporary challenges.

Electronic dance music is usually produced and played at fixed tempi. However, tempo modulation occasionally appears within a recorded track or DJ performance. This article explores tempo modulation in electronic dance music production and performance, maps out how the technique operates, and explores the technique’s wider potential. Pivot mixing, where a tempo shift is created by reinterpreting a pivot loop as different note values, can be particularly effective in an electronic dance music context when the pivot is expressed as repetitive material carried across the tempo shift. Many modulations between familiar dance music tempi are possible with conventional note values and can serve as DJ tools yet are largely underutilized. Tempo modulation is not a prevalent characteristic in electronic dance music but when it does occur the technique is highly effective and temporally engaging. Pivot mixing expands the temporal vocabulary of electronic dance music from beatmatching in temporal unisons to temporal intervals.

We give a categorical formulation of the p-adic local Langlands correspondence for ${\mathrm{GL}}_2({{{\mathbb{Q}_{p}}}})$ as an embedding of the derived category of locally admissible representations into the category of Ind-coherent sheaves on the moduli stack of two-dimensional representations of$\mathrm{Gal}(\overline{{\mathbb{Q}}}_p/{{{\mathbb{Q}_{p}}}})$. The Montréal functor appears as the‘Whittaker coefficient’ for the universal Galois representation, in the sense of the geometric Langlands program. Moreover, we relate our version of the p-adic local Langlands correspondence for ${\mathrm{GL}}_2({{{\mathbb{Q}_{p}}}})$ to the cohomology of modular curves through a local–global compatibility formula.