published_or_final_version / Architecture / Master / Master of Architecture

published_or_final_version / Urban Design / Master / Master of Urban Design

published_or_final_version / Criminology / Master / Master of Social Sciences

Tam, Kin Lun. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references. / Abstracts in English and Chinese. / Chapter CHAPTER I: --- INTRODUCTION --- p.1 / Chapter ´Ø --- Evaluation of Previous Scholarship --- p.6 / Chapter ´Ø --- Methodology and Sources --- p.8 / Chapter ´Ø --- Selection of the Period of Study and Structure of the Research --- p.11 / Chapter ´Ø --- Town Planning in Hong Kong: A Brief History --- p.15 / Chapter ´Ø --- The Garden City Concept --- p.23 / Chapter ´Ø --- Practice of New Town Design in Britain --- p.28 / Chapter ´Ø --- British Influence in Hong Kong --- p.35 / Chapter ´Ø --- Summary --- p.40 / Chapter CHAPTER II: --- "GOVERNING COLONIAL HONG KONG, NEW TOWN DEVELOPMENT AND THE FOUNDATION OF TIN SHUI WAI BEFORE 1982" --- p.53 / Chapter ´Ø --- Political and Housing Pressure in the Immediate Postwar Era --- p.54 / Chapter ´Ø --- Steps towards a New Horizon: The Trend towards New Towns (1964-1972) --- p.59 / Chapter ´Ø --- Shift of Colonial Governance --- p.67 / Chapter ´Ø --- Beginning of Early Hong Kong's New Towns (1972-1982) --- p.72 / Chapter ´Ø --- Foundation of Tin Shui Wai --- p.80 / Chapter ´Ø --- Summary --- p.90 / Chapter CHAPTER III: --- "EARLY STAGE OF TIN SHUI WAI'S URBAN TRANSFORMATION, CIRCA 1979- 1997" --- p.115 / Chapter ´Ø --- Rise of the Tin Shui Wai Development Idea --- p.116 / Chapter ´Ø --- Fall of Mightycity's Heavenly Hopes --- p.120 / Chapter ´Ø --- The Defective 1982 Agreement --- p.130 / Chapter ´Ø --- Planning the Town: The 1983 Master Development Plan and Its Appraisal --- p.135 / Chapter ´Ø --- Implementation of the 1983 MDP and Tin Shui Wai Urban Development --- p.149 / Chapter ´Ø --- Summary --- p.161 / Chapter CHAPTER IV: --- "WATERSHED FOR THE GROWTH OF TIN SHUI WAI'S NEWTOWN, 1997-2009" --- p.180 / Chapter ´Ø --- Early Political Ambitions to Expand the Tin Shui Wai Development --- p.181 / Chapter ´Ø --- Planning the Tin Shui Wai Reserve Zone --- p.185 / Chapter ´Ø --- An Assessment of the 1995 Town Plan --- p.193 / Chapter ´Ø --- Second Phrase of the Tin Shui Wai Urban Development --- p.195 / Chapter ´Ø --- Criticisms of the New Town --- p.206 / Chapter ´Ø --- Summary --- p.214 / Chapter CHAPTER V: N --- EW TOWN GROWTH VERSUS METROPOLITAN PLANNING: CIRCUMSTANCES AFFECTING THE TIN SHUI WAI URBAN DEVELOPMENT --- p.232 / Chapter ´Ø --- Ways Towards a New Strategy --- p.233 / Chapter ´Ø --- Regional Decentralization to Metropolitan Concentration (c. 1980-1997) --- p.240 / Chapter ´Ø --- The Rose Garden Project --- p.246 / Chapter ´Ø --- Pursuit to be Asia's World City --- p.253 / Chapter ´Ø --- Hong Kong's City Planning and the TSW Controversies --- p.261 / Chapter ´Ø --- Summary --- p.267 / Chapter CHAPTER VI: --- CONCLUSION --- p.275 / Chapter ´Ø --- "A ""Secret"" of the Tin Shui Wai Project" --- p.275 / Chapter ´Ø --- Employment in Hong Kong's New Towns --- p.277 / Chapter ´Ø --- An Evaluation --- p.281 / Chapter ´Ø --- Further Studies --- p.287 / BIBLIOGRAPHY --- p.290

