Browsing School of Art and Design - Te Kura Toi a Hoahoa by Issue Date
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- ItemManaging heuristics as a method of inquiry in autobiographical graphic design theses(NSEAD/Blackwell Publishing Ltd, 12 JUN 2011) Ings, WThis article draws on case studies undertaken in postgraduate research at AUT University, Auckland. It seeks to address a number of issues related to heuristic inquiries employed by graphic design students who use autobiographical approaches when developing research-based theses. For this type of thesis, heuristics as a system of inquiry may provide a useful approach because it engages the researcher in a process that affirms imagination, intuition, subjectivity and forms of creative/critical/reflective problem solving. When employed as a framework, heuristics offers a rewarding but challenging system for connecting investigation with the researcher's personal experience. This article provides a discussion of heuristic's applications, limitations and advantages in relation to a number of recent postgraduate theses in graphic design. Through this, it seeks to provide a useful reflection on challenges and opportunities inherent within it as a system of inquiry.
- ItemTime dancers(AUT University, 1999) Piper, GInvolves motorised movement and fibre optic lighting
- ItemA Red Line/ An aesthetics of process(The Writers Group, 2001) Engels-Schwarzpaul, A.-Chr.; Jotti, D.
- ItemImplementations in relation to sustainable development in industry and industrial design profession: a case of Arcelik corporation(AUT University, 2003-06) Gaziulusoy, IM.Sc. study deals with implementation of sustainable development in industry and industrial design profession specific to the case of Arçelik Corporation. The study, states the historical background of sustainable development and mentions existing challenges in relation to implementation briefly, in order to set the conceptual frame. After setting the conceptual frame, the study scrutinizes how industry and industrial design profession take action with respect to sustainable development; the drives and methods are investigated. The action taken and attitude adopted by industry in relation to sustainable development is important since, industry constitutes the economical basis of development and since, it is directly related with sustainable use of resources by determining production-consumption cycle. On the other hand, industrial design profession is an important agent not only for the provision of sustainability in industry as contributing in product development process, but also for society by the ability of influencing the cultural transformation necessary for sustainable development. The case study carried out about Arçelik Corporation, revealed that the Corporation does not involve issues related with sustainable development in its vision. In addition, the environmental policy of Arçelik is driven solely by European Union’s legislative requirements as a consequence of Arçelik’s present trade relationships. Therefore Arçelik’s environmental vision is insufficient with regard to sustainable development. Nevertheless, the employees of Arçelik seems as being internalised this existing environmental vision. Yet, the employees taking part in product development and manufacture processes are almost illiterate about sustainable development and design approaches related with sustainability and environmental protection, and their knowledge about environmental effects of products is insufficient.
- ItemBoy(Room8, 2004) Ings, WBoy is Welby Ings' short film about a young male prostitute in a small New Zealand town who discovers the truth behind a fatal hit and run accident. When news of the death spreads through the district, the family of the responsible driver realise that the boy must be kept silent. Using local gossip they set out to frighten him into submission. The pressure becomes increasingly aggressive and through it the boy [who never speaks] battles to expose the truth. Boy was a multi-award winning experiment in poetic narrative as film. Between 2004 and 2007 it was officially selected in competition for over 50 international film festivals. It was also long-listed for the 2006 Academy awards after winning Best Short Film in the prestigious Cinequest International Film Festival. The film flows as a single, linear thread. Its aesthetic references stylistic approaches taken to advertising narratives in New Zealand [integrated colour palettes, editing rhythms and structures]. A significant feature of this approach is the highly condensed nature of the story. The narrative [which might normally be told as a 55 minute drama] is now heavily compressed into less than a quarter of that time. As a result edited sequences average out at 1.2 seconds in duration. The effect establishes an unusually condensed, dreamlike, visually rich form of storytelling that alludes to the world of music video and TVCs but uses these references to develop a very intricate, intensified form of storytelling. [35mm silent, short film with typography.]
- ItemProvocative coincidences: the question as style's dissimulating face - writing beyond the aporias of the subject(AUT University, 2006) O'Connor, MJacques Derrida’s text, Spurs: The Styles of Nietzsche is an interrogation of aspects of Nietzsche’s writings in reference to the question of “Woman.” And, we should not forget the complexity of engagements with quotation marks, and issues of citation that form a central tenet of the text. Equally the title could have been translated: Spurs: The Styles of Nietzsche, where Nietzsche is referencing not a German philosopher of the late 19th century but a text by the philosopher Heidegger, titled Nietzsche. Prefigured here, within a Derridian framework, is a question of style’s capacity for spillage, performance and, perhaps, ethics (Derrida/Levinas) via an essence of provocation. That is, this kind of provocation or questioning essentially exists as style’s attestation for undoing truth as correctness. Within this coincidence of style with provocation we find resonances between literature and philosophy. Ultimately, this paper is engaged with these disciplines and the slippages and questions they have to offer each other via style’s performative agency — that is, when style operates at the limits of itself. In doing so, this paper explores via its performative engagement the provocative coincidences across Joan Copjec’s writing in Imagine There’s No Woman, and Derrida’s ‘At this Very Moment in This Work Here I Am’ never straying too far from its original Spur. An arrangement chosen as these texts activate philosophically a literary motif (Antigone) for ungrounding questions of woman and death in relation to ethics and style. Copjec is centrally concerned with how to deal with a Lacanian concept of woman and Derrida, more directly concerned with Levinas’s secondary dealing of woman as concept. This paper attempts through its performative clotural reading to evoke the coincidence of woman and style as “existence” within a world of immanence — writing beyond the aporias of the subject — beyond proposition.
