title: The city of digital social innovators

authors: Certomà, Chiara

subjects: digital social innovation

abstract: The concept of digital social innovation (DSI) refers to a fast-growing set of initiatives aimed at providing innovative solutions to social problems and needs by deploying the potential of the social web and digital media. Despite having been often interpreted as synonymous with digitally enhanced social innovation, we explain here why, in consideration of its epistemological and socio-political potentialities, we understand it as an interdisciplinary set of practices able to interpret and support the changes of a society that is more and more intrinsically virtual and physical at the same time. Notably, we briefly discuss how DSI processes can be functionally mobilized in support of different socio-political projects, ranging from the mainstream neoliberal to the revolutionary ones. Eventually, we provide a synopsis of the articles included in this thematic issue, by aggregating them accordingly to the main stakeholders promoting the DSI projects, being more bottom-up oriented or more institutional-based.

text: The city of digital social innovators The concept of digital social innovation (DSI) refers to a fast-growing set of initiatives aimed at providing innovative solutions to social problems and needs by deploying the potential of the social web and digital media. Despite having been often interpreted as synonymous with digitally enhanced social innovation, we explain here why, in consideration of its epistemological and socio-political potentialities, we understand it as an interdisciplinary set of practices able to interpret and support the changes of a society that is more and more intrinsically virtual and physical at the same time. Notably, we briefly discuss how DSI processes can be functionally mobilized in support of different socio-political projects, ranging from the mainstream neoliberal to the revolutionary ones. Eventually, we provide a synopsis of the articles included in this thematic issue, by aggregating them accordingly to the main stakeholders promoting the DSI projects, being more bottom-up oriented or more institutional-based.

year: 2020

title: The potential for alternative materials in pavement construction

authors: Rogers, Darcy

abstract: The current materials used in pavement construction were developed in the 1930s but materials development has not kept pace with increasing traffic demands since this time. This report considers the potential for alternative materials that could offer greater performance in a pavement and meet current transport demands. In order to determine if there were opportunities for alternative materials, the performance of the current materials and associated design methodologies were reviewed. This review found that the current materials have extremely variable performance, with life spans ranging from 1 year to over 20 years and often fail due to insufficient strength in the current materials. Considering this, two key failure scenarios responsible for the majority of failures where identified: Scenario 1 – underlying material fails due to poor load spreading of the upper layers and Scenario 2 – where the upper layers fail through lack of strength or flexibility. By applying standard materials selection processes to consider materials that work under both of these scenarios it was found that wood, waste plastics and steel were options that could be considered as alternative pavement materials. It was found that three potential material configurations could be considered under each of these scenarios: homogenous materials, alternative asphalt matrices to bitumen and sandwich panels. The alternative materials outperformed the current pavement materials in terms of strength. Comparisons with the stiffness of the conventional pavement materials showed that the alternative materials were not as favourable in design methods that only consider the load spreading ability of the material (high stiffness). Field trials confirmed that materials with lower stiffness but much higher strength could offer greater performance than the current pavement materials and should be considered as alternative options to the current pavement materials.

text: The potential for alternative materials in pavement construction The current materials used in pavement construction were developed in the 1930s but materials development has not kept pace with increasing traffic demands since this time. This report considers the potential for alternative materials that could offer greater performance in a pavement and meet current transport demands. In order to determine if there were opportunities for alternative materials, the performance of the current materials and associated design methodologies were reviewed. This review found that the current materials have extremely variable performance, with life spans ranging from 1 year to over 20 years and often fail due to insufficient strength in the current materials. Considering this, two key failure scenarios responsible for the majority of failures where identified: Scenario 1 – underlying material fails due to poor load spreading of the upper layers and Scenario 2 – where the upper layers fail through lack of strength or flexibility. By applying standard materials selection processes to consider materials that work under both of these scenarios it was found that wood, waste plastics and steel were options that could be considered as alternative pavement materials. It was found that three potential material configurations could be considered under each of these scenarios: homogenous materials, alternative asphalt matrices to bitumen and sandwich panels. The alternative materials outperformed the current pavement materials in terms of strength. Comparisons with the stiffness of the conventional pavement materials showed that the alternative materials were not as favourable in design methods that only consider the load spreading ability of the material (high stiffness). Field trials confirmed that materials with lower stiffness but much higher strength could offer greater performance than the current pavement materials and should be considered as alternative options to the current pavement materials.