published_or_final_version / Architecture / Master / Master of Architecture

Comment faire un travail scientifique si le chercheur est déjà trop obsédé par son objet d’étude et si, d’ailleurs, ce dernier n’est pas seulement un objet réifié mais doté d’une certaine réalité de l’âme ? La distance délicate entre le subjectif et l’objectif est ainsi l’enjeu principal de cette thèse, une recherche dont le chercheur est un cinéphage devenu cinéphile, qui est hanté par sa passion pour son objet bien vivant qu’est le cinéma de Wong Kar Wai mais qui a envie de vivre symboliquement cette passion. Il s’agit donc de l’équation personnelle d’après C. G. Jung et de cette distance ironique selon Antoine de Baecque. Vis-à-vis d’une telle difficulté méthodologique qui est en fait une occasion très généreuse, une approche empirique et une attitude religieuse se proposent. D’où le chercheur-cinéphile se lance dans un itinéraire homérique, à la recherche de son mythe du cinéma total qui n’est rien d’autre que son archétype du cinéma dont le symbole vivant se veut exactement Wong Kar Wai. Cette recherche devient, au fur et à mesure, une découverte, vu que la nostalgie n’est pas ailleurs, mais chez soi. Dans une telle circumambulation sous la forme d’une mise en abîme, le rapprochement entre une histoire du cinéma et une Histoire du cinéma n’est qu’inéluctable. Re-contextualisés sont les souvenirs personnels du chercheur du cinéaste hongkongais et plusieurs protagonistes rencontrés dans sa cinéphilie (Bresson, King Hu, Langlois, Bazin, Tarkovski, la bande de Truffaut, Dumont, etc.) sur la route et envisageable est une filiation toujours en devenir entre ce qui arrive avant et ce qui vient après. Que ces pages soient une scène de la création-critique et que la fonction cinéphile se manifeste à travers elle. / How to conduct a scientific work if the researcher is himself already incurably obsessed by his study material? This question fits in quite well for the present case, since the PhD student is an inveterate lover of Wong Kar Wai’s cinema. In other words, the situation is that of a cinephage-turned-cinephile — extremely conditioned by a living work inescapably defined by an amorous aura — who is trying to find a way out, in a relatively rational way, that is to say, symbolically, to deal with this entanglement as mise en abyme. Two methodological as well as deontological perspectives are thus drawn on, “the personal equation” adapted by C. G. Jung and “the ironic distance” coined by Antoine de Baecque. Hopefully, the writing of this dissertation could be regarded as a circumambulation whose goal is nothing more than its very process which is a nostalgic yearning for the cinema archetype, or, in terms of André Bazin’s idea(l): the myth of total cinema.

Äldre vuxna tillhör en målgrupp som har en bred inomgruppsvariation som framställs från en negativ stereotyp; en målgrupp i behov av hjälp. Samhället har förutfattade meningar att äldre vuxna är “resistenta” till teknologi med anledning av deras åldersrelaterade funktionsvariationer inom kognition och motorik. Detta resulterar till att de exkluderas från framtagning av ny teknologi. Att sträva efter tillgänglig design blir mer vanligt samtidigt som praktiker anser att tillgänglig design bidrar till tråkig och ointressant design, samt en begränsning i deras kreativitet. EU införde ett webbtillgänglighetsdirektiv som följer World Wide Web Consortium (W3C) etablerade designriktlinjer för tillgänglighet, mer känt som WCAG. Web Accessibility Initiative “WAI” plockade ut riktlinjer från WCAG som bidrar till bättre webbdesign för äldre; WAI-AGE. Fyra designriktlinjer för navigation valdes ut från WAI-AGE för att implementeras inom en prototyp som ska testas på äldre vuxna i ett användarupplevelsetest på distans med anledning av COVID-19. Inför testet sattes fem användarupplevelse- och användbarhetsmål för att bedöma upplevelsen från WAI-AGE riktlinjer. För studien rekryterades fyra testdeltagare i åldrarna 60-65 år. Deltagarna fick genomföra två scenarier och besvara tre enkäter. Studien tillämpade metodtriangulering för att stärka upp datainsamlingen med hjälp av tänka högt-metoden och observation. Data insamlad från testet genomgick en deduktiv analys som granskades från ett holistiskt perspektiv. Resultatet påvisade att WAI-AGE riktlinjer för navigation främjar en positiv användarupplevelse med majoriteten av satta mål uppnådda. Då rekryterade deltagare var snarlika varandra inom behov och vanor finns det fortfarande utrymme att testa på äldre vuxna från 65 år och uppåt. Detta examensarbete strävar efter att uppmärksamma äldre vuxnas behov att inkluderas vid framtagning av ny teknik. / Older adults belong to a target group that has a broad intra-group variation that is presented from a negative stereotype; a target group in need of help. Society has preconceived notions that older adults are "resistant" to technology due to their age-related declines in cognition and motor skills. This results in them being excluded from the development of new technology. Striving for accessible design is becoming more common at the same time as practitioners believe that accessibility contributes to boring and uninteresting design, as well as a limitation in their creativity. The EU introduced a Web Accessibility Directive that follows the World Wide Web Consortium (W3C) established design guidelines for accessibility, better known as WCAG. Web Accessibility Initiative “WAI” picked out guidelines from WCAG that are said to contribute to better design for older adults; WAI-AGE. Four design guidelines for navigation were selected from WAI-AGE to be implemented within a prototype to be tested on older adults in a remote user experience test due to COVID-19. Prior to the test, five user experience goals were set to be able to assess whether WAI-AGE guidelines work. For the study, four test participants aged 60-65 years were recruited. The participants had to complete two scenarios and answer three questionnaires. The study applied method triangulation to enhance data collection using the think aloud-method and observation. Data collected from the test underwent a deductive analysis that was examined from a holistic perspective. The results showed that WAI-AGE guidelines for navigation promote a positive user experience with a majority of goals achieved. As the participants had similar needs, there is still room to test on older adults aged 65 and up. This thesis strives to draw attention to the need for older adults to be included in the development of new technology.

