Le travail de cette thèse s’articule autour des pratiques artistiques et urbaines à travers quatre métropoles situées en Australie et en Nouvelle-Zélande. Sydney, Melbourne, Auckland et Wellington, territoires artistiques majeurs dans ce continent, sont ici le socle d’une étude empirique et théorique. L’enjeu premier sera de situer chronologiquement et de comprendre, à partir de l’art occidental et de son évolution, quelles sont les problématiques artistiques inhérentes à l’in situ. Nous verrons comment un art produit extra-muros, tel que formulé aux Etats-Unis et en Europe (1960-1970), a mis en avant une prise en compte multiple du lieu par les artistes, mettant à contribution différentes données : spatiales, géomorphologiques, historiques, humaines et bien sûr contextuelles. Les appréhender nous amènera à mettre en valeur le premier tournant spatial, voire géospatial de l’art, soit sa propension, à un moment donné, de sortir de ses cadres traditionnels – dont le musée – pour conquérir de nouveaux territoires d’inscription. Pour mieux aborder ces villes postcoloniales océaniennes et les espaces qu’elles consacrent à la création artistique, nous verrons comment ces deux jeunes nations ont bâti et continuent à construire leur identité. Au regard du biculturalisme néo-zélandais, de la culture maorie et de la place de ce peuple, nous nous sommes attaché à saisir comment l’art extra muros existe à Wellington et dans des zones plus rurales autour d’Auckland. En Australie, les faits historiques sont venus renforcer un sentiment identitaire au travers de certaines formes de création urbaines tandis que d’autres restent à l’écart de ces problématiques locales – c’est le cas de l’évènement Sculpture by the Sea. Dans quelle mesure un territoire, au travers de ses quatre premières villes, peut-il par le biais de l’in situ dégager une géo-esthétique? Cette étude fondée sur l’observation et le croisement pluridisciplinaire des approches théoriques a montré et argumenté la tendance des villes-mondes à se réinventer, se régénérer par l’art jusqu’à devenir, à certains égards, un véritable outil territorial. J’ai proposé différentes clés de lecture pour faire comprendre comment se dégage des formes d’esthétique singulières dans le cadre d’un urbanisme volontariste quant à redessiner le visage de la ville (Sydney, Opera House). Puis, il s’agira de montrer à travers les démarches exemplaires, comment l’art, dans les villes océaniennes, évolue spatialement, souligne l’histoire et s’en détache. Le corpus d’œuvres, pertinent au vu de la priorité identitaire, multiculturelle et spatiale fera jour sur l’expression d’une géo-esthétique urbaine spécifique. Les connexions interculturelles entre indices vernaculaires (motifs, gestes, formes) et médiums contemporains attestent d’une géographicité de l’art, entre interprétation narrative des lieux, symbole et émancipation. / The work of this thesis revolves around the artistic and urban practices in four cities, in Australia and New Zealand. Those cities, Sydney, Melbourne, Auckland and Wellington are major artistic hubs in Oceania, and form the basis of a theoretical and empirical study. The first challenge is to locate and understand chronologically, through a Western artistic lens and its evolution, what are the inherent nuances of the in situ art. We will see how art produced extramurally, as represented in the United States and Europe (1960-1970), and noted on multiple accounts by artists, relied on various data: spatial, geomorphological, historical, human and contextual course. This understanding will lead us to the first example of space turning or geospatial art or propensity, which can be viewed as out of its traditional frameworks – which is to the museum, to conquer new territories of registration. To address these postcolonial Pacific cities and the culture they devote to artistic creation, we will see how these two young nations have built and continue to build their identity. In light of the New Zealand biculturalism, the value of Maori culture and the place of the people, we are committed to see how extramural art is represented in Wellington and in more rural areas around Auckland. In Australia, in some examples, the historical facts have reinforced a sense of identity through specific examples of urban creation while in other areas the historical contexts lead to politically charged issues; such is the case of the event Sculpture by the Sea. To what extent can a region, through its first four cities, lead us to rethink the in situ expression and geo-aesthetic that emerges? This study based on observation and cross disciplinary theoretical approaches and argues that the tendency of cities to reinvent worlds, regenerate through art until, is in some respects, a true territorial tool. I propose different readings to further understand how singular forms of aesthetics emerge as part of a proactive planning on redesigning the face of the city. Then it will show through best practices, how art, in the Pacific cities, changes space and emphasizes history and can become detached of context. This body of work is pertinent given the historical identity priority of Pacific cultures, and the contemporary multiculturalism and use of space will shed light on the expression of a specific urban geo-aesthetics. Intercultural connections between vernacular indices (patterns, gestures, shapes) and contemporary mediums attest to a geographicity art between narrative interpretation of places, symbol and emancipation.

