New Bedford, Massachusetts, celebrated for its whaling past and immortalized in Herman Melville’s Moby-Dick , occupies a central place in the American maritime imagination. Yet amid this storied legacy, one coastal presence has remained largely unacknowledged: seaweed. Often considered biologically mundane or visually peripheral, seaweed has been overlooked in cultural narratives despite its enduring material, sensory, and symbolic roles in coastal communities. This paper reframes seaweed as a heritage species and a more-than-human participant in shaping New Bedford’s identity, memory, and environmental rhythm. Drawing on biosemiotics, narrative ecology, and cultural heritage theory, it explores how seaweed functions simultaneously as sign and species. Working with a curated collection of 100 archival items, including pressed seaweed albums, whaling logbooks, oral histories, and maritime ephemera, the article traces how algae have acted as co-creators of cultural practice from the 19th century to the present. A biosemiotic lens positions seaweed within a relational framework of ecological responsiveness and cultural memory. From practical uses in agriculture and maritime labor to its presence in Victorian art, eco-design, and culinary revival, seaweed emerges as a material of continuity and care. Its tactile qualities, symbolic renderings, and seasonal rhythms invite ways of knowing grounded in interrelation. Seaweed’s cultural invisibility stems not from insignificance but from the anthropocentric lens that has shaped heritage frameworks. This study offers a relational model, grounded in biosemiotic feedback and multispecies ethics, that recognizes algae as co-authors of cultural meaning and contributes to emerging conversations in more-than-human geography and environmental humanities. It contributes to ongoing conversations in environmental ethics, public history, and sensory heritage by encouraging new approaches to storytelling, conservation, and governance that foreground the interdependence of human and ecological memory.

This paper advances a post-phenomenological approach to studying the digitalization of urban space and temporalities. Varying intentionality and subjectivation, post-phenomenology holds promise in how objects and digitality reorganize lifeworlds. Through digital mediations and techno-genesis, rhythms extend beyond human experiences to externalize and reconstitute temporality. Further, these rhythmic elements relationally form evolutionary organology between body and digitality, subject and object, retention and protention, being and becoming. This study deploys 10 months of online and local ethnographic research on the case of Laojie Street in Shenzhen that actively promotes digital urbanism and livestreaming by Douyin. Here, digitality orchestrates rhythms, and people are often subordinated to rhythmic patterns in the ambiguous metamorphosis between physicality and digitality. Analysis is centered on two dimensions: (i) direct and machinic rhythms enforced by screens and, (ii) reinvented rhythms mediated by the moving and altering screens. The former provoked compulsion and anticipation through repetitive performances and livestream battle, while machinic rhythms distort linear and cyclical rhythms with a series of undercurrents, short-circuits and automations. The latter marks both passive oscillation and active tactics between dynamic formations of physical circles, rhythmic patterns and digital flux. These machinic immersion and derivative reflections reveal how digitality transforms human experience and urban temporalities, highlighting rhythms that are intensified, emergent and difficult to trace.

This article demonstrates the potential for conceptualizing Indigenous mapping as everyday acts of resurgence. We draw on ongoing collaborative community-based mapping research projects by and for the Eastern Cree community of Wemindji in Northern Canada. The extensive literature on Indigenous counter-mapping, decolonial cartographies, and participatory practices are effective in legal and political struggles. However, we address two recent calls from Indigenous scholars to (1) decenter the colonial aspect of mapping and (2) focus on praxis. We also draw connections with the growing global Indigenous resurgence movement. Indigenous scholars in a variety of disciplines and Indigenous communities turn away from state-centric approaches and focus on Indigenous renewal on their own terms. We illustrate that the stream of the resurgence movement that focuses on everyday practices of cultural renewal is fruitful for conceptualizing Indigenous mapping grounded in praxis. Drawing on the work on everyday acts of resurgence, we reflect on how mapping stories in Wemindji supports and is grounded in daily practices of nurturing relationships between community members, renewing connections with the land, culture, and language, and promoting community well-being. We hope to broaden Indigenous mapping beyond decolonization theories, contribute to the focus on praxis, and open the conversation on mapping practices as everyday acts of resurgence.

This article reflects on a three-day residency undertaken by the Eco-Feminist Art-Science (EFAS) Collective in rural Utrecht in July 2025. Bringing together researchers from geography, art, anthropology, history and curation, the residency created a setting to explore shared concerns about ecological change and contamination. We use Stacy Alaimo’s concept of transcorporeality to examine both the material entanglements between bodies and pollutants and the exchanges that shaped our emergence as a collective. Through five creative embodied methods (body mapping, walking, kayaking, singing or sound practices and automatic writing) we trace the effects of environmental harm while also fostering collaborative knowledge-making. For geographers, the article demonstrates methodological possibilities for tracing transcorporeality , which helps illuminate the relational, intimate and affective dimensions of environmental issues.

There is contemporary interest in drawing practice as a research method in geography. This paper gathers aligned insights from visual studies and geography to deconstruct humanistic processes involved in researcher seeing and representation. Seeing is critiqued as a socio-cultural practice that can affirm intersectional injustices and suffering. I argue that to resist humanist interpretations of the more-than-human world, it is necessary to both de-territorialise the researcher self, and the research practice. I demonstrate that drawing performed as a becoming practice, offers one way to move towards a de-territorialisation approach and to conduct field research with a posthuman sensibility. The research is an example of a feminist research assemblage involving processual toggling between theory, practice and reflexive analysis. The discussion illuminates the problems of researching emplaced animals elucidated through two case studies that describe drawing a zoo tiger and a city farm cow. The drawing vignettes are introduced as experiments in the capacity for geographical research to attend to subjects through loosening the humanistic regimes of seeing and representation.

How do we make lives in the wake of the detachments that make us? What attachments do we desire amid detachments from place and others that extend beyond our lives? In this collection of fragments I perform a response to these questions via a story of a brass bell and the tangle of attachments and detachments that make my relations to a place, the North-East (England), and a person, my great-Grandad Thomas Anderson, who was born and grew up there. In the telling, the story becomes one of distances from long-gone worlds, the impossibility of attachments we may desire, and intimacies that fold time and space.