One of the most pronounced features of the war in Ukraine has been the heavy reliance of the Russian forces on convict-soldiers, most notably by the private military and security company (PMSC) the Wagner Group. In this essay, I explore the ethical problems with using convict-soldiers and assess how using them compares to other military arrangements, such as conscription or an all-volunteer force. Overall, I argue that the central issue with using prisoners to fight wars is their perceived expendability. To do this, I present three arguments. First, although many prisoners have been under major duress, using convict-soldiers may be somewhat preferable to using conscripts in this regard. Second, convict-soldiers are more likely to be subject to human rights abuses than other types of soldiers and this should be seen as the main problem with their use. Third, convict-soldiers’ liability to lethal force for fighting in an unjust war does not render it permissible to treat them as expendable.

The Dark Forest Theory of the universe applies a pessimistic view of humanity to alien civilizations. While many look to space with hope and optimism, the Dark Forest Theory suggests that humanity should be fearful and cautious when expanding beyond Earth and that interaction with aliens could spell humanity's doom. This article will briefly examine the theory and present some arguments against the pessimistic view offered by the Dark Forest Theory.

This article stems from the encounter of ancestral stories and archaeological knowledge for Africans in Amazonia. Against colonial fragmentation and anti-Blackness, these theoretical reflections are rooted in Black Archaeology as a praxis of redress. The continuing struggles of ancestral and contemporary Black Amazonian communities, who insist on anti-colonial modes of existence, connect with the need to indigenize the archaeological mode of knowledge through otherwise world-senses as ontoepistemological references. These questions emerged during the first steps of the ongoing collaborative archaeological project Pitit'Latè. The founding story of Mana, an Amazonian village built in 1836 by the hands, heads, spirits, and technologies of more than 400 West Africans captured in the illegal transatlantic trade, serves as the epistemological bones of this research about Black Amazonian territorialities and materialities that remain erased in dominant colonial discourses.

This article presents an exomusicologically informed response to the theme of alienation through encounter in Oli Jan's Three Singers on Planet M, in which actors execute apparently ritualistic sounds and actions. Their activities signal aesthetic intentionality but do so through an unfamiliar cultural display that defies the rules of our own lived experience of embodiment and environment. The conceit sets up an interesting question related to the somatic imaginary: how can and how do we relate to the imagination of non-human bodies?

In this collaborative account of Iddon's Sapindales, the authors recount how their experiences of live and virtual clarinet sounds and environmental sounds combine in varied ways. By focusing on relationships among sonic layers, the authors emphasise the dynamic interplay of live and recorded performance, music and environment, the real and the virtual, the abstract and the concrete. Each relationship involves mediation and ambiguity, with elements that alternatively split apart or join together. The listening outcomes that we describe repeatedly highlight a positional swing between subject and object, as the authors reach across explanatory modes, drawing on phenomenology, musicology, psychoanalysis and ecological psychology, among others. We aim to capture the process of aesthetic listening, a process that is live, interactive, constructive, imaginative.

This paper examines the materialization of trauma as both a narrative and embodied phenomenon in Hassan Bani Ameri's 2006 novel, Gonjeshkha Behesht ra Mifahmand, using contemporary narrative and trauma theory. The postmodernist narrative, told from the perspective of a photojournalist, reconstructs events surrounding the death of a celebrated Iran-Iraq War commander. I argue that traumatic truths resist full integration into conventional frameworks of understanding, evident in the novel's non-linear, fragmented narrative and its shift from visual realism to confessional surrealism in an ending that challenges traditional storytelling and historical documentation. By vividly simulating the sensory processing of traumatic memories, the novel emphasizes the material reality of trauma that demands to be seen, heard, and physically felt, thus negating celebratory institutional narratives around the culture of war and martyrdom.

This introductory article defines somatic music/ology as music that emphasises and reflects on its embodied nature and an associated theoretical discourse that addresses this aspect. It further traces the genealogy of this concept to the convergence of different intellectual and artistic currents from the mid twentieth century, including the phenomenology of Edmund Husserl and Maurice Merleau-Ponty, ecological psychology associated with James J. Gibson, performance- and body-oriented musicology represented by Roland Barthes and Carolyn Abbate and later developments such as 4E cognition as well as the experimental music theatre emerging from the 1960s. Finally, it introduces the various contributions to the issue.

In the books reviewed there is a cumulative resistance to the normative discourse, shifting our attention away from the centre and to the margins. This might mean listening to marginalized women, from the poets themselves to characters in poetry, or people today who relate to those female characters’ experiences. It might mean pushing beyond spatial boundaries and encountering dislocation and disjunction in the hazy hinterland of the non-elite. It might mean moving the human to one side, so that nature and the nonhuman can come to the fore (and teach us about what it means to be human, along the way). These books give voice to suppressed groups including women, animals, and the land. They highlight axes of oppression, and give us tools to shift the balance of power: from the language we use to the way we relate to the world around us. And with stories of prophetic horses, sympathetic lions, and pensive pigs, their interpretations – as well as the classical tales they recount – are not to be missed!

According to Adam Smith, the “wretched spirit of monopoly” dogged the East Indies trade. The regulations that governed the East Indies trade established legal barriers or restrictions to entry and sustained a mercantile community whose interests were “the opposite to that of the great body of the people” (WN IV, ch. iii, p. 494). The East Indies charter conferred a special privilege that shielded the English East India Company from all domestic competition in Asian trade. The East India Company was the complete incarnation of a mercantile system against which Smith had determined to launch “a very violent attack” in Wealth of Nations (Smith 1987, p. 251). Smith’s mistrust of trading bodies like the East India Company was compounded by its having assumed political powers commensurate with the sovereign while still in possession of its monopolistic franchise. Smith’s proposal was, first, to abolish the monopolistic franchise to rid society of “the unfortunate effects of all the regulations of the mercantile system” (WN IV, ch. vii, p. 606), and, second, to reform the East India Company’s administrative duties and functions in the Indian territories. The contention of this paper is that Smith’s call to abolish the East Indies monopoly was inseparable from his appeal for reform of the English East India Company.