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Corrupted Files is a thematic and interdisciplinary, open access research journal, published at least once a year through an institutionally funded Contextual Studies initiative at Ravensbourne. The research presented in Corrupted Files derives from staff and students at Ravensbourne, as well as contributors external to the institution. At the core of Corrupted Files is a conceptual strategy that aims to without distinction present the works and research by students at all levels of study at Ravensbourne alongside contributions by staff and external researchers. We hence aim to resist hierarchical structures that separate student and staff work, and create a more inclusive space in which research can be shared and communicated.

Though present online through, hardcopy editions of Corrupted Files are also available.

Corrupted Files is published by Contextual Studies at Ravensbourne, London, UK



is the Course Director for Contextual Studies at Ravensbourne. She is a researcher and installation artist, and recently completed a practice-based PhD in Fine Art at the University of the Arts London, which considers the French philosopher Gilles Deleuze’s writings in the analysis of contemporary installation art that attempts to discuss experiences of memory. She has exhibited internationally since 1999, and delivered research papers at a range of national and international conferences. Sara’s research interests include alternative systems of thought, photography, memory studies, (non)representation, installation art, and particular Deleuzian notions of the encounter, affect, assemblage and minor/major. A portfolio of her work can be found on her website:


is a Senior Lecturer in Contextual Studies at Ravensbourne, and has authored a substantial number of books on graphic design related subjects – her latest book is called Visual Impact: Creative Dissent in the 21st Century, and previous works include Graphic Agitation (with Graphic Agitation Two published in 2004), and Suffragettes to She-Devils and Women in Design. Liz’s qualifications include Royal College of Art, MA(RCA) in Graphic Design (RCA General Studies Dept, Sir Allen Lane Award 1976), London College of Printing, Postgraduate Certificate in Advanced Typographic Design, 1972-73; Carnegie-Mellon University USA, Design and English. Liz’s work can be viewed here.

Furthermore, Liz maintained a graphic design practice for more than 20 years and in education has held teaching and management posts ranging from vocational level to Master’s level, including the post of Head of Department of Graphic Art and Design at the Royal College of Art. She lectures internationally, and curated an exhibition on UK political graphics for the British Council entitled Upfront and Personal which opened in South Korea and South Africa, and continued to travel to Botswana, Kenya, Namibia and other countries.


is a Senior Lecturer in Contextual Studies at Ravensbourne


is a lecturer in Contextual Studies and a Drawing and Graphics tutor in the Foundation Department of Art and Design at Ravensbourne. Angela is an academic and a practising artist, whose practise presently involves active Drawing research and Painting. A portfolio of work can be found on her website:


(Designer) is a freelance graphic designer and typographer, who recently completed her MA in Contemporary Typographic Media at London College of Communication. Anna also works as a visiting lecturer in Contextual Studies, and is responsible for the design work included in issue 1-3 of Corrupted Files and other research projects run by Contextual Studies. A portfolio of Anna’s work can be found on her website:


is an associate Lecturer in Contextual Studies at Ravensbourne


is the Head of Research at Ravensbourne, and lectures in digital art and culture in the School of Arts at Birkbeck, University of London. Nick’s interests revolve around the digital medium and its application in contemporary art and visual culture. Through this, he engages with questions about the boundary between “fine” and “applied” arts, design and interfaces, and the relation of art, science and technology. He has researched the history of computer art and engaged with artists and theorists in this field. He has also developed parallel interests in the history of digital technology, in particular its roots in Cold War America. The evolution of interfaces and display technologies is also part of his research, including some practical as well as theoretical outcomes. Nick is also responsible for the VASARI Research Centre in digital media at Birkbeck.


is an artist, musician and dancer based in London. He studied Aesthetics and Communication at the Frankfurt University of Applied Sciences (2005–2008), Art in Context at the University of Arts Berlin (2010-2011) and Interactive Media: Critical Theory and Practice at Goldsmiths College (2011 – 2013). He is currently a PhD candidate at Goldsmiths College. Anton facilitates a practice-based research project, which derives from and investigates the methodologies within the field of Artistic Research as Pedagogy. His inquiry addresses institutions being depository of knowledge and reveals diverse forms of learning necessary to generate critical and practical knowledge in the everyday. In his work, Anton engages with structures of self-organisation and self-education, marginalised people and the non-normative. Amongst others he has been working with non-governmental organizations in St. Petersburg, Berlin and Kingston developing artistic interventions and programs together with the residents of the cities margins. His goal is to explore the potential of collaboration within such social structures and jointly develop artistic methods that enable to independently take action. In his films,  Anton deals with anthropological methods in order to reveal moments of rupture in Post-Soviet countries such as Russia or the Ukraine and their political and socio-economic processes.  Anton’s work can be viewed on his website:


is a half-English half-Brazilian practicing artist and academic, and works as a Research Fellow at Ravensbourne. Catherine also lectures in Contextual Studies, and on research units on the MA programme at Ravensbourne. She has a BA and an MA from Central Saint Martins  College of Art and Design, and recently completed a practice-based PhD at Chelsea College of Art and Design. Catherine’s doctoral research concentrated on feminist arts practices and placed particular focus on relations between the audience’s gaze and the image of woman. Her artworks query the representation of woman as a site of seduction and male desire by attempting to disrupt and decentre the gaze of the audience and participants in her interactive installations. Catherine has explored her research through numerous exhibitions and events in London and by presenting papers at various international conferences in the UK and abroad, some of which have been published. She has also collaborated with different arts based research groups, and continues to work with Subjectivities & Feminisms Research Group today. More information and a portfolio of Catherine’s work can be accessed on her website:


is an Associate Dean at Ravensbourne, and has had a relationship with Ravensbourne over a significant period of time having taught and managed courses in the field of broadcasting at both undergraduate and postgraduate level and developed those studies into a nationally perceived centre of excellence. He continues to play a leading role in the evolution of Ravensbourne’s portfolio of postgraduate courses and currently leads on the postgraduate research process unit that nurtures a diversity of creative research in the subject pathways. Jeremy’s research interests are driven by the study of the evolution of applied technologies in relation to issues of identity and memory in society, past, present and future. He has been an external examiner to an array of courses at both undergraduate and postgraduate in higher education in England and Scotland and continues to work in that field where time allows as a consultant. He relaxes studying cinema and history both with a bias to European cultures.


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