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.

The Punk-Rock King: Musical Anachronism in Period Film

Music has a powerful indexical ability to evoke particular times and places. Such an ability has been exploited at length by the often-elaborate soundscapes of period films, which regularly utilise incidental scores and featured period songs to help root their narrative action in past times, and to immerse their audiences in the sensibilities of a different age. However, this article will begin to examine the ways in which period film soundtracks can also be used to complicate a narrative sense of time and place through the use of ‘musical anachronism’: music conspicuously ‘out of time’ with the temporality depicted on screen. Through the analysis of a sequence from the film W.E. (Madonna, 2011) and the consideration of existing critical and conceptual contexts, this article will explore how anachronistic soundtracks can function beyond ‘postmodern novelty’ or ‘nuisance’ to historical verisimilitude, instead offering alternative modes of engagement with story and history.

Consumerism in urban Russia in the 1880s and 90s: Exploring conceptions of time, space, and modernity through bicycle and watch advertisements

This paper discusses the urban consumer culture in Moscow and Petersburg during the 1880s and 1890s and uses the consumption of bicycles and watches as a lens through which to explore changing perceptions of time and space within the experience of modernity at the end of the nineteenth century. Specifically, I argue that the way in which consumers and merchants constructed a dialogue of meaning around particular objects; the way in which objects are consumed by a culture gives insight into the values, morals, and tenure of that culture. The paper preferences newspaper ads and photographs as the mouthpieces of merchants and consumers respectively as they constructed a dialogue in the language of consumerism, and explores the ways in which both parties sought to assign meaning to objects during the experience of modernity. I am particularly interested in the way consumers perform elements of cultural modernity in photographs and how these instances of performance relate to their negotiation of modernity. The paper takes as its focus large section of the urban Russian population, much of whom can traditionally be called “middle class” but whose diversity has led me to the adoption of the term “consumer community,” and whose makeup is described in detail. The paper contributes to the continuing scholarly discourse on the makeup of the middle class in Russia and the social boundaries of late tsarist society. It speaks to the the developing sensibilities and values of a generation struggling to define itself in a rapidly changing world, to the ways in which conceptualizations of public and private space, as well as feminine and masculine space were redefined, and to the developing visual culture of the Russian consumer society, largely predicated on the display of objects to signify socially desirable traits. Whereas other explorations of consumer culture and advertisements have portrayed the relationship between merchants and consumers as a one-sided monologue in which merchants convince consumers that certain objects have cultural value, I emphasis the dialogue between merchants and consumers, and their mutual negotiation of cultural meaning through objects.

Poetry

Short story exploring the relationship of middle-class sensibilities to terrorism.

Tokyo’s Dojunkai experiment: courtyard apartment blocks 1926–1932

Dojunkai apartments were constructed by the Japanese Government as a work of relief, after the Great Kanto Earthquake in Tokyo. These apartments were leading examples in concrete construction in Japan and were innovative in their exterior space design ideas and building organizational themes. Dojunkai apartments were designed not only as solutions to particular sites, but as possible models for the further development of well-planned, secure, and communal neighbourhood style residential developments. During 1920–1930, Japanese architects and designers were actively involved in experimenting with foreign concepts of urban remodelling and town planning. However while these town-planning concepts and theories were embraced by Japanese architects and town planners, the resultant apartment complexes suggest that they endeavoured to adapt and transform them to suit Japanese sensibilities and urban requirements. This paper examines the nature of these adaptations and transformations. The principles of exterior space design are deployed to examine and identify patterns in building arrangement and exterior space design for six selected Dojunkai apartments. This paper discusses the pre-existing models of urban planning in Japan to establish a relationship between the adopted foreign town-planning models and the pre-existing ideas of urban settlements in the Japanese society.

É possível acompanhar o luto? Envolvimento associativo a famílias vulneráveis em face da perda de seres íntimos

Partindo da análise das lógicas de ação solidária, propõem-se com esta comunicação refletir sobre os princípios que poderão ter contribuído para uma alteração das sensibilidades e compaixões dos cidadãos relativamente aos quadros sociais do sofrimento humano, dando lugar a diferentes quadrantes de operações criticas na prossecução de um bem comum. O sentimento de vulnerabilidade, associado às “vítimas de luto”, poderá ser um dos fatores promotores de diferentes interpretações críticas e manifestações coletivas de indignação que é denunciada publicamente pelas associações do luto, originando controvérsias, disputas e conflitos. As controvérsias públicas, que diferentes gramáticas de motivação conduzem os atores a associar-se, em consequência do cruzamento das intenções individuais e coletivas, perseguem um fim comum sujeito a um acordo (umas vezes mais precário, outras vezes menos precário). O tipo de acordo e as modalidades de cooperação da ação são aspetos fundamentais para perceber, por um lado qual a gramática política em que se baseiam na generalidade as associações, que existem atualmente na sociedade portuguesa, e por outro lado, as novas práticas sociais por elas desenvolvidas enformadas pelos princípios da solidariedade e participação. Apresentar-se-ão alguns dados preliminares de um estudo, no sentido de compreender e explicar os diferentes regimes de envolvimento associativo em torno do luto, partindo do singular para o geral: o regime familiar, o regime de plano e o regime público, diferenciados em função do julgamento feito pelo atores em situação.

