This Master of Design study aims to communicate affective design principles within a Tait Electronics Ltd hand-held radio for the New Zealand Police to use in the year 2018. This investigation has three distinct research aims: A) Identify affective design principles appropriate for the design of current Tait portable police radios using the perceptual product experience (PPE) framework (Warell, 2008). B) Use speculative scenario planning to develop an understanding of how the requirements of Tait’s portable police radios will evolve over the next 10 years. C) Incorporate affective design principles and the brand values of Tait’s product range into a final conceptual portable police radio design for the year 2018. A comprehensive review of contemporary affective product design theory, case studies and other relevant literature was undertaken. This included affective product design (Warell, 2008), radio communication (Marzano, 2005) and future product forecasting (Lambourne, Feiz, & Rigot, 1997). Following this review the following research methods were selected for this study: 1) Future scenario planning 2) Current product-user interviews 3) Passive product observations Throughout the project iterative design methods were used, including 2D concept generation, concept development and 3D prototyping. The resulting conceptual product and associated documentation of this study will add to the existing body of knowledge around the application of affective design principles and portable police radio product design. Keywords: radio, NZ Police, usability, performance, experience, perceptual product experience (PPE), affective product design

Does the individual really matter in the post-modern world, brimming with countless signs and signifiers? My main objective in this writing is to demonstrate how this happens in Verhoeven's films, exploring his central themes and subtext and doing what science fiction does: hold a mirror up to the contemporary world and critique it, asking whether our species' current trajectory is beneficial or hazardous.; Dutch director Paul Verhoeven is a polarizing figure. Although many of his American made films have received considerable praise and financial success, he has been lambasted on countless occasions for his gratuitous use of sex, violence, and contentious symbolism--1995s Showgirls was overwhelmingly dubbed the worst film of all time and 1997s Starship Troopers earned him a reputation as a fascist. Regardless of the controversy surrounding him, his science fiction films are a move beyond the conventions of the big blockbuster science fiction films of the 1980s (E.T. and the Star Wars trilogy are prime examples), revealing a deeper exploration of both sociopolitical issues and the human condition. Much like the novels of Philip K. Dick (and Verhoeven's 1990 film Total Recall--an adaptation of a Dick short story), Verhoeven's science fiction work explores worlds where paranoia is a constant and determining whether an individual maintains any liberty is regularly questionable. In this thesis I am basically exploring issues regarding power. Although I barely bring up the term power in it, I feel it is central. Power is an ambiguous term; are we discussing physical power, state power, objective power, subjective power, or any of the other possible manifestations of the word? The original Anglo-French version of power means "to be able," asking whether it is possible for one to do something. In relation to Verhoeven's science fiction work each demonstrates the limitations placed upon an individual's autonomy, asking are the protagonists capable of independent agency or rather just environmental constructs reflecting the myriad influences surrounding them.