- ItemSilence and forgetting(AUT University, 2006) Engels-Schwarzpaul, A.-Chr.; Robertson, NNo abstract.
- ItemGenius loci(AUT University, 2006) Jackson, MNo abstract.
- ItemDistancing oneself(Fourth International Conference on New Directions in the Humanities - 2006, 2006) Jackson, MIn his translator’s introduction to Heidegger’s two-volume publication, Nietzsche, David Farrell Krell recounts that on its original German publication, the spine of the book simply had the two names Nietzsche/Heidegger, in the same font and type size. A perplexed reader may have wondered whether this was indeed a book about or by Heidegger. And for the great philosopher of distance and the distanz of distance, of distancing and de-distancing that we read in Being and Time, “confrontation” with Nietzsche enters a complex realm of relations to the self of one’s self. Indeed, for Heidegger, it was not Nietzsche thinking and writing but Being itself revealing itself thought the thinker. This theme or question of distance for both Nietzsche and Heidegger is foregrounded in the slim volume by Jacques Derrida, Spurs: The Styles of Nietzsche. In bringing Heidegger and Neitzsche into proximity precisely on the question of distance and proximity, Derrida aims to leverage for Heideggerian “appropriation” an ontology of sexual difference via Nietzsche’s ‘Woman’. Is Nietzsche appropriated here for Heidegger? The complication, or complicity in Derrida’s text lies in his attempt to read Heidegger or at the very least Heidegger’s Nietzsche (and Heidegger’s Nietzsche which would not quite amount to the same thing) as a question of styles, dissimulations or plays. This paper aims to trace Derrida’s complex weave of “giving” and “giving for”, of giving and taking, that is given as style’s ‘proper’ name, which for Derrida is Heidegger’s proper ‘Woman.’
- ItemFrontiers of shame and repulsion(Enigma, 2006) Engels-Schwarzpaul, A.-Chr.
- ItemWoven Flesh(Enigma, 2006) Refiti, A.
- ItemCollectivity(School of Architecture and Planning, University of Auckland, 2006) Douglas, CA reading of a text by John Donne provides the grounds for a consideration of several senses of the word 'matter': physical matter (something is matter); significance or importance (something matters); and a state of affairs (something is a matter that concerns us). Architecture, I suggest, is a practice of mattering. The importance of 'material thoughts' in the practice of the studio is asserted to be central to collectivity and collaboration.
- ItemDisagreement does not take place: on Blanchot's site of contestation(AUT University, 2006) O'Connor, MThis seminar engages with an outside to representation via Maurice Blanchot's notion of le neutre; "this non-power that would not be a simple negation of power" - but the suspension of the dialectical economy. Further, one might suggest that disagreement would only be possible on the premise of agreement. More radical that disagreement would be the neutrality of the il y a of a passivity that would invoke a radical indifference to agreement itself, that agreement and its binary opposite would not take place. The paper engages with the primordial interruption implied in Blanchot's radical notion of contestation, as a 'politics' of le neutre - a radical gesture that is vital to his approach to language and literature, ethics and politics.
- ItemAnthony Hoete: Bovine Buildings(Enigma, 2006) Engels-Schwarzpaul, A.-Chr.; Jenner, R.; Refiti, A.
- ItemDesigning a design-savvy nation(AUT University, 2006) Yap, LDesign is increasingly becoming a key business activity that interacts with science, technology and culture to enable innovation to take place. The notion that design is a key enabler for wealth creation, global competitiveness and economic growth is gaining momentum. Governments, corporations, businesses and universities around the world are now exploiting creativity and innovation to sustain global competitiveness. The importance of design lies not only in the design of individual products, services or systems, but rather in the whole process of design strategic thinking in which design is seen as a significant business and economic imperative for innovation. Design thinking and the ideation, design and development of emotional delights, experience and dreams are the new forces for increasing the value of goods and services of a nation. Innovation is becoming the greatest asset. In the new economy, a creative workforce will enable a nation to positively integrate its products and services into global value chains –forging new competencies, developing niches, and establishing a high profile, national identity, brands, jobs and wealth, and partnership or cluster participations in creative activities between education, industry and government sectors. National design policies are important strategic plans for directing and improving a country’s design and innovation competitiveness. They help to drive economic competitveness, develop innovative businesses that generate significant employment, high-value-added goods and services, and sustained technological progress. This presentation will discuss these forces in detail, and highlights the bold New Zealand national design policy designed to transform an agriculture economy into a design-savvy nation.
