Finding Community Through Making

By Johanna Harrell, Undergraduate Library Making Fellow, 2025-2026

My time as a Makerspace Fellow this year has been one of the most unexpectedly rewarding parts of my Berkeley experience. When I started my fellowship, I was excited to learn new skills and get comfortable with tools I had never used before, but I didn’t realize how much the people around me would shape the experience. Whether it was helping someone troubleshoot a tool, figuring something out together for the first time, or just sharing a moment of excitement when a project turned out better than expected, those interactions quickly became my favorite part of working in the space. I loved how naturally conversations flowed. One second we were talking about how to thread a machine, and the next, someone was telling me about their midterms, their family back home, or how stressed they were about everything happening in the world. Those moments made the space feel bigger than just making things.

Throughout the fellowship, I learned not only technical skills but also how to teach and guide others with patience and care. There’s a special kind of energy that fills the space when someone walks in, unsure of what they’re doing, and leaves feeling proud of what they made. One of my favorite peer learning moments happened when I worked with a student who came in wanting to try something completely new. We were learning embroidery. I had just started developing this skill myself and only knew one type of stitch, so we learned together step by step. We focused on basic stitching techniques and getting comfortable with the tools and process. Learning alongside her made the experience feel collaborative and helped build her confidence to explore more on her own. As we worked, our conversation drifted from the project to the classes we were both taking and how we were trying to balance everything. Seeing someone gain that confidence in real time, both in their skills and in opening up, reminded me why the Makerspace is such a powerful community resource.

Working behind the scenes also taught me a lot about collaboration through consistent communication with my cohort and staff. During busy shifts, when the space was full and multiple students were asking for tools or help using sewing machines, I worked closely with other fellows, such as Hannah, to provide one-on-one support. We regularly checked in with each other about who was assisting which students and what still needed attention, which helped us respond efficiently without overwhelming any one person.

I also collaborated closely with Makerspace staff, especially when I needed guidance on setting up workshops or learning how to use unfamiliar equipment like the 3D printer. By asking questions, receiving feedback in real time, and adjusting plans together, I learned how to anticipate student needs more effectively. These experiences showed me that collaborative communication and shared responsibility are essential to creating an environment where students feel supported and comfortable experimenting without pressure.

As the semester comes to a close, I feel grateful for every conversation, every new skill, and every shared moment in the Makerspace. This fellowship gave me a deeper appreciation for community learning, creativity, and the importance of spaces where people feel safe to try something new. I’m leaving with more confidence, more curiosity, and a genuine love for helping others explore their own making journeys. I’ll carry these lessons with me far beyond this role, and I hope to keep finding and creating spaces where that same sense of connection, creativity, and everyday conversation can thrive.


Wonderful Workshops

By Hannah Haliburton, Undergraduate Library Making Fellow, 2025-2026

In my first semester at the Makerspace, I’ve had the opportunity to facilitate three of our monthly workshops. The topics I selected with my peer fellows were clothes mending, halloween decor making, and stamp tile carving. These workshops have become one of my favorite parts of the Undergraduate Library Fellowship.

I co-facilitate the workshops with one or more Makerspace fellows. The workshops begin with the obligatory major and crafting experience introductory questions. There’s often an eclectic mix of majors, from English majors taking a break from Austen to an astrophysics major who found two hours in her busy midterm week to create a needle-felted ghost. Then we ask our icebreaker, such as “What’s your favorite Halloween candy?” or the one that keeps me up at night, “What’s your favorite dinosaur?” They may seem silly at first, unimportant questions leading to small details about an individual (though every crafter knows it’s all about the details). From these silly questions, someone has branched off into a childhood memory, or everyone’s learned a new fact (my favorite was that in the Jurassic period, dragonflies grew up to sixty feet long). Mandatory icebreakers sound reductive, bringing to mind a disinterested GBO leader going down a checklist, but in this space they’re meaningful. Every person at the workshop always answers with sincerity and good humor, and starting off on that tone makes it a warm workshop every time.

