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Nanocellulose has emerged as a promising green dispersant for carbon nanotubes (CNTs), and there is an increasing trend in developing nanocellulose/CNT hybrid materials for electrochemical detection of various small molecules. However, there have been very few comprehensive studies investigating the role of nanocellulosic material properties upon the electroanalytical performance of the resultant hybrid electrodes. In this work, we demonstrate the influence of both nanocellulose functionalization and geometry, utilizing sulfated cellulose nanocrystals, sulfated cellulose nanofibers, and TEMPO-oxidized cellulose nanofibers. Transmission electron microscopy tomography enables direct visualization of the effect of nanocellulosic materials on the hybrid architectures. High resolution X-ray absorption spectroscopy verifies that the chemical nature of CNTs in the different hybrids is unmodified. Electroanalytical performances of the different nanocellulose/CNT hybrid electrodes are critically evaluated using physiologically relevant biomolecules with different charge such as, dopamine (cationic), paracetamol (neutral), and uric acid (anionic). The hybrid electrode containing fibrillar nanocellulose geometry with a high degree of sulfate group functionalization provides the highest electroanalytical sensitivity and strongest enrichment towards all studied analytes. These results clearly demonstrate for the first time, the extent of tailorability upon the electroanalytical response of nanocellulose/CNT hybrid electrodes towards different biomolecules, offered simply by the choice of nanocellulosic materials.

This essay discusses the material agency of clothing in the celebrated documentary classic Grey Gardens (David and Albert Maysles, USA 1975). Drawing on the extraordinary relationship between the protagonists, their clothing, the filming location, and the filmmakers, the essay shows how the protagonists of the documentary “think up” costumes that enable them to temporarily exceed difficult living conditions. The essay names the thought-up costumes fabulous folds and accounts for the ways in which costumes activate novel possibilities in the body’s relationship to its environment.

Jan Murray’s Redress consists of bodies of canvases that wear and portray clothing. These are not ordinary portraits, which illustrate, for example, the function of garments in overing and highlighting the contours of a human body, or which signal social status. Instead, they pay homage to clothing per se. Through synthesising an exceptional attention to detail, alluring colours, delicate layering and intricate technical accuracy, Murray draws our attention to objects that we live most of our lives wrapped up in.

This preface to the special section Movement, Aesthetics, Ontology: Generating New Materialisms in Arts and Humanities introduces the articles and provides the context for their inclusion. It shows how across the social sciences and humanities, new materialism and neomaterialism are increasingly being used as labels for analytical approaches that seek to reclaim the indispensable and transforming involvement of materialities in everything from political economy to everyday life and the constitution of gender, race and sexuality.

Through the conceptual triptych of framing, following and middling, this article explores the composition and importance of materialities beyond their seemingly stable and measurable objectivity. Drawing on recent insights about concepts as generative of practice and as a practice in their own right, the article offers this triptych as potential new materialist ‘methodological metamodellings’ that acknowledge and render palpable the plural forces of formation in a research process. The article demonstrates this with the vibrant and relational materialities of Björk’s Biophilia Live (2014). This concert film intersperses the scientific with the affective, audiovisual performance with myriad forms of nature’s mediatised liveness, and the human with more-than-human scales of existence.