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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
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Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 21 to 29 of 29 (0.017 seconds)Spelling suggestions: "subject:"aotearoa"" "subject:"aoteaoroa""
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Out of order: explorations in digital materialityBallard, Susan Patricia, Art, College of Fine Arts, UNSW January 2008 (has links)
Digital art installation is the result of informatic materials entering gallery spaces and challenging the establishment of media forms. This thesis contends that the open, recursive and recombinatory process of looking at digital installation is in fact the result of noisy relations between information and the spatial temporal contexts of the art gallery. In order to focus on the processes of informatic materials within gallery spaces, this thesis identifies four key modulations of noise and materiality ? emergence, feedback, entropy and delay. I demonstrate how these impact on a range of recent digital installations by Australian and New Zealand artists. The lens of digital materiality shifts from an informational context into that of art history where it is found to highlight the systemic relationality of the installation. The thesis opens with a consideration of histories of media-specificity, and argues for a necessary separation of our concepts of media and materiality. This context provides a set of tools by which the remainder of the thesis investigates a range of digital material flows that are not tied to fixed media definitions. I draw on a range of theorists including Umberto Eco, Gilles Deleuze, Claude Shannon and Jack Burnham to further locate these material flows within two strands: experimental sound and information theory. This discussion forms the basis of the thesis? re-appraisal of media distinctions and highlights the complex relationship of informational materials to both sonic and visual histories. The second half of the thesis undertakes an appraisal of emergence, feedback, entropy and delay in specific works and suggests dimensionality, movement and duration as key determinants of the digital installation. These chapters demonstrate that what is at stake in digital installation is the viewer?s implicit role in the shifting relationships of digital materiality. Overall, this thesis presents a framework for emergent materiality in digital installation. I develop a theory of emergent materiality as a process specific to digital installation, and argue that digital installation is in fact a subject-forming assemblage of information-noise in which relations of dimensionality, movement and duration coalesce without cohering. And, within which gallery spaces begin to get noisy.
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Conflict and culture : a discourse analysis of public texts on an indigenous New Zealand tertiary institution : a thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy in Psychology, Massey University, Palmerston North, New ZealandWeatherley, Guenevere E. W. January 2009 (has links)
This current project begins with a brief history of Maori education since colonisation, and creates a picture of TWOA and its students and the struggle they undertook to develop into a first class education institution. Then, using Laclau and Mouffe’s discourse theory, I offer some deconstructive possibilities which provide alternative interpretations of the media discourse that ignited the public’s vilification of the institute. I describe what transpired over the time of 2005-2006 and critically examine and analyse the language used to express the two-party attack on TWOA and its Tumuaki, Rongo Wetere. I find that the language used by politicians and media commentators positioned TWOA as an inefficient and corrupt Maori institution in need of Pakeha (NZ European) governance and management. Through an investigation of the selection and promulgation of particular tropes, the interests of the political elite are shown as serving to marginalise the institution, limit its growth and channel its students into Pakeha educational institutions. The Wananga brought tertiary education to those New Zealanders who had hitherto been excluded or who had failed in mainstream education. Its astonishing success caused its decline.
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Out of order: explorations in digital materialityBallard, Susan Patricia, Art, College of Fine Arts, UNSW January 2008 (has links)
Digital art installation is the result of informatic materials entering gallery spaces and challenging the establishment of media forms. This thesis contends that the open, recursive and recombinatory process of looking at digital installation is in fact the result of noisy relations between information and the spatial temporal contexts of the art gallery. In order to focus on the processes of informatic materials within gallery spaces, this thesis identifies four key modulations of noise and materiality ? emergence, feedback, entropy and delay. I demonstrate how these impact on a range of recent digital installations by Australian and New Zealand artists. The lens of digital materiality shifts from an informational context into that of art history where it is found to highlight the systemic relationality of the installation. The thesis opens with a consideration of histories of media-specificity, and argues for a necessary separation of our concepts of media and materiality. This context provides a set of tools by which the remainder of the thesis investigates a range of digital material flows that are not tied to fixed media definitions. I draw on a range of theorists including Umberto Eco, Gilles Deleuze, Claude Shannon and Jack Burnham to further locate these material flows within two strands: experimental sound and information theory. This discussion forms the basis of the thesis? re-appraisal of media distinctions and highlights the complex relationship of informational materials to both sonic and visual histories. The second half of the thesis undertakes an appraisal of emergence, feedback, entropy and delay in specific works and suggests dimensionality, movement and duration as key determinants of the digital installation. These chapters demonstrate that what is at stake in digital installation is the viewer?s implicit role in the shifting relationships of digital materiality. Overall, this thesis presents a framework for emergent materiality in digital installation. I develop a theory of emergent materiality as a process specific to digital installation, and argue that digital installation is in fact a subject-forming assemblage of information-noise in which relations of dimensionality, movement and duration coalesce without cohering. And, within which gallery spaces begin to get noisy.