Then we move on to the instruction part. Teaching another person a handicraft is difficult. You’ve got to find the balance between describing and demonstrating, and then guiding, offering direction and yet also giving space to let their creativity shine through. It’s a tricky yet interesting balance to find, and I’ve learned a little, with a lot left to go. Every individual learns differently as well, and by about an hour in usually everyone in the workshop is at a different stage in the creative process. There’s a wonderful silence held within a group crafting. When it settles it’s welcomed, and broken by questions or easy chatter. There’s no awkward tension to diffuse, everyone’s focus is on their project. There’s no need for talk of weather or majors between the group of strangers present, our conversations are naturally guided not by an obligation to keep it afloat but genuine interest in the others around us. I find this one of the most beautiful parts of parallel crafting activities. Silence and conversation are equally easy and preferable, so there’s no pressure, and it’s easier to get to know someone when everyone’s hands are busy.

By the end of the workshop, we usually get at least one life long Makerspace convert, and many promises to return. But my favorite part is seeing what each person has created. I’ll never stop being amazed by the endless variety of creation among a group of people who had the same materials and tutorial. Every workshop I’ve been a part of re-affirms my belief in the connective power of crafting and the creativity inherent to every person. I look forward to more workshops next semester, and the connections and crafts that will be made.


Publisher Highlight: Unnamed Press

banner for unnamed press

In 2015, Publishers Weekly declared that Unnamed Books was “Creating Home For Contemporary Authors.”[1] At that point, the small, LA-based publisher was still only getting off the ground. In the early 2010s, Chris Heiser and Olivia Taylor Smith decided to go into independent publishing. In 2013, the two started with the name Ricochet Books, but USC had already claimed the name “Ricochet” in 2012. In 2014, they chose to rebrand as Unnamed Press, with the intention of providing a space for international literature. Their early titles included works like Deji Olukotun’s Nigerians in Space and Rocío Cerón’s Diorama.[2]

Since then, the press has expanded to become “general interest.”[2] In 2024, that included the creation of their Smith & Taylor Classics imprint with titles such as Vernon Lee’s Hauntings: And Other Stories. To continue pushing literature and providing spaces for experimental literature, in 2025 the press started a poetry line. That line often includes audio components on vinyl (https://www.unnamedpress.com/vinyl) with titles such as Emma Ruth Rundle’s The Bella Vista: Poems.[3]

Readers can find out more about their titles on the website (https://www.unnamedpress.com/) or on their Instagram page (https://www.instagram.com/unnamedpress/).

Recent Titles

For additional titles at UC Berkeley

Readers can find more material through a publisher focus in our UC Library Search. Select titles are available for circulation in Doe’s Main Stacks while others are in our special collections in Bancroft (UC Library search limited to special collections). See individual catalog entries for location.

Notes

[1] Anisse Gross, “Unnamed Press Creating Home For Contemporary Authors,” PublishersWeekly.Com, February 27, 2015, https://www.publishersweekly.com/pw/by-topic/industry-news/publisher-news/article/65736-unnamed-press-creating-home-for-contemporary-authors.html.

[2] Edward Nawotka, “LA’s Unnamed Press: Relatable Foreign Fiction, Unlikely Protagonists,” Publishing Perspectives, July 18, 2014, https://publishingperspectives.com/2014/07/las-unnamed-press-relatable-foreign-fiction-unlikely-protagonists/.

[3] “About,” Unnamed Press, accessed January 12, 2026, https://www.unnamedpress.com/about-1.

[4] Nathalie op de Beeck, “Unnamed Press Develops Cross-Media Poetry Line,” PublishersWeekly.Com, accessed January 12, 2026, https://www.publishersweekly.com/pw/by-topic/industry-news/publisher-news/article/97014-unnamed-press-develops-cross-media-poetry-line.html.