The New Zealand (NZ) sea lion Phocarctos hookeri is the only pinniped endemic to NZ with a population of approximately 12,000 individuals. Its breeding range is currently restricted to NZ sub-Antarctic islands, and it has failed to recolonise its pristine distribution around the NZ main islands despite its protection since 1881. The current hypothesis is that the population growth of this pinniped is limited by the distribution of suitable prey on the Auckland Islands (50°30'S, 166°E) shelf, and by the direct and indirect pressure exerted by the arrow squid Nototodarus sloani fishery. However, this hypothesis has not been fully tested to date as there has been limited information on the diet of the NZ sea lion and their potential prey. The objective of this thesis is to analyse the diet of NZ sea lions over several years with particular emphasis on the most reproductively important segment of the population: lactating females. This thesis provides the first quantification by percentage mass of the diet of NZ sea lion using a combination of stomach content analysis, qualitative fatty acid (FA) analysis, and quantitative FA signature analysis (QFASA). Stomach contents and blubber FAs were analysed from 121 individuals incidentally caught (by-caught) in the southern arrow squid fishery from the years 1997 to 2006. The blubber FAs of 78 freeranging lactating females captured at Enderby Island, Auckland Islands, were also examined during January and February of 2000 to 2005. Data obtained from both stomach analysis and QFASA indicate that arrow squid, rattails Macrouridae, hoki Macruronus novaezelandiae and red cod Pseudophycis bachus are key prey species for NZ sea lions in the Auckland Islands region. Because these prey species live mostly at depths greater than 200 m, lactating females must undertake long foraging trips and dive regularly to greater depths than other sea lion species. Data from QFASA indicates that this foraging pattern is conducted over an extended period through the summer and autumn. The daily food requirement of a lactating female was estimated by a simple energetic model to be greater than 20% of its body mass. During years of low arrow squid recruitment such as 1999 and 2001, the amounts of squid required by the NZ sea lion population may have been similar to the amount harvested by the fishery, suggesting that resource competition is likely to occur between the arrow squid fishery and NZ sea lions in years of low squid abundance. Half of the fishing activity of the southern squid fishery occurs in the north of the Auckland Islands shelf where NZ sea lions forage, leading to incidental captures every year. This research emphasises that management of the NZ sea lion must not only consider the direct interactions with the arrow squid fishery, but also the likelihood of food resource competition between the fishery and NZ sea lions.

This thesis investigated the restoration of mauri (life-force) to Ōkahu Bay, Auckland New Zealand. Ōkahu Bay is part of the land and waters of Ngāti Whātua Ōrākei, a Māori hapū (sub-tribe). Ngāti Whātua Ōrākei has been driving the restoration, restoring Ōkahu Bay based on their worldview, visions, and concerns. This vision and control of the restoration process allows them to bring in the hapū in sustainable engagement and have the long-term vision and commitment necessary for self-determination. However, while there has been progress with projects and improved decision-making authority, hapū members are still not seeing their whānau (family) swimming in and caring for Ōkahu as much as they would like. Interviewees wanted to see an explicit focus on encouraging hapū members to use the bay, such as more educational programs and water-based activities, and continued efforts to improve water quality. Shellfish populations have also not recovered after a decade of monitoring due to structural aspects such as existing stormwater pipes. Changing these requires Auckland City Council to make stronger commitments to supporting Ngāti Whātua’s restoration. Overall, this investigation showed that in this restoration, a clean environment is essential to build community and a community is essential to build a clean environment. This community-driven restoration, while not perfect, has great potential to truly reconnect people with their environments, decolonize the land and the people, and create thriving ecosystems and people that benefit themselves, their communities, and the wider Auckland community.

M.Tech. (Architectural Technology) / Please refer to full text to view abstract

This study examines the efficacy of collection development and management practices, policies, guidelines and standards in universities of technology to meet the information needs of academics and researchers at such institutions. In South Africa, as in Australasia, technikons or polytechnics have been upgraded first into degree granting institutions and then, at the beginning of the 21st century, into universities of technology. The researcher was concerned that library collections in South African universities of technology have not grown to meet the research and teaching needs of academics at the level of universities offering instruction up to a doctoral level. As research funding, government grants and the general prestige of the institutions depend on the research output of the institutions, it is essential that academics and researchers find the information resources they require in their institutional libraries. Case studies of universities of technology in New Zealand and South Africa reveal that, while Auckland University of Technology has been successful in extending its collection to meet the increasing demands placed on it, the collection development policies, standards and guidelines in a South African university of technology need to be upgraded in order to meet the information needs and information behaviour of their researchers and academics. Current levels of funding for the acquisition of information resources in South Africa lag behind those found at the New Zealand university of technology. The university of technology that was the object of the South African case study needs to bring its collection in line with that of similar institutions worldwide. This entails adapting goals and objectives stating how the collection is to develop, evaluating the collection and the needs of users, changing the Collection Development Policy to reflect the direction collection development will take and ensuring that the institution and the government back this project financially. To this end, a model Collection Development Policy has been drawn up that can be adapted to the local requirements of South African universities of technology to assist with the process of developing and managing library collections that will be worthy of such an institution. / Information Science / D. Litt. et Phil. (Information Science)