- ItemIntroduction(Enigma, 2006) Engels-Schwarzpaul, A.-Chr.; Jenner, R.; Refiti, A.
- ItemSeismic stories(The Australian Centre for the Moving Image, 2006-02-03) Robertson, NToday, I will speak of the dead and so I acknowledge nga mate, those who have gone before. This is dedicated to my schoolmates and the other Kawerau kids mentioned today who have passed away. Uncle Tasman - The Trembling Current that Scars is a contemporary moving image art project in progress from Aotearoa/New Zealand that interweaves a visual narrative of volcanic and geothermal activity with Maori cosmology and the environmental impacts of local pulp and paper industry. As the project takes shape, I anticipate that the soundtrack will draw out narratives from local Maori, mill workers, townspeople, activists and environmentalists who can tell of the destruction of the eco-system and the desecration of sites of significance. The story I present is one-sided and is based on my first-hand experience of growing up in Kawerau, a “mushroom” town, established in the 1950s as home to the Tasman Pulp and Paper Mill. Kawerau is in the Eastern Bay of Plenty in the North Island of New Zealand, or to describe it from a Maori perspective, is in Ngati Awa territory in the shadow of the sacred ancestral mountain, Putauaki, on Te Ika a Maui - the island known as Maui’s fish. Maui is known widely across the Pacific as a discoverer of lands, as well as a trickster demi-god.
- ItemDocumind(UCD Clinton Institute for American Studies, 2006-06-29) Ho, KTThis paper uses a series of photographs taken during the historical handover of Hong Kong in 1997 to suggest an alternate concept and approach in photography. Born and brought up as a Hongkongese and now working in a Western country, my passion about the handover is intricate and ineffable. The paper positions the writer as an academic reflecting upon my practice as a photographic artist. It suggests the re-consideration of the documentary approach to the ‘urban real’. It is intended to contribute to the ongoing dialogues of the authenticity of representation of documentary photography in a technologically driven environment. Through a series of eleven ‘paired photographs’ that includes both ‘straight’ and digitally edited photographs and adapts a Chinese philosophical idea of ‘continuity and mutation’ [!"] by Liu Hsieh’s [#$] classical treatise in literature ‘Wen-hsin tiao-lung’ [%&'(], I suggest the idea of ‘Documind’ as an approach in documentary photography. The Documind approach transcends documentary and allows the photographer as the creator of the work to document the intrinsic passion from an insider’s point of view and express the primitive sentimental relationship between the photographer and the city. This approach is not new. However, through the interweaving dialogues between the concepts behind the practice and their influences in the contemporary context of documenting the urban real, I address the flux of the role and representation of documentary photography.
- ItemThe Barricades Commission(Cheshire Architects Ltd, 2006-08) Douglas, CThe initial drawing in this series was a response to the Auckland Architecture Association Urban Gaze 2006 competition, which invited spatial speculations on the city themed around the concept of the 'gift'. The work suggested, in line with Jacques Derrida's writing on gifts, that the truest gift was something without expectation of repayment, and that giving may overlap in strange ways with claiming. The drawing was awarded second prize. Along with two subsequent drawings, it became part of my research into barricading as a "redistribution of the sensible" (Rancière). The series won a contest on the high-profile website BLDGBLOG, and was published in Block, the newsletter of the Auckland Branch of the New Zealand Institute of Architects.
- ItemStreaming. An intelligence agency for an unspecified city in a hot climate. Competition entry for Auckland Architecture Association Cavalier Bremworth Awards 06(AUT University, 2006-11-12) Douglas, CThis competition entry for the AAA Cavalier Bremworth Awards 06 was an exploration of the use of pattern generation and interference patterns in generating operational architectural space. It sought to create strategic inefficiencies as a contribution to the capacity for imagination in the institution it housed. A in-situ cast concrete shell is proposed, which would be partitioned and filled in according to the specific needs of the agency (a sample program is given on the far right). The subtle misfitting of the heirarchical program and the concrete shell will promote mismatches and shortcuts through the hierarchy in an attempt to multiply the accidental meetings: noticing a piece of paper on someone's desk; meeting someone over the watercooler; double-bookings of meeting rooms; encounters in the corridor; one department overflowing into the next. The building is apprehended through circulation. It is not a building which shows you your place. Although local fixity may be found in the circles and niches, movement reveals the continual streaming-away of the architecture. The project built on techniques and processes I developed for my previous project "Offshore" (2004), which won a Open Category Award at the AAA Cavalier Bremworth Awards.