Towards a digital poetics

This thesis extrapolates electronic literature’s différance, proposing an ontology of the form through critical inspection of its traits and peculiarities. Rather than offering a prescriptive definition of electronic literature, this thesis takes an ontological approach through descriptive exploration. In essence, my approach is anti-essentialist, in that I dismiss the view that electronic literature has a specific set of attributes. As will be explored throughout, there are aesthetic properties which frequently emerge, but the implication of their presence remains transient, to the point where electronic literature cannot be one thing, for to be so, it could not be literary. Computational aesthetics resist stable definition, so if we are to achieve an understanding of what separates electronic literature – if it is indeed, separate – from its non-digital counterparts, then we must do so through an articulation of those differences which may, at first, be less apparent. It is an impossibility to state what electronic literature is, as in doing so, one is oblivious to what it might become. The heightened relationship between form and content encountered in this field means that electronic literature is continuously in flux. Literature, while equally resistant to definition, is at least recognisable to our faculties. As readers, we have long possessed the sensibilities necessary to discern the literary from the communicative. Non-digital literary content is open to evolution and experimentation, but predominantly, with a few exceptions, its paratextual form remains consistent. Electronic literature’s content is open to the same artistic manipulation as the physical, but its form too, symbiotically attached to the exponential rate of technological change, gives rise to phenomenological disruption. As multimodal aesthetics challenge our ability to perceive the literary, we should abandon our attempts at defining the relevant works, and instead, seek understanding through analyses of the means by which they differ, and of how they defer, from the literatures that have both preceded and characterised the digital age. This thesis does not seek to resolve the aporetic, but rather, demonstrates how we must extract our theories of the digital out of observation and analysis, as opposed to speculation. This is not to say that my peers are necessarily wrong; I will be in agreement with many of them on a number of matters. My purpose, rather, is to offer some synthesis to a field comprised of a multiplicity of divergent views. Throughout the process of presenting this notion of a new modernity, and offering synthesis to the theories that have emerged from this epoch, I will offer fresh insights and novel approaches to the literary practices of the digital age. In doing so, my purpose will be to contribute to the progression of a consistent and legitimate digital poetics by showing that it cannot be one thing, but a balance of forces – a poetics of equipoise.

The temptations and failings of teacher effectiveness research: provocations of a ‘practice perspective’

This chapter provides a critical appraisal of teacher effectiveness research (TER). Like others before us, we argue that TER employs a reductive view of teaching—narrowly focused on the agency of individual teachers’ classroom-based pedagogic behaviours; overemphasising the role these behaviours have on student achievement; representing these behaviours as assayable in unproblematic ways; and, potentially having negative impacts on teachers and teaching. We suggest that the theoretical sensibilities of practice theory support more productive engagements with the complexities of teaching, and we argue that this alternative theoretical framing is more likely to engage teachers in transformational agendas than those offered by current manifestations of TER. We do this by drawing on the practice writings of Reckwitz (2002), Thrift (1996, 2007) and Schatzki (2012), who provide analyses of commonalities to be found amongst diverse practice theories. We argue that a ‘practice perspective’ provides an affirmative engagement with the complexities of teaching practice and is more likely to embolden new interpretations of what teaching is and can be.

Creative Practices Around the Production of Cork

Cork, as a natural product provided by the bark of the cork oak tree, is an important staple of the Portuguese economy and important to Portuguese culture. It is a sustainable product with a positive ecological footprint, from harvesting to industrial production, with the advantage of creating a local economic model through regional labour activity and distribution. Within the balance between nature-human-economy to create a sustainable system, cork production in Portugal represents a human and social dimension. By focusing on that dimension and by creating an awareness of the cultural and social impact of the activity and by re-appraising the meaning of the material within the culture, the study reframes a consideration of the actual place of labour and production. The human, geophysical, historical, social, economic, ecological and cultural aspects of the place are observed as regards their relation to work or labour in that physical space. A pilot study is being developed in the village of Azaruja in the district of Évora, Portugal. In this small locality, cork is very important in terms of the relationships between the physical subsistence of their residents and the local natural resources, because it structures the place in its cultural, social and economical dimensions. This paper outlines the theoretical foundations, the process and the outcomes of the participatory ecodesign project titled Creative Practices Around the Production of Cork which was initiated by a Portuguese artist/design researcher and developed further through the collaboration with the other two authors, one a Portuguese visual artist/researcher and the other a Turkish fashion designer/theorist. The investigation focuses on questions that expand the notion of place for artists and designers, filtered through the lenses of manual labourers in order to understand their physical, social, cultural and economic relationship with the environment. To create the process of interaction with the place and the people, a creative collaborative dynamic is developed between the authors with their range of artistic sensibilities and the local population. To adopt a holistic notion of sustainability and cultural identity a process of investigation is designated to: (1) analyse, test and interpret - through the dissemination of life stories, visual representation of the place and the creation of cork objects - the importance of culture related to the labour activity of a local natural resource that determines and structures the region; (2) to give public recognition to those involved, taking into account their sense of belonging to the place and in order to show the value of their sustainable labour activities related to local natural resources; (3) to contribute to the knowledge of the place and to its dynamism through an aesthetic approach to labour activities. With reference to fields of knowledge such as anthropology, the social arts and sustainable design, a practice-based research is conducted with collaborative and participatory design methods to create an open model of interaction which involves local people in the realization of the project. Outcomes of this research will be presented in the paper as a survey analysis with theoretical conclusions.