This study examines the efficacy of collection development and management practices, policies, guidelines and standards in universities of technology to meet the information needs of academics and researchers at such institutions. In South Africa, as in Australasia, technikons or polytechnics have been upgraded first into degree granting institutions and then, at the beginning of the 21st century, into universities of technology. The researcher was concerned that library collections in South African universities of technology have not grown to meet the research and teaching needs of academics at the level of universities offering instruction up to a doctoral level. As research funding, government grants and the general prestige of the institutions depend on the research output of the institutions, it is essential that academics and researchers find the information resources they require in their institutional libraries. Case studies of universities of technology in New Zealand and South Africa reveal that, while Auckland University of Technology has been successful in extending its collection to meet the increasing demands placed on it, the collection development policies, standards and guidelines in a South African university of technology need to be upgraded in order to meet the information needs and information behaviour of their researchers and academics. Current levels of funding for the acquisition of information resources in South Africa lag behind those found at the New Zealand university of technology. The university of technology that was the object of the South African case study needs to bring its collection in line with that of similar institutions worldwide. This entails adapting goals and objectives stating how the collection is to develop, evaluating the collection and the needs of users, changing the Collection Development Policy to reflect the direction collection development will take and ensuring that the institution and the government back this project financially. To this end, a model Collection Development Policy has been drawn up that can be adapted to the local requirements of South African universities of technology to assist with the process of developing and managing library collections that will be worthy of such an institution. / Information Science / D. Litt. et Phil. (Information Science)

Transparencies: New Zealand from 1953 to 1974 through the Slide Photography of Gladys Cunningham This thesis focuses on the amateur slide photography of Gladys Cunningham, formerly of Onehunga, Auckland. Viewed collectively, these slides provide a visual autobiography of a New Zealand woman’s life, as well as a larger social narrative. As Gladys’s granddaughter, I argue that Gladys’s 35mm colour transparencies, nostalgic fragments that memorialise a family history, are informed by the social history of European New Zealanders between the early 1950s and early 1970s. Gladys’s slides reflect stabilities and changes for the photographer herself, her family and New Zealand society. While the term “transparency” suggests that the meaning of a slide can be understood by all, in reality further contextual information is necessary to appreciate the family and public histories from which these scenes have been separated. To situate Gladys’s slides, I refer to popular magazines and tourist texts from this period, including The Weekly News, National Geographic and New Zealand Holiday, and to commercial slides, postcards and travel marketing texts. I analyse the near absence of Maori within Gladys’s slides and travel journalism, suggesting that their omissions represent a lack of dialogue between Pakeha and Maori. In New Zealand and overseas, slide photography was the popular medium for recording extraordinary family events during the 1950 and 1960s. Through an analysis of memory, leisure and photography, this study examines how Gladys’s photography documents family and community membership and celebration. I explore how aesthetically pleasing representations of family leisure also contain partly concealed clues to less positive memories and to secrets that were not unique to this family. I discuss the impact of private and public transport on Gladys’s slide photography, noting how car travel facilitated spatial and temporal freedoms, and how slide photography strengthened connections to extended family and distant communities. In contrast, Gladys and Jim’s later dependence on coach transport enhanced their ability to take slides and expanded the “family” gaze of their camera, but limited their photographic opportunities.