Call for Papers for the Central Asian Studies Conference

Central Asian Studies Society, University of Chicago                                           
6031 S Ellis Ave, Chicago, IL 60637, US   cass.uofc@gmail.com

Call for Papers for the Central Asian Studies Conference
 
We are excited to announce the Central Asian Studies Conference at the University of Chicago, organized by the university’s Central Asian Studies Society and taking place on April 17–18, 2026.
About the Conference. Throughout Central Asia, embodied culture is expressed through art and culture: oral traditions, written poetry and literature, textiles, music, and many other media. Creative acts and works have been intertwined with collective experiences ranging from celebrations to invasions to revolutions, working to represent and shape memory and identity. Our conference centers reflections on art, music, oral traditions, literature and other cultural practices as not only objects of study, but also as sources of inspiration, tangible connections to the past and means to understand the present. We are creating a space for young researchers interested in matters of culture and identity to meet, learn about, and learn from each other.
Call for Papers. We are now accepting abstracts of papers, mainly from graduate students, but also from postdoctoral fellows, faculty members, and independent scholars. We invite historians, linguists, anthropologists, art historians, literary scholars, sociologists, musicologists, and scholars of religion whose work engages with Central Asia—conceived broadly: from the Mongolian Plateau in the east to the Urals in the west, from Afghanistan in the south to the Altai Mountains in the north—between late antiquity to the present.
We particularly encourage submissions related to this inaugural conference’s theme: “Voices through Art and Culture: Identity Formation in Central Asia, from Music to Architecture.” What can art and culture tell us about the process of identity formation? What is the relationship between culture and politics? How were the responses to historical events that affected the whole of Central Asia, in political, ecological, economical realms differ and take shape in the forms of art and culture? How does art and culture reflect Central Asianness, whether as a unified identity and/or a condition of great diversity and difference?
In the current political climate of instability globally and in the region, this Conference aims to delve into the historical practice of artistic and cultural responses and help us investigate the current time – how is identity being transformed and reflected in modern art and cultural traditions? We believe that, especially in at such a time, it is important to look back at the roots of the identity and reevaluate it. And there is no better tool for that than looking into Art and Culture.
Keynote Speakers: The keynote speakers for the Conference are a distinguished scholar of ethnomusicology Professor Theodore C. Levin and a prominent artist from Kazakhstan Gulnur Mukazhanova.
Dr. Theodore C. Levin, Arthur R. Virgin Professor of Music at Dartmouth University, author of the book The Music of Central Asia. Theodore Levin is a longtime student of music, expressive culture, and traditional spirituality in Central Asia and Siberia. Levin served as the first executive director of the Silk Road Project, founded by cellist Yo-Yo Ma. His research and advocacy activities focus on the role of arts and culture in international development, and on the preservation and revitalization of musical heritage.
Gulnur Mukazhanova, a distinguished artist born in Kazakhstan and based in Berlin, who weaves together Central Asian heritage with contemporary artistic enquiry. Through textiles and symbolic materials, she evokes layers of cultural and historical memory. Her works unfold as dialogues between suppressed traditions and today’s shifting realities, reflecting on postcolonial experience, feminism and globalization. Her recent solo exhibitions include Bosağa – Transition. The Weave of Ancestral Memory at the Tselinny Center of Contemporary Culture, Almaty (2025); Öliara: The Dark Moon at Mimosa House, London (2022); and The Space of Silence at Aspan Gallery, Almaty (2021).
Submissions. Please send submissions electronically to caconferenceuofc@gmail.com no later than Sunday, February 1, 2026. Please include your name, institutional affiliation, program of study or position, a 250-word abstract, and a tentative title. If you are unsure about the suitability of your topic, please feel free to email us at the above address. Applicants will hear back from us by late February 2026.
Selected papers will be grouped into panels of three. Participants should be prepared to deliver a 20-minute presentation, followed by a led Q&A discussion. Written papers must be circulated to the discussant and fellow members of the panel at least two weeks before the conference.
Limited funds for travel will be available to presenters without access to institutional funding. Please indicate if you are interested in being considered for this funding in your email.
Please circulate this widely! For questions and accessibility concerns, please write to caconferenceuofc@gmail.com.
A performance by the Tuvan music trio Alash, also organized by the Central Asian Studies Society and taking place in Rockefeller Chapel, will conclude the conference.

