Labour and Low Energy Buildings: the energy performance gap as Social Practice

Buildings are responsible for approximately 30% of EU end-use emissions (Bettgenhäuser , et al, 2009) and are at the forefront of efforts to meet emissions targets arising from their design, construction and operation. For the first time in its history, construction industry outputs must meet specific energy targets if planned reductions in greenhouse gas emissions are to be achieved through nearly zero energy buildings (nZEB) (EC, 2010) supported by on-site renewable heat and power. Where individual UK dwellings have been tested before occupation to assess whether they meet energy design criteria, the results indicate what is described as an ‘energy performance gap’, that is, energy use is almost always more than that specified. This leads to the conclusion that the performance gap is, inter alia, a function of the labour process and thus a function of social practice. Social practice theory, based on Schatzki’s model (2002), is utilised to explore the performance gap as a result of the changes demanded in the social practice of building initiated by new energy efficiency rules. The paper aims to open a discussion where failure in technical performance is addressed as a social phenomenon.

Language standardization in sociolinguistics and international business: Theory and practice across the table

This chapter addresses the issue of language standardization from two perspectives, bringing together a theoretical perspective offered by the discipline of sociolinguistics with a practical example from international business. We introduce the broad concept of standardization and embed the study of language standardization in the wider discussion of standards as a means of control across society. We analyse the language policy and practice of the Danish multinational, Grundfos, and use it as a “sociolinguistic laboratory” to “test” the theory of language standardization initially elaborated by Einar Haugen to explain the history of modern Norwegian. The table is then turned and a model from International Business by Piekkari, Welch and Welch is used to illuminate recent Norwegian language planning. It is found that the Grundfos case works well with the Haugen model, and the International Business model provides a valuable practical lesson for national language planners, both showing that a “comparative standardology” is a valuable undertaking. More voices “at the table” will allow both theory and practice to be further refined and for the role of standards across society to be better understood.

Re-modelling clay: ceramic practice and the museum in Britain (1970-2014)

This thesis analyses how the dialogue between ceramic practice and museum practice has contributed to the discourse on ceramics. Taking Mieke Bal’s theory of exposition as a starting point, it explores how ‘gestures of showing’ have been used to frame art‑oriented ceramic practice. Examining the gaps between the statements these gestures have made about and through ceramics, and the objects they seek to expose, it challenges the idea that ceramics as a category of artistic practice has ‘expanded.’ Instead, it forwards the idea that ceramics is an integrative practice, through which practitioners produce works that can be read within a range of artistic (and non-artistic) frameworks. Focusing on activity in British museums between 1970 and 2014, it takes a thematic and broadly chronological approach, interrogating the interrelationship of ceramic practice, museum practice and political and critical shifts at different points in time. Revealing an ambiguity at the core of the category ‘ceramics,’ it outlines numerous instances in which ‘gestures of showing’ have brought the logic of this categorisation into question, only to be returned to the discourse on ‘ceramics’ as a distinct category through acts of institutional recuperation. Suggesting that ceramics practitioners who wish to move beyond this category need to make their vitae as dialogic as their works, it indicates that many of those trying to raise the profile of ‘ceramics’ have also been complicit in separating it from broader artistic practice. Acknowledging that those working within institutions that sustain this distinction are likely to re-make, rather than reconsider ceramics, it leaves the ball in their court.