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Out of order: explorations in digital materialityBallard, Susan Patricia, Art, College of Fine Arts, UNSW January 2008 (has links)
Digital art installation is the result of informatic materials entering gallery spaces and challenging the establishment of media forms. This thesis contends that the open, recursive and recombinatory process of looking at digital installation is in fact the result of noisy relations between information and the spatial temporal contexts of the art gallery. In order to focus on the processes of informatic materials within gallery spaces, this thesis identifies four key modulations of noise and materiality ? emergence, feedback, entropy and delay. I demonstrate how these impact on a range of recent digital installations by Australian and New Zealand artists. The lens of digital materiality shifts from an informational context into that of art history where it is found to highlight the systemic relationality of the installation. The thesis opens with a consideration of histories of media-specificity, and argues for a necessary separation of our concepts of media and materiality. This context provides a set of tools by which the remainder of the thesis investigates a range of digital material flows that are not tied to fixed media definitions. I draw on a range of theorists including Umberto Eco, Gilles Deleuze, Claude Shannon and Jack Burnham to further locate these material flows within two strands: experimental sound and information theory. This discussion forms the basis of the thesis? re-appraisal of media distinctions and highlights the complex relationship of informational materials to both sonic and visual histories. The second half of the thesis undertakes an appraisal of emergence, feedback, entropy and delay in specific works and suggests dimensionality, movement and duration as key determinants of the digital installation. These chapters demonstrate that what is at stake in digital installation is the viewer?s implicit role in the shifting relationships of digital materiality. Overall, this thesis presents a framework for emergent materiality in digital installation. I develop a theory of emergent materiality as a process specific to digital installation, and argue that digital installation is in fact a subject-forming assemblage of information-noise in which relations of dimensionality, movement and duration coalesce without cohering. And, within which gallery spaces begin to get noisy.
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Diversity or Perversity? Investigating Queer Narratives, Resistance, and Representation in Aotearoa / New Zealand, 1948-2000Burke, Christopher J. F. January 2007 (has links)
This thesis contributes to the burgeoning field of the history of sexuality in New Zealand and seeks to distill the more theorised and reflexive understanding of the subjectively understood queer male identity since 1948. Emerging from the disciplines of History and English, this project draws from a range of narratological materials: parliamentary debates contained in Hansard, and novels and short stories written by men with publicly avowed queer identities. This thesis explores how both 'normative' identity and the category of 'the homosexual' were constructed and mobilised in the public domain, in this case, the House of Representatives. It shows that members of the House have engaged with an extensive tradition of defining and excluding; a process by which state and public discourses have constructed largely unified, negative and othering narratives of 'the homosexual'. This constitutes an overarching narrative of queer experience which, until the mid-1990s, excluded queer subjects from its construction. At the same time, fictional narratives offer an adjacent body of knowledge and thought for queer men and women. This thesis posits literature's position as an important and productive space for queer resistance and critique. Such texts typically engage with and subvert 'dominant' or 'normative' understandings of sexuality and disturb efforts to apprehend precise or linear histories of 'gay liberation' and 'gay consciousness'. Drawing from the works of Frank Sargeson, James Courage, Bill Pearson, Noel Virtue, Stevan Eldred-Grigg, and Peter Wells, this thesis argues for a revaluing of fictional narratives as active texts from which historians can construct a matrix of cultural experience, while allowing for, and explaining, the determining role such narratives play in the discursively constructed understandings of gender and sexuality in New Zealand.