January 2026 Muslim-American Heritage Month

Guide to January 2026 Muslim-American Heritage Month

Celebrate Muslim-American Heritage Month this January with our featured collection of books by Muslim and Muslim-heritage authors.


REMINDER: January 14 Workshop on Understanding Federal Agency Public Access Policies

This post was written by Tim Vollmer, Anna Sackmann, and Elliott Smith

Logos of six U.S. federal agencies: CDC, Department of Energy, EPA, NASA, NIH, and NSF
U.S. Federal agency logos, public domain.

Are you a UC Berkeley faculty or researcher publishing results arising through federal grant funding?

Starting in 2026, research funded by all federal agencies will be made freely and immediately available to the public, with no embargo. Some agencies have already updated their public access plans, including the National Institutes of Health, which went into effect on July 1, 2025. All federal agencies must update their public access policies no later than December 31st, 2025.

Join UC Berkeley Library staff on Wednesday, January 14, 2026 from 1:00-2:00 pm on Zoom for an overview of federal agency public access policies affecting research publication and data, and what you need to do as an author.

RSVP for the workshop

We’ll cover essential requirements for a variety of federal agency funders such as the Department of Energy, National Institutes of Health, National Science Foundation, and more. We’ll unpack publication and data deposit procedures, review publisher challenges to compliance, and highlight related UC open access publishing support.

Participants will leave with clear takeaways on what they need to do to meet public access requirements, the tools they can utilize, and where to find ongoing support.

The workshop presentation will be recorded and distributed to registrants afterward.


La Hora (Uruguay) on Sitios de Memoria Uruguay

La Hora is an essential primary source for scholars of Latin American political and economic history. This period marked a decline in Uruguay’s historic democratic stability — marked by high inflation, government, crackdowns on leftist political movements. La Hora offers a unique lens on the political conditions that led to significant social changes in Uruguay. “Sitios de Memoria Uruguay” has digitized forty-two issues of La Hora from 1984 to 1989.

This website is an independent initiative by the Sitios de Memoria Uruguay collective, supported by organizations central to the struggle for memory, truth, justice, and reparation.
This website is an independent initiative by the Sitios de Memoria Uruguay collective, supported by organizations central to the struggle for memory, truth, justice, and reparation.

The site description is as follows,” La Hora (diario cooperativo) fue un diario vinculado al Partido Comunista del Uruguayo, pero a la que se integraban periodistas de otros sectores del Frente Amplio. Sus números se publicaron entre 1984 (aún en dictadura) y 1989, año en que se fusionó con El Popular. De esa fusión surgió el diario “La Hora Popular”, publicado entre 1989 y 1991. El antecedente inmediato a la aparición de “La Hora” fue la publicación “Cinco días”, editada durante solo 4 semanas entre marzo y abril de 1984 hasta su clausura.

La Hora tuvo suplementos temáticos, como “La Hora sindical”, “Liberación” y “La Hora Internacional”. En los casos en que la publicación completa pudo obtenerse, estos suplementos se presentan integrados dentro de un mismo archivo. Cuando solo pudo conseguirse los suplementos, se presentan separados.”

Below is the landing page of the newspaper archive.

La Hora serves as a critical primary source for scholars analyzing Latin American political and economic history. During this era, Uruguay’s longstanding democratic stability eroded, characterized by soaring inflation, state suppression of leftist movements, and the emergence of the Tupamaros.
La Hora serves as a critical primary source for scholars analyzing Latin American political and economic history. During this era, Uruguay’s longstanding democratic stability eroded, characterized by soaring inflation, state suppression of leftist movements, and the emergence of the Tupamaros.

