This article outlines the digital storytelling methods used for a community based research project focused on issues of sexuality among California farmworkers: Sexualidades Campesinas (http://sexualidadescampesinas.ucdavis.edu/). We note how our process of collaboration in the creation and production of digital stories was shaped by the context and our envisioned storytellers. We then offer a critical analysis of our own unique experience with digital storytelling in this project, focusing on a handful of concepts key to understanding the nature of our collaborative production process: community, affect and collaboration, storytelling, performance, and mediation, with an eye to the problem of ethics.

In Colombia, almost all antipersonnel mines are improvised. Crafted with ordinary materials, improvised mines are inexpensive and cannot be easily sensed by metal detectors. Their Spanish technical name is Artefacto Explosivo Improvisado. In this article, I purposefully maintain the name to emphasize the material, technical, and political nuances I observed during my eighteenmonths of fieldwork with landmine survivors, demining experts, and guerrilla soldiers in rural Colombia. Here, artefacto explosivo improvisado is not only an empirical object, a deadly explosive device, it is also a conceptual tool through which I reflect on the "thing" to which it refers (i.e. the improvised landmines), as well as on the historical and material practices that make it possible and that are made possible by it (i.e. the asymmetrical war in Colombia and what I later frame as "rebel expertise"). Through this concept I analyze the fragile, ephemeral, and recalcitrant nature of the improvised landmines, highlighting the material, economic, and temporal peculiarities of war contamination in Colombia. I also use the words artefacto explosivo improvisado to consider the guerrillas' material culture and the bodily practices and technical knowledge of explosivistasthose who design, assemble, and install improvised landmines. Highlighting their ingenuity and creativity, I frame their know-how as "rebel expertise." That is, an embodied, local, and irregular knowledge that confronts the technocratic, standardized, and external expertise of humanitarian demining. Throughout the article, I confront the inseparability of improvised landmines and the technical and military actions that brought them into existence.Artefato Explosivo Improvisado: minas antipessoal e perícia rebelde na guerra colombiana RESUMO Na Colômbia, quase todas as minas antipessoal são improvisadas. Feitas de materiais comuns, as minas improvisadas são de produção económica e os detetores de metais não conseguem percebê-las facilmente. Na língua espanhola, as minas são conhecidas pelo nome técnico de "Artefato Explosivo Improvisado" (ou AEI). Neste escrito mantenho o nome em

In Colombia, I once heard a farmer reject a humanitarian demining project operating in her community. “Land mines are our smallest problem,” she said. Creating a moment of ethical disconcertment, she sought to slow down humanitarian imperatives. I place her in conversation with local pleas for “demining with development,” illustrating how they challenge the logic and temporality of humanitarian mine action, drawing attention to the complexity of the violence that silently stalks rural life despite peace gestures and accords. By making such ecologies of trouble apparent, farmers enact what I call a politics of troublemaking. Offering a feminist take on the pacifying label of “troublemaker,” I understand this politics as a demand to recognize the troubles of the living and dying in abandoned and occupied landscapes. These places are currently objects of a peace process that seeks to recuperate them, but they are also haunted by the dangers of dispossession, development, and postconflict.

This Special Section broadens and qualifies the terms through which the relationship between home and militarization has been understood. We do this by joining a vibrant and growing field of transdisciplinary scholars who address the militarization of everyday life by attending to domesticity and practices of domestication. We grapple with how the home naturalizes and becomes a catalyst for militarism:  How do ordinary and domestic objects, technologies, spaces, and infrastructures make violence feel at home in the world? We are concerned with the domestic life of militarization as oikos: the household, habitat, and milieu of violent material relationships that are both ongoing and latent. The domestic is not just a discrete, private space; it also extends into public spaces like neighborhoods, local businesses, waste disposal infrastructures, hospices, and crop fields. Developed within an editorial process rooted in a feminist ethos, the articles collected here provide critical and alternative methodologies and disciplinary forms for considering militarism's aesthetics, affects, and modes of appearance. This collection resists conventional spatialities, temporalities, and incarnations of war while calling attention to the obscuring of violence through practices of care and marketing operations.

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