Transparencies: New Zealand from 1953 to 1974 through the Slide Photography of Gladys Cunningham This thesis focuses on the amateur slide photography of Gladys Cunningham, formerly of Onehunga, Auckland. Viewed collectively, these slides provide a visual autobiography of a New Zealand woman’s life, as well as a larger social narrative. As Gladys’s granddaughter, I argue that Gladys’s 35mm colour transparencies, nostalgic fragments that memorialise a family history, are informed by the social history of European New Zealanders between the early 1950s and early 1970s. Gladys’s slides reflect stabilities and changes for the photographer herself, her family and New Zealand society. While the term “transparency” suggests that the meaning of a slide can be understood by all, in reality further contextual information is necessary to appreciate the family and public histories from which these scenes have been separated. To situate Gladys’s slides, I refer to popular magazines and tourist texts from this period, including The Weekly News, National Geographic and New Zealand Holiday, and to commercial slides, postcards and travel marketing texts. I analyse the near absence of Maori within Gladys’s slides and travel journalism, suggesting that their omissions represent a lack of dialogue between Pakeha and Maori. In New Zealand and overseas, slide photography was the popular medium for recording extraordinary family events during the 1950 and 1960s. Through an analysis of memory, leisure and photography, this study examines how Gladys’s photography documents family and community membership and celebration. I explore how aesthetically pleasing representations of family leisure also contain partly concealed clues to less positive memories and to secrets that were not unique to this family. I discuss the impact of private and public transport on Gladys’s slide photography, noting how car travel facilitated spatial and temporal freedoms, and how slide photography strengthened connections to extended family and distant communities. In contrast, Gladys and Jim’s later dependence on coach transport enhanced their ability to take slides and expanded the “family” gaze of their camera, but limited their photographic opportunities.

Transparencies: New Zealand from 1953 to 1974 through the Slide Photography of Gladys Cunningham This thesis focuses on the amateur slide photography of Gladys Cunningham, formerly of Onehunga, Auckland. Viewed collectively, these slides provide a visual autobiography of a New Zealand woman’s life, as well as a larger social narrative. As Gladys’s granddaughter, I argue that Gladys’s 35mm colour transparencies, nostalgic fragments that memorialise a family history, are informed by the social history of European New Zealanders between the early 1950s and early 1970s. Gladys’s slides reflect stabilities and changes for the photographer herself, her family and New Zealand society. While the term “transparency” suggests that the meaning of a slide can be understood by all, in reality further contextual information is necessary to appreciate the family and public histories from which these scenes have been separated. To situate Gladys’s slides, I refer to popular magazines and tourist texts from this period, including The Weekly News, National Geographic and New Zealand Holiday, and to commercial slides, postcards and travel marketing texts. I analyse the near absence of Maori within Gladys’s slides and travel journalism, suggesting that their omissions represent a lack of dialogue between Pakeha and Maori. In New Zealand and overseas, slide photography was the popular medium for recording extraordinary family events during the 1950 and 1960s. Through an analysis of memory, leisure and photography, this study examines how Gladys’s photography documents family and community membership and celebration. I explore how aesthetically pleasing representations of family leisure also contain partly concealed clues to less positive memories and to secrets that were not unique to this family. I discuss the impact of private and public transport on Gladys’s slide photography, noting how car travel facilitated spatial and temporal freedoms, and how slide photography strengthened connections to extended family and distant communities. In contrast, Gladys and Jim’s later dependence on coach transport enhanced their ability to take slides and expanded the “family” gaze of their camera, but limited their photographic opportunities.

Transparencies: New Zealand from 1953 to 1974 through the Slide Photography of Gladys Cunningham This thesis focuses on the amateur slide photography of Gladys Cunningham, formerly of Onehunga, Auckland. Viewed collectively, these slides provide a visual autobiography of a New Zealand woman’s life, as well as a larger social narrative. As Gladys’s granddaughter, I argue that Gladys’s 35mm colour transparencies, nostalgic fragments that memorialise a family history, are informed by the social history of European New Zealanders between the early 1950s and early 1970s. Gladys’s slides reflect stabilities and changes for the photographer herself, her family and New Zealand society. While the term “transparency” suggests that the meaning of a slide can be understood by all, in reality further contextual information is necessary to appreciate the family and public histories from which these scenes have been separated. To situate Gladys’s slides, I refer to popular magazines and tourist texts from this period, including The Weekly News, National Geographic and New Zealand Holiday, and to commercial slides, postcards and travel marketing texts. I analyse the near absence of Maori within Gladys’s slides and travel journalism, suggesting that their omissions represent a lack of dialogue between Pakeha and Maori. In New Zealand and overseas, slide photography was the popular medium for recording extraordinary family events during the 1950 and 1960s. Through an analysis of memory, leisure and photography, this study examines how Gladys’s photography documents family and community membership and celebration. I explore how aesthetically pleasing representations of family leisure also contain partly concealed clues to less positive memories and to secrets that were not unique to this family. I discuss the impact of private and public transport on Gladys’s slide photography, noting how car travel facilitated spatial and temporal freedoms, and how slide photography strengthened connections to extended family and distant communities. In contrast, Gladys and Jim’s later dependence on coach transport enhanced their ability to take slides and expanded the “family” gaze of their camera, but limited their photographic opportunities.