Picking up the question of what FLaK might be, this editorial considers the relationship between openness and closure in feminist legal studies. How do we draw on feminist struggles for openness in common resources, from security to knowledge, as we inhabit a compromised space in commercial publishing? We think about this first in relation to the content of this issue: on image-based abuse continuums, asylum struggles, trials of protestors, customary justice, and not-so-timely reparations. Our thoughts take us through the different (...) ways that openness and closure work in struggles against violence, cruel welcomes, and re-arrangements of code and custom. Secondly, we share some reflections on methodological openness and closure as the roundtable conversation on asylum, and the interview with Riles, remind us of #FLaK2016 and its method of scattering sources as we think about how best to mix knowledges. Thirdly, prompted by the FLaK kitchen table conversations on openness, publishing and ‘getting the word out’, we respond to Kember’s call to ‘open up open access’. We explain the different current arrangements for opening up FLS content and how green open access, the sharedit initiative, author request and publisher discretion present alternatives to gold open access. Finally drawing on Franklin and Spade, we show how there are a range of ‘wench tactics’—adapting gifts, stalling and resting—which we deploy as academic editors who are trying to have an impact on the access, use and circulation of our journal, even though we do not own the journal we edit. These wench tactics are alternatives to the more obvious or reported tactic of resignation, or withdrawing academic labour from editing and reviewing altogether. They help us think about brewing editorial time, what ambivalence over our 25th birthday might mean, and how to inhabit painful places. In this, we respond in our own impure, compromised way to da Silva’s call not to forget the native and slave as we do FLaK, and repurpose shrapnel, in our common commitments. (shrink)

'Hands Tied' brings together two very different films about hands: Maria Lassnig's Palmistry (1973) and Ayesha Hameed's A Rough History (of the Destruction of Fingerprints) (2016). These works are contextualised and their scope extended further by a roundtable discussion featuring participants Rachel Aumiller, Sam Dolbear, Nadine El-Enany, Amelia Groom, Clio Nicastro, Anja Sunhyun Michaelsen, and M. Ty., who discuss their relation to fate, work, pleasure, touch, and surveillance.

While the norm amongst states seeking to repress protest movements which challenge their legitimacy is to resort to the ideology of the criminal law and allegations of violence against protesters as a means of depoliticising their activity there have been times when this method has appeared to those in power to be inadequate as a means of weakening or crushing a particular movement. The Ferguson protests in the summer of 2014 were initially met with police repression, but ultimately the National (...) Guard was called in to respond to the protests, which were presented as being orchestrated by “outsiders”. In this way, the protests were re-politicsed for the purposes of justifying the deployment of the military against the people. This justification is antithetical to the notion and purpose of protest such as that in Ferguson, which is to be regarded as successful precisely in its having generated a broad movement that individuals and groups from across US states were moved to join. (shrink)