year: 2018

title: Translating Translations: A study of Ngā Rūpaiaha o Oma Kaiama, a Māori translation of the English version of the Rubáiyát of Omar Khayyám

authors: Roa, Hariru Te Aroha

subjects: Translation

abstract: Omar Khayyám, a Persian poet who died in 1131, wrote a number of quatrains in Farsi which are regarded by some as representing the very summit of Sufism (that is, of the mystical dimension of Islamic thought) and by others as being essentially agnostic and hedonistic in nature. Those who are of the latter view are often strongly influenced by the ‘translation’ into English of some of these quatrains by Edward Fitzgerald, a British poet and writer whose first edition of the Rubáiyát of Omar Khayyám appeared in 1859, at the height of the Victorian era. Although there have been several other translations of Khayyám’s quatrains, none has been as popular or, perhaps, as highly regarded as an artistic work as that of Fitzgerald. It has rarely, however, been regarded as a work that is faithful to the intent of the original. In deciding to translate into Māori Fitzgerald’s rendering into English of some of Khayyám’s Farsi quatrains (5th version), Pei Jones was faced with a peculiarly complex set of problems (linguistic, literary, cultural and religious). Pei Jones’ translation, a translation of a translation, is generally regarded as being faithful to Fitzgerald’s version of the Rubáiyát. It would appear, therefore, that he decided to treat Fitzgeralds’s text, in spite of the reference in its title to the original text, as his source text. This gives rise to a number of questions, including questions about what it means for a translator to be faithful or unfaithful to a source text. With particular reference to Pei Jones’ translation of Fitzgerald’s Rubáiyát of Omar Khayyám, this thesis explores the concept of ‘fidelity’, a concept that, it is argued here (see Chapter 3), is often treated in the literature on translation in a way that belies its extremely complex nature. The thesis proposes a new approach to the concept of fidelity, one that is based on nine fidelity types: grammatical, lexical, informational, metrical, imagistic, rhetorical, historical, didactic and functional fidelity. In terms of this nonagonal analytical model, twenty-five of Pei Jones’ quatrains are analysed in relation to the equivalent quatrains in Fitzgerald’s version (Chapter 4). The analysis indicates that Pei Jones’ translation has neither metrical fidelity (a consequence of the very different nature of the source and target languages) nor functional fidelity (a consequence of the very different expectations and sensibilities that a Māori audience has in relation to the verbal arts). Metre and function are both, however, fundamental to the enduring appeal of Fitzgerald’s quatrains. The overall conclusion is that since it is often impossible to achieve all nine types of fidelity, translators need to carefully consider what their primary aim is in undertaking the translation of artistic works and be prepared to sacrifice certain types of fidelity (e.g. historical and informational fidelity) in order to create a work that fulfils the aesthetic expectations of the target audience. Pei Jones was undeniably successful in achieving those types of fidelity that were possible. However, the work may have had more widespread appeal if he had sacrificed some of them in order to create a work that was more closely aligned with the aesthetic expectations of Māori readers.

text: Translating Translations: A study of Ngā Rūpaiaha o Oma Kaiama, a Māori translation of the English version of the Rubáiyát of Omar Khayyám Omar Khayyám, a Persian poet who died in 1131, wrote a number of quatrains in Farsi which are regarded by some as representing the very summit of Sufism (that is, of the mystical dimension of Islamic thought) and by others as being essentially agnostic and hedonistic in nature. Those who are of the latter view are often strongly influenced by the ‘translation’ into English of some of these quatrains by Edward Fitzgerald, a British poet and writer whose first edition of the Rubáiyát of Omar Khayyám appeared in 1859, at the height of the Victorian era. Although there have been several other translations of Khayyám’s quatrains, none has been as popular or, perhaps, as highly regarded as an artistic work as that of Fitzgerald. It has rarely, however, been regarded as a work that is faithful to the intent of the original. In deciding to translate into Māori Fitzgerald’s rendering into English of some of Khayyám’s Farsi quatrains (5th version), Pei Jones was faced with a peculiarly complex set of problems (linguistic, literary, cultural and religious). Pei Jones’ translation, a translation of a translation, is generally regarded as being faithful to Fitzgerald’s version of the Rubáiyát. It would appear, therefore, that he decided to treat Fitzgeralds’s text, in spite of the reference in its title to the original text, as his source text. This gives rise to a number of questions, including questions about what it means for a translator to be faithful or unfaithful to a source text. With particular reference to Pei Jones’ translation of Fitzgerald’s Rubáiyát of Omar Khayyám, this thesis explores the concept of ‘fidelity’, a concept that, it is argued here (see Chapter 3), is often treated in the literature on translation in a way that belies its extremely complex nature. The thesis proposes a new approach to the concept of fidelity, one that is based on nine fidelity types: grammatical, lexical, informational, metrical, imagistic, rhetorical, historical, didactic and functional fidelity. In terms of this nonagonal analytical model, twenty-five of Pei Jones’ quatrains are analysed in relation to the equivalent quatrains in Fitzgerald’s version (Chapter 4). The analysis indicates that Pei Jones’ translation has neither metrical fidelity (a consequence of the very different nature of the source and target languages) nor functional fidelity (a consequence of the very different expectations and sensibilities that a Māori audience has in relation to the verbal arts). Metre and function are both, however, fundamental to the enduring appeal of Fitzgerald’s quatrains. The overall conclusion is that since it is often impossible to achieve all nine types of fidelity, translators need to carefully consider what their primary aim is in undertaking the translation of artistic works and be prepared to sacrifice certain types of fidelity (e.g. historical and informational fidelity) in order to create a work that fulfils the aesthetic expectations of the target audience. Pei Jones was undeniably successful in achieving those types of fidelity that were possible. However, the work may have had more widespread appeal if he had sacrificed some of them in order to create a work that was more closely aligned with the aesthetic expectations of Māori readers.

year: 2013