Design as Symbolic Violence. Design for Social Justice.

Design embeds ideas in communication and artefacts in subtle and psychologically powerful ways. Sociologist Pierre Bourdieu coined the term ‘symbolic violence’ to describe how powerful ideologies, priorities, values and even sensibilities are constructed and reproduced through cultural institutions, processes and practices. Through symbolic violence, individuals learn to consider unjust conditions as natural and even come to value customs and ideas that are oppressive. Symbolic violence normalises structural violence and enables real violence to take place, often preceding it and later justifying it. Feminist, class, race and indigenous scholars and activists describe how oppressions (how patriarchy, racism, colonialism, etc.) exist within institutions and structures, and also within cultural practices that embed ideologies into everyday life. The theory of symbolic violence sheds light on how design can function to naturalise oppressions and then obfuscate power relations around this process. Through symbolic violence, design can function as an enabler for the exploitation of certain groups of people and the environment they (and ultimately ‘we’) depend on to live. Design functions as symbolic violence when it is involved with the creation and reproduction of ideas, practices, tools and processes that result in structural and other types of violence (including ecocide). Breaking symbolic violence involves discovering how it works and building capacities to challenge and transform dysfunctional ideologies, structures and institutions. This conversation will give participants an opportunity to discuss, critique and/or develop the theory of design as symbolic violence as a basis for the development of design strategies for social justice.

Design and implementation of generalized topologies of time-interleaved variable bandpass Σ−Δ modulators

In this thesis, novel analog-to-digital and digital-to-analog generalized time-interleaved variable bandpass sigma-delta modulators are designed, analysed, evaluated and implemented that are suitable for high performance data conversion for a broad-spectrum of applications. These generalized time-interleaved variable bandpass sigma-delta modulators can perform noise-shaping for any centre frequency from DC to Nyquist. The proposed topologies are well-suited for Butterworth, Chebyshev, inverse-Chebyshev and elliptical filters, where designers have the flexibility of specifying the centre frequency, bandwidth as well as the passband and stopband attenuation parameters. The application of the time-interleaving approach, in combination with these bandpass loop-filters, not only overcomes the limitations that are associated with conventional and mid-band resonator-based bandpass sigma-delta modulators, but also offers an elegant means to increase the conversion bandwidth, thereby relaxing the need to use faster or higher-order sigma-delta modulators. A step-by-step design technique has been developed for the design of time-interleaved variable bandpass sigma-delta modulators. Using this technique, an assortment of lower- and higher-order single- and multi-path generalized A/D variable bandpass sigma-delta modulators were designed, evaluated and compared in terms of their signal-to-noise ratios, hardware complexity, stability, tonality and sensitivity for ideal and non-ideal topologies. Extensive behavioural-level simulations verified that one of the proposed topologies not only used fewer coefficients but also exhibited greater robustness to non-idealties. Furthermore, second-, fourth- and sixth-order single- and multi-path digital variable bandpass digital sigma-delta modulators are designed using this technique. The mathematical modelling and evaluation of tones caused by the finite wordlengths of these digital multi-path sigmadelta modulators, when excited by sinusoidal input signals, are also derived from first principles and verified using simulation and experimental results. The fourth-order digital variable-band sigma-delta modulator topologies are implemented in VHDL and synthesized on Xilinx® SpartanTM-3 Development Kit using fixed-point arithmetic. Circuit outputs were taken via RS232 connection provided on the FPGA board and evaluated using MATLAB routines developed by the author. These routines included the decimation process as well. The experiments undertaken by the author further validated the design methodology presented in the work. In addition, a novel tunable and reconfigurable second-order variable bandpass sigma-delta modulator has been designed and evaluated at the behavioural-level. This topology offers a flexible set of choices for designers and can operate either in single- or dual-mode enabling multi-band implementations on a single digital variable bandpass sigma-delta modulator. This work is also supported by a novel user-friendly design and evaluation tool that has been developed in MATLAB/Simulink that can speed-up the design, evaluation and comparison of analog and digital single-stage and time-interleaved variable bandpass sigma-delta modulators. This tool enables the user to specify the conversion type, topology, loop-filter type, path number and oversampling ratio.

Experiments and Archives in the Expanded Field

All This Stuff: Archiving the Artist explores the documentation of the creative process. From their different viewpoints, fifteen leading artists, archivists and art historians reflect on the ways that artists and archivists deal with all this stuff , and how artists manage and relate to their own archives. This is a timely and important book, based on work initiated by the Art Archives Committee of ARLIS, the Art Libraries Society of the UK and Ireland. The book addresses issues from the perspectives of the archivist as well as those of the artist. At a time when more members of the library profession are being asked to manage artists archives, it is important to address the challenges associated with the special nature of this material. All This Stuff: Archiving the Artist provides artists and researchers valuable insights into the archival process, addressing questions such as what material should artists be keeping? What will happen to their material after it has been accepted by an archive? It also explores how an archivist or researcher can approach an artist s archive in a non-traditional way. The experiences described by the different contributors offer a practical understanding of the challenges facing researchers working with artists archives, and will help to raise awareness among artists of the longer-term value of their archival material, and the unpredictable ways in which it may be recontextualised, explored and interpreted in the future.

Learning Environments in Design Studio Culture

The paper reports on a study of design studio culture from a student perspective. Learning in design studio culture has been theorised variously as a signature pedagogy emulating professional practice models, as a community of practice and as a form of problem-based learning, all largely based on the study of teaching events in studio. The focus of this research has extended beyond formally recognized activities to encompass the student’s experience of their social and community networks, working places and study set-ups, to examine how these have contributed to studio culture and how there have been supported by studio teaching. Semi-structured interviews with final year undergraduate students of architecture formed the basis of the study using an interpretivist approach informed by Actor-network theory, with studio culture featured as the focal actor, enrolling students and engaging with other actors, together constituting an actor-network of studio culture. The other actors included social community patterns and activities; the numerous working spaces (including but not limited to the studio space itself); the equipment, tools of trade and material pre-requisites for working; the portfolio enrolling the other actors to produce work for it; and the various formal and informal events associated with the course itself. Studio culture is a highly charged social arena: The question is how, and in particular, which aspects of it support learning? Theoretical models of situated learning and communities of practice models have informed the analysis, with Bourdieu’s theory of practice, and his interrelated concepts of habitus, field and capital providing a means of relating individually acquired habits and modes of working to social contexts. Bourdieu’s model of habitus involves the externalisation through the social realm of habits and knowledge previously internalised. It is therefore a useful model for considering whole individual learning activities; shared repertoires and practices located in the social realm. The social milieu of the studio provides a scene for the exercise and display of ‘practicing’ and the accumulation of a form of ‘practicing-capital’. This capital is a property of the social milieu rather than the space, so working or practicing in the company of others (in space and through social media) becomes a more valued aspect of studio than space or facilities alone. This practicing-capital involves the acquisition of a habitus of studio culture, with the transformation of physical practices or habits into social dispositions, acquiring social capital (driving the social milieu) and cultural capital (practicing-knowledge) in the process. The research drew on students’ experiences, and their practicing ‘getting a feel for the game’ by exploring the limits or boundaries of the field of studio culture. The research demonstrated that a notional studio community was in effect a social context for supporting learning; a range of settings to explore and test out newly internalised knowledge, demonstrate or display ideas, modes of thinking and practicing. The study presents a nuanced interpretation of how students relate to a studio culture that involves a notional community, and a developing habitus within a field of practicing that extends beyond teaching scenarios.