In Cinema 1: The Movement-Image and Cinema 2: The Time-Image, Gilles Deleuze distinguishes two regimes of audiovisual thought. In the regime of the movement-image, such thought is constituted by two processes. The first, differentiation/integration, expresses a whole that changes through the intermediary of the shifting relationships between the objects and people on screen. The second, specification, gives images a determinate function in a sensory-motor schema, through which perceptions are linked to actions in rational intervals of movement. With the regime of the time-image, as I understand it, thought instead comes to mean, as Deleuze puts it in Foucault, to experiment and problematize, and “knowledge, power, and the self are the triple root of a problematization of thought” (95). It is my argument in this thesis that Deleuze’s work on cinema is of great utility in carrying out filmic analyses that seek to detect and draw out the consequences of strategies of filmmaking that make knowledge, power, and self problematic. Furthermore, such a mode of analysis is particularly valuable in attending to new films that confront us with novel means of organising problematic audiovisual thought. My arguments are made through consideration of two films each from four directors: Wong Kar-wai, Nuri Bilge Ceylan, Pedro Costa, and Apichatpong Weerasethakul. While there are many important differences between the works of these filmmakers, their films nevertheless lend themselves to an approach that seeks to determine how thought becomes problematic in specific cases. Similarities and resonances are brought out between these films and those that Deleuze uses himself in making his arguments and shaping his concepts, but I also identify new problems that we encounter in the works of these filmmakers, which extend the range of meaning of some of those concepts. One such concept that is of particular importance in this thesis is “belief in the world”. There is always something in those films that pass into the regime of the time-image that is asystematic, which breaks up and multiplies thought, multiplies the thinkers we are made to inhabit. Our relation to the world of the film is therefore unstable and uncertain, and calls for belief, since films themselves in this regime produce new links between humans and the world, rather than firmly establishing a realistic state of things, a temporal and spatial matrix that accords with that which we experience in everyday existence. Such films thus make us receptive to a thought different from that interiorised thought through which, as Nietzsche writes, the apparatus of knowledge abstracts, simplifies, and takes possession of the world and others (Will, no. 503, 274).

There has been an emergent trend in literary studies that challenges the tendency to categorize our approach to literature. This new investment in the idea of "world literature," while exciting, is also both theoretically and pragmatically problematic. While theorists can usually articulate a defense of a wider approach to literature, they struggle to develop a tangible approach to such an ideal. By examining Ezra Pound's critical approach to poetry, especially in The Cantos, an applicable visualization of a global approach to literature becomes more transparent.

As human beings we are continually interacting with the landscape, and have been doing so throughout the entire course of our evolution. This thesis specifically investigates the way in which hunter-gatherers negotiate and interact with their landscapes, focusing on three patterns of behaviour: wayfinding, mapmaking and territoriality. An examination of the relevant international literature reveals that globally, hunter-gatherer groups both past and present share a number of similarities with regard to their wayfinding and mapmaking techniques, territorial behaviour. A case study of Maori interaction with the landscape of prehistoric and protohistoric Te Wai Pounamu [the South Island] provides further support for the central argument that hunter-gatherers collectively negotiate and interact with the landscape in distinctive ways. This is contrasted with the interaction of European explorers and travellers with the 19th century landscape of Te Wai Pounamu in Chapter 5. It is determined that hunter-gatherers use detailed cognitive or 'mental' maps to navigate their way through a range of landscape from dense forests to barren plains. These maps often consist of sequences of place names that represent trails. These cognitive maps are most commonly developed through direct interaction with the landscape, but can also be formed vicariously through ephemeral maps drawn with the purpose of communicating geographical knowledge. Prior to European contact, little importance seems to have been given to artefactual or 'permanent' maps within hunter-gatherer societies as the process of mapmaking was generally regarded as more significant than the actual product. Although the literature on hunter-gatherer territoriality is complex and in some cases conflicting, it is contended that among a number of hunter-gatherer groups, including prehistoric and protohistoric Maori in Te Wai Pounamu, interaction and negotiation with the landscape was/is not restricted to exclusive territories marked by rigidly defined boundaries. Among these groups, a specific method of territoriality known as 'social boundry defence' was/is employed. This involves controlling access to the social group inhabiting an area rather than access to the area itself, as with groups utilising the territorial method of 'perimeter defence'.