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The 'construction' of landscape : a case study of the Otago Peninsula, Aotearoa / New ZealandRead, Marion January 2005 (has links)
This project has sought to answer the question 'How is landscape made?’ by examining the landscape of the Otago Peninsula on the east coast of the South Island of Aotearoa/New Zealand. By taking a social constructionist approach, an in depth case study has been completed using ethnographic methods combined with discourse analysis. The theoretical framework adopted led to the research question being refined and divided into two parts. The first seeks to determine the discourses that construct the landscape of the Otago Peninsula. Those identified include discourses of Mana Whenua, agriculture, environmentalism, gardening, heritage, neo-liberalism and the picturesque. These discourses interact and resist one another through networks of power. Thus the second part of the research question seeks to understand these networks and the distributions of power through them. The agricultural discourse is the most powerful, albeit under strong challenge from the environmental discourse and from the impacts of neo-liberalism. Mana Whenua discourses have gained significant power in recent decades, but their influence is tenuous. The picturesque discourse has significant power and has been utilised as a key tool in District planning in the area. Thus, the landscape is seen to be made by the dynamic interactions of discourses. This has two consequences, the first, an emphasising of the dynamism of the landscape - it is a process which is under constant flux as a consequence of both the human interactions with and within it, and the biophysical processes which continue outside of human ken. The second consequence is to stress that the landscape is not a unitary object and that this needs to be recognised in the formulation of policy and landscape management.
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The confiscation of Pare Hauraki: The impact of Te Ao Pākehā on the Iwi of Pare Hauraki Māori; on the whenua of Pare Hauraki 1835-1997 and The Foreshore and Seabed Act 2004 / Te raupatutanga o Pare HaurakiPeters, Murray Hamaka January 2007 (has links)
Kia mau ki te rangatiratanga o te Iwi o Hauraki Just as the whakataukī explains Hold fast to the power and authority of the Hauraki tribes the focus of this study is to examine and evaluate the impact of Te Ao Pākehā on Pare Hauraki lands and Tīkapa Moana under the mana of Pare Hauraki Māori and Pare Hauraki tikanga. The iwi of Pare Hauraki have land claims through the, (Wai 100) and the Hauraki Māori Trust Board, before the Waitangi Tribunal highlighting whenua issues and their impact on Pare Hauraki iwi. Also relevant is the foreshore and seabed issue which is documented leading on to the infamous Foreshore and Seabed Act 2004, (for Māori anyway), sparking widespread opposition by Māori throughout the country, and other supportive non-Māori groups because of the issue concerning Māori kaitiiakitanga and guardianship roles. This investigation will commence by outlining the histories of discovery and settlement of Pare Hauraki, the concept of mana-whenua/mana-moana as it applies to Pare Hauraki Māori and our tikanga, and then to subsequent issues leading to land alienation of the early 19th to late 20th cenutries and then to the foreshore issue of the early 21st Century. This research will include information showing that before 1840 to Te Tiriti o Waitangi and thereafter that Pākehā and various Crown agents, through legislation claimed the rights to the lands, waterways and oceanic areas under the kaitiakitanga of my tupuna of Pare Hauraki. Tupuna and other iwi members have expressed their disgust seeing the mana of their traditional lands, waterways, oceanic areas and kaitiaki roles slipping away from them through these activities. Therefore, this thesis is a response to those issues and the impact on (a), Māori as a people, and our tikanga Māori and (b), Pare Hauraki Māori as the kaitiaki/guardians of the Pare Hauraki rohe/territory in accordance with tikanga Māori, and the significance of the responsibilities which arise out of the Māori concepts of kaitiakitanga, manaakitanga and rangatiratanga.
