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Disruption and change appear to be the only constant at present. We are on the verge of hearing the results of another crucial American election[1](as my colleague Professor De Ruyter noted –the world is hanging by a thread). More prosaically (and perhaps selfishly), as England enters a "lockdown-lite", my ability to see family and friends will be curtailed and all manner of venues and activities will close.

Abstract
There are an increasing number of university students who express a fluid gender embodiment and identity, resisting binary gender categories as well as binary transgender categories. The use of gender-neutral, as well as third-person plural pronouns, disrupts linguistic gender hegemony and creates particular gendered meanings. With the increasing number of trans* people who queer the gender binary, how does language affirm or deny their personhood? This research note uses data from an online survey (N = 557) to examine teachers' recognition of trans* individuals' pronouns. Results demonstrate that trans* students who identify as genderqueer tend to use gender-neutral and third-person pronouns. However, educators are less affirming when it comes to gender-neutral pronoun recognition. Educators must resist taken-for-granted gender attribution processes and explicitly ask all students to state their pronouns. Accurate pronoun recognition supports trans* students' identity development and honors their personhood.

In this article, I show the potential of feminist film archiving to unsettle dominant paradigms in Peruvian film historiography. I describe my work as a curator of Rebeldes y Valientes (1913–2019) (Rebels and Braves, 1913–2019), the first digital archive that sheds light on the participation of women filmmakers in the history of Peruvian cinema. I argue that Rebels and Braves has challenged the overrepresentation of male filmmakers constructed by Peruvian film historiography, even as it was constrained in its capacity to redress the structural conditions that erase and delegitimize women's contributions to film. This article also makes the case for a disruptive archive that visualizes a feminist approach to curation and film history.

Intro -- Contents -- Chapter One - Losing Earth -- Chapter Two - The Anthropocene: How the term came to be -- Chapter Three - Defining a new geological epoch: The stratigraphic justification -- Chapter Four - Sticking to the science: The evolution of the Anthropocene concept -- Chapter Five - The Anthropocene: Why is it seen as a rupture? -- Chapter Six - A deep adaptation agenda -- Chapter Seven - Wisdom in an age of climate crisis -- Afterword - Are we doomed? Conscious evolution: The case for hope -- Appendix - Questions about the Anthropocene disruption -- Acknowledgements -- Bookshelf -- About the author.

This introduction to the fourth special issue ofAsiascape: Digital Asiadiscusses the complex interactions between technology and society in the context of 'digital Asia'. The special issue is drawn from contributions to a conference held in May 2016 titled 'Digital Disruption in Asia: Methods and Issues'. Inspired by the idea that the use of digital technologies is shaking up some major political and economic institutions, the conference aimed to see whether some of the same processes were playing out across Asia. But while the wording of its title focused on the impact of digital technologies in Asian societies, what emerged were much more complex stories detailing the different ways the technologies are used in their offline contexts. This introduction traces these stories, identifying some common elements of digitality that range from constant connectivity, to mobility, speed, and the potential to break down social and even disciplinary boundaries.