In order to explain some of the paradoxes and mysteries of the artist's cross cultural experience in Kiribati, he constructed an Artist's Book depicting through visuality, anecdote and reflection, his research process, engaging with current visual perceptions through negotiation with the past. In Kiribati previous encounters with Europeans and Islanders was dominated by English and I Kiribati with significant contributions by French missionaries. Each viewed the other through cultural filters of identity, which were informed by concepts of myth-historical, often heroic pasts, modified by contemporary purpose such as power, trade, evangelism or personal gain. The method of transmission of beliefs about the past differed fundamentally as the Europeans were predominately informed by writing and the I-Kiribati by orality and performance. The non-literary epistemology of the I Kiribati contributed to a cosmology of non-iconic symbols that defined belief systems and social structures. These symbols connected place and space with time, self and group identities. The research found that the all surrounding visual symbol system of sacred meeting house (maneaba), dwelling (bata) and canoe (waa and baurua)) could be partly understood as an ongoing struggle since Deep Time, between the forces of the Ocea n represented by Bakoa, The Shark, and that of the triumph of the coming onto the Land and its people (aba) represented by Tabakea, The Turtle. The performative outcome of this triumph and the spirit of identity (Te Katai ni Kiribati) it engenders is expressed primarily in the ubiquitous I Kiribati Dance. The Artists Book is inspired by the creative classic I Kiribati form of oratory known as Te Kuna, using a structure analogous to the symbolic forms of narrative of Oceanic Voyaging traditionally employed by the I Kiribati. Differences in visual perceptions across cultural interface are understood not only as having the potential for conflict but also as providing positive dynamic force by the interchange of understood differences. The project contributes specifically to the ethnography of English and I Kiribati, semiotic systems and visual epistemologies, indicating directions towards positive outcomes in cross-cultural encounters.

The Western and Central Pacific Ocean (WCPO) is home to the largest tuna fishery stock in the world. However, Pacific Island members of the Western and Central Pacific Tuna Commission (WCPTC) argue that their share of the economic rent from the tuna catches taken out of the Pacific region is very small, being on average only about 6% of the total net benefit, when compared to the share earned by Distant Water Fishing Nations (DWFNs). Kiribati is one of the Pacific Island Countries (PICs), which relies heavily on its fishery for its economic development and sustainability. Kiribati earns 40% - 50 % of its government revenue from fisheries access fees paid by DWFNs for tuna caught in the the Kiribati EEZ. The Government of Kiribati (GoK) believes that Kiribati could get greater benefit if they develop their own domestic tuna fishery. This study uses Cost-Benefit Analysis (CBA) and SWOT Analysis to investigate whether domestication of the tuna fishery is the right move for Kiribati or not. The CBA reported in this thesis adapted a model developed by Campbell (2004) to investigate and evaluate fisheries policy in Papua New Guinea (PNG). However the model in this thesis is reflective of the situation and case of Kiribati. In analyzing the different options identified in this study, the CBA indicated negative (-) NPV(s) for the medium-sized vessel option and positive (+) NPV(s) for the large-sized vessel option. The SWOT analysis however, complemented the CBA by further investigating the tuna domestication options in the economic, social and business and business environment of Kiribati. The SWOT analysis indicated that the existing situation and business conditions in Kiribati appears to favor the small to medium sized vessel options which are less risky than the large purse seine vessel option.