This special issue of "TOPIA Canadian Journal of Cultural Studies" addresses the ubiquity of militarization, a presence that is woven into the very fabric of civic culture.Militarization is not just something that happens in war zones; when our government invests billions of dollars in war planes, prisons and the "digital economy," while starving resources in social justice, education, the environment and culture, we are living the consequences of global militarization. To talk about cultures of militarization is to talk about the terms in which collective identity is militarized and resistive forms of agency allowed and disallowed. By recognizing the human relations within capitalism and how these have come to be defined increasingly by military interests, we reveal that militarism is a global master narrative; military diction becomes inseparable from the language of power, sweeping aside human suffering as mere "collateral damage." We are led to believe that it is temporary, and we are compliant in our acceptance of these narratives.

For nearly two decades, Jody Berland has been a leading voice in cultural studies and the field of communications. In "North of Empire," she brings together and reflects on ten of her pioneering essays. Demonstrating the importance of space to understanding culture, Berland investigates how media technologies have shaped locality, territory, landscape, boundary, nature, music, and time. Her analysis begins with the media landscape of Canada, a country that offers a unique perspective for apprehending the power of media technologies to shape subjectivities and everyday lives, and to render territorial borders both more and less meaningful. Canada is a settler nation and world power often dwarfed by the U.S. cultural juggernaut. It possesses a voluminous archive of inquiry on culture, politics, and the technologies of space. Berland revisits this tradition in the context of a rich interdisciplinary study of contemporary media culture.

Berland explores how understandings of space and time, empire and margin, embodiment and technology, and nature and culture are shaped by broadly conceived communications technologies including pianos, radio, television, the Web, and satellite imaging. Along the way, she provides a useful overview of the assumptions driving communications research on both sides of the U.S.-Canadian border, and she highlights the distinctive contributions of the Canadian communication theorists Harold Innis and Marshall McLuhan. Berland argues that electronic mediation is central to the construction of social space and therefore to anti-imperialist critique. She illuminates crucial links between how space is traversed, how it is narrated, and how it is used. Making an important contribution to scholarship on globalization, Berland calls for more sophisticated accounts of media and cultural technologies and their complex "geographies of influence."

In art theory, as in cultural life generally, there has a long been tension between theory and artistic practice. The desire to resolve these tensions has been a principal impulse shaping artistic work and criticism over the last century. The last decade has seen the emergence of a broad, interdisciplinary body of theoretical work with a distinctive relationship to artistic practice, providing a common reference in artworks to the principles and vocabularies of theory.

The sixteen essays in this collection were originally presented at an international conference entitled Art as Theory / Theory and Art, ' held at the University of Ottawa in late 1991. The contributors - critics, curators, and practising artists from Canada, the United States, Europe, and Australia, look at the current relationships between theory and practice in the fields of art, communication, and cultural studies from a wide range of viewpoints. Areas of interest include the institutionalization of theory, theories of vision, gender theory and feminist positions, and theory in a post-colonial context. This volume answers some important new questions about the points of intersection between theory and visual art.