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This anthology has been skillfully edited by two excellent young scholars of the impact of grassroots and non-formal transnational interactions upon Sino-American relations during the late 1930s and 1940s, years when first war with Japan and then an internecine civil war consumed China. The collection highlights “a motley array of Chinese and Americans who have long flown under the radar,” neglected by the official narrative of dealings between China and the United States which, according to the authors, has focused primarily upon a rather restricted cast of characters, most of them high-level official figures (3). The authors also deliberately draw upon both Western and Chinese sources, utilizing archival and printed materials from repositories in Taiwan, mainland China, North America, and beyond. The selection of individuals and enterprises featured in this fascinating collection is undoubtedly eclectic, ranging from Herbert Yardley, an expert cryptographer who spent 1938 to 1940 in China, training young Chinese codebreakers to decipher Japanese codes, to Lieutenant Colonel Arthur Evans, who took advantage of his military position in Taiwan following the Japanese surrender to appropriate and sell a small fortune in confiscated gold. Along the way, one encounters Chinese, British, and American guerrilla operatives in World War II South China; Gong Peng, the young Chinese spokeswoman for the Communists in Chongqing, the wartime capital, who enchanted and won over to her cause a wide swathe of Western journalists and diplomats; Gu Gengyu of Sichuan, who gained control of China’s lucrative hog-bristle production during the 1940s, selling in bulk to the United States government; and General Haydon Boatner, righthand man to Joseph W. Stilwell, the U.S. commander in the World War II China-Burma-India theater.

The study of Catholic churches in Macau is of significant importance for both architectural heritage conservation and the transmission of cultural values. As religious structures, these churches serve as tangible representations of religious ideology and spiritual essence, thereby embodying the core principles of cultural expression. This paper aims to critically examine the Catholic churches of Macau, exploring their intrinsic values through an architectural research framework that emphasizes three key morphological elements: spatial characteristics, stylistic features, and structural composition. By contextualizing the historical background and architectural attributes, this study sheds light on the multifaceted significance of Catholic church construction in modern Macau, while offering a comprehensive analysis of the intersection, fusion, and coexistence of Eastern and Western cultural influences in this unique locale. Through this investigation, the paper uncovers a range of compelling cultural phenomena, providing insights that may serve as valuable reference points for future practices in architectural heritage conservation in Macau.

Macau is a Special Administrative Region (SAR) located in the south of the People’s Republic of China (PRC). Settled by the Portuguese it was the last European colony in Asia. Over the centuries as a maritime city Macau saw its fortunes coming as trade boomed in the 16–17th centuries; however, with the establishment of Hong Kong as a port city the importance of Macau decreased. The authorities resorted to gaming and tourism as key sources of tax revenues eventually in 2000s becoming ‘Las Vegas’ of Asia. As the pandemic hit China and the rest of the world, Macau was isolated, gaming revenues declined temporarily and the Macau authorities decided to diversify its offer of tourist attractions. Although Macau has already been recognised as a UNESCO heritage site with a well-preserved historic core since 2005, two new attractions were developed to help reposition Macau as a city with a rich cultural history. The two new sites that opened in 2023 were the long abandoned Iec Long firecracker factory (益隆炮竹厂) in Taipa and dilapidated Lai Chi Vun shipyards in Coloane. Iec Long firecracker factory is unique, as it blends an interface with nature (green space dominated by the century old trees), a public space and interpretative displays of how the industrial activities were performed. In this paper we use mixed methods approach to provide a ‘thick description’ of Iec Long firecracker factory as an interplay of affective and material elements. Drawing on the existing literature we further advance how assemblage thinking can contribute to analysis of industrial heritage sites as tourist attractions. Additionally, drawing on the first-hand empirical data and the context of ongoing urban revitalization in Macau we scrutinise heritage-tourism dichotomy and demonstrate how we can better understand the meanings of heritage co-created from below.

ARTeFACTo is a transdisciplinary studies journal and conference centered around the concept of digital media and computer artifacts, which were the genesis of its name. It aims to give visibility to all digital media and technology-based artifacts, creators, or contributors from a transdisciplinary, humanistic, and holistic perspective of integration and composition. The main objective is constructing and disseminating knowledge through descriptions of artistic practice, authorship or co-authorship (including the narration and description of other works), and graphic data (images, diagrams, animations, drawings, sketches). The Journal is open to international contributions from all those studying digital media/computer artifacts, embracing their conceptualization, design, creative and research processes, computational implementation, exhibition and fruition, and role in today’s information and knowledge society. Also welcomed are articles fostering the establishment of the conceptual foundations of an artifact theory in the digital media world. Accepted articles shall be original (in compliance with the standards of conduct of the COPE – Code of Conduct and Good Practices) in Portuguese and English, with a mandatory abstract in English. The Conference has the same goals as the Journal but provides a specific floor for the concrete exhibition of artifacts along with their presentation and discussion. All submissions will be evaluated by peer review, including two advisors from the Scientific Council. All feedback will be sent to the authors, indicating their approval, refusal of publication, or requests for correction or recast. The authors will be notified of the publication once the entire selection process has been completed. ARTeFACTo is a joint project between Artech International and Universidade Aberta.

This article explores the intersection between traditional textile craftsmanship and digital innovation through the Hands series, a project that integrates tangible and virtual artefacts. Grounded in post-digital aesthetics, Hands examines the rematerialisation of textile heritage by combining traditional techniques with immersive technologies such as augmented reality and digital modelling. The project questions the physical and digital dichotomy, proposing new ways of experiencing textile art beyond its material constraints. By incorporating multisensory elements and interactivity, Hands redefines the engagement between spectators and artefacts, expanding the narrative potential of textile traditions in contemporary artistic practice. This study critically analyses how post-digital textile aesthetics can serve as a bridge between preservation and innovation, fostering an enriched sensory experience. The discussion highlights the challenges and opportunities of integrating emerging technologies into artistic processes, reinforcing the relevance of sensory engagement in digital art contexts.