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Perception of quality of life for adults with hearing impairment in Aotearoa / New Zealand.Lessoway, Kamea January 2014 (has links)
AIMS: This study investigated the perception of generic and disease-specific Health-Related
Quality of Life (HRQoL) for adults living with hearing impairment (HI) in Aotearoa/New
Zealand (NZ). This study aimed to answer three questions: (1) What is the perception of
HRQoL amongst adults with hearing impairment in NZ? (2) How do these perceptions
compare to adults with HI living in other countries for which we have data? (3) What are the
demographic and audiometric variables related to device ownership?
METHOD: HRQoL, demographic, and audiometric information was collected from 126 adults
in NZ. The following demographic information was collected: age, relationship length, hours
worked per week, income, ancestry, sex, level of education, city size, and sexual orientation.
The following audiologic information was also collected: ownership of hearing aids (HA),
ownership of hearing assistance technology (HAT), better-ear pure-tone average (BEPTA),
worse-ear pure-tone average (WEPTA), and signal-to-noise ratio loss (SNR loss). HRQoL
information was collected using the Medical Outcomes Study 36-Item Short-Form Health
Survey (SF-36; Ware & Sherbourne, 1992), and the Hearing Handicap Inventory (HHI) for
both elderly (HHIE) and adults (HHIA; Ventry & Weinstein, 1982; Newman, Weinstein,
Jacobson, & Hug, 1991). Variables discriminating HA and HAT owners from non-owners
were also analysed.
RESULTS: The relationship between demographic variables and HRQoL scores revealed that
only age and income were significant. Audiometric variables had significant relationships
with disease-specific HRQoL scores, as well as HA and HAT ownership. Finally, disease-specific
HRQoL scores and all audiometric variables differentiated HA owners from non-
owners, but demographic variables did not. Generic HRQoL scores and all audiometric
variables differentiated HAT owners from non-owners.
CONCLUSIONS: These results suggest that the negative impacts of HI on HRQoL as reported
overseas are also present in NZ, and that not only do audiometric variables including SNR
loss are related to HRQoL, but HRQoL is a significant predictor for HA and HAT ownership.
Further QoL research is warranted amongst the HI population in NZ to identify and
understand any causal relationships present amongst these variables. Furthermore, HRQoL
instruments and a test of speech understanding in noise have been shown to provide
additional meaningful information, and therefore clinicians might consider including them
during consultation.
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Fragmentation and Restoration: Generational Legacies of 21st Century MāoriMalcolm-Buchanan, Vincent Alan January 2009 (has links)
The content of this thesis is premised on a reflexive examination of some historical juxtapositions culminating in critical aspects of being Māori in the twenty first century and how such aspects have informed contemporary indigenous identity. That is, the continuing acknowledgement and exponential public recognition of critical concepts which inextricably link indigenous and civic identity. The theoretical sources for this research are, in the main, derived from anthropological and religious studies, particularly on the significance of mythologies and oral histories, as well as from the oral theorising of elders in Aotearoa New Zealand. A very significant contribution from one such elder, a senior Māori woman academic, has been included in the form of the transcript of an interview. She herself had collected the views of a number of elders on myth, creating a rare and valuable resource. In the interview she married her reflections on these with her own experiences and her cogent analyses. From the outset, it was necessary to be discerning so as to ensure the thesis workload was manageable and realistic. For this reason the selected critical aspects that have been used to frame this research are (1) a developing Western validation (that is, acknowledgement and respect) of Māori, Māori culture and their mythology; (2) oral history (genealogy) and traditions that have remained constant despite the influences of modernity; and (3) notions of fluidity, negotiation and pragmatism regarding kinship legacies and cultural heritage. The thesis is comprised of six chapters starting from a subjective narrative leading through increasingly objective discourses that culminate in a conclusion which supports a belief that modern Māori require a balancing of critical aspects of cultural heritage, with a broad understanding of the world of the 'other', in order to realise and develop their contemporary indigenous identity. Ultimately, indigenous ideologies, practices and knowledge recorded and examined in the world of academia today, become potential resources for tomorrow. The intention of this research is to aggregate and discuss intrinsic aspects of the Māori past as well as developing aspects of the present, in order to better understand the significance of the future, and to add to the growing corpus of indigenous worldviews.
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