 


Publisher Highlight: Seven Seas Entertainment

Seven Seas Entertainment logo

Seven Seas Entertainment (website) is a Los Angeles based publishing house. In 2004, Jason DeAngelis founded the House with the intention of providing English language translations of manga (i.e., Japanese comics/graphic novels). A fan of the genre and a translator thereof, they decided to fill a significant gap in the market.[1] Since then, the House has released thousands of titles translated into English as well as expanded into print editions of serialized web comics.

Over the last two decades, Seven Seas Entertainment has expanded with several imprints including:

Readers can find announcements about new releases and more on Seven Seas Entertainment’s Instagram page.

Select Titles at UC Berkeley

Additional Material

Readers can find more material through a publisher focus in our UC Library Search. Readers can also find limited titles from the imprint Seven Seas Ghost Ship (UC Library Search). Readers should be aware that the comics collection in Doe Library is in the PN section – and that there is another comic collection in the East Asian Library!

Notes

[1] Shannon Fay, “Seven Seas Entertainment » News » The Man Behind Seven Seas: Getting to Know Jason DeAngelis,” Go Manga, 2004-2014, https://www.gomanga.com/news/features_gomanga_012.php.

[2] Wikipedia, “Seven Seas Entertainment,” December 10, 2025, https://en.wikipedia.org/w/index.php?title=Seven_Seas_Entertainment&oldid=1326781874.


REECAS Northwest, the annual ASEEES northwest regional conference , April 16-18, 2026

REECAS Northwest 2026

The 32nd Annual Conference for Russian, East European and Central Asian Studies

April 16-18, 2026

University of Washington

Seattle, WA USA

Deadline: January 9

REECAS Northwest, the annual ASEEES Northwest Regional Conference for Russian, East European and Central Asian Studies, welcomes students, faculty, independent scholars, and language educators from the United States and abroad.
REECAS Northwest, the annual ASEEES Northwest Regional Conference for Russian, East European and Central Asian Studies, welcomes students, faculty, independent scholars, and language educators from the United States and abroad.

REECAS Northwest, the annual ASEEES northwest regional conference for Russian, East European, and Central Asian Studies (REECAS) will take place April 16-18 at the University of Washington in Seattle, WA.

The REECAS Northwest Conference welcomes students, faculty, independent scholars, and language educators from the United States and abroad. Proposals on all subjects connected to the Slavic, East European, and Eurasian regions are encouraged. The conference hosts panels on a variety of topics and disciplines including political science, history, literature, linguistics, anthropology, culture, migration studies, gender studies, LGBTQ studies, film studies and more.

Established in 1994, REECAS Northwest is an important annual event for scholars and students in the Western U.S., Canada, and beyond. This interdisciplinary conference is organized by the University of Washington’s Ellison Center for Russian, East European, and Central Asian Studies.

The REECAS Northwest Conference welcomes both individual paper proposals and also panel/roundtable proposals. Individual proposal submissions will be grouped into panels with a common theme.  To submit your proposal, please submit a 250-word abstract and abbreviated C.V. using the form on the REECAS Northwest Conference webpage: Call for Proposals Form: REECAS NW 2026 – Fill out formDeadline January 9th, 2026. 

Questions? Please email cereas@uw.edu with any questions not answered on the conference webpage.


New Open Access Resource in Eastern European and Slavic Studies: Estonia Digital Archive (1991-2009)

We have access to a fully digitized daily newspaper from Estonia (1991-2009) aimed at Russian-speaking citizens of Estonia.

Following Estonia’s independence in 1991, the Tallinn-based Russian-language broadsheet Estoniia was launched. Built by the staff of the former Sovetskaia Estonia, it stood out as one of the country’s pioneering private media outlets. The paper took inspiration from Western journalism, focusing its reporting on global and local politics, financial trends, and the arts. Under the financial patronage of Vitaly Khaitov, the publication grew significantly and rebranded as Vesti dnia in 2004, though it eventually folded in 2009 due to economic challenges and a competitive market.