School of Communication Studies - Te Kura Whakapāho

Permanent link for this collection

https://hdl.handle.net/10292/1316
The School of Communication Studies is committed to innovative, critical and creative research that advances knowledge, serves the community, and develops future communication experts and skilled media practitioners. There is a dynamic interaction between communication theory and media practice across digital media, creative industries, film and television production advertising, radio, public relations, and journalism. The School is involved in research and development in areas of:
  • Journalism
  • Media and Communication
  • Media Performance
  • Multimodal Analysis
  • Online, Social and Digital Media
  • Asia-Pacific Media
  • Political Economy of Communication
  • Popular Culture
  • Public Relations
  • Radio

Browse

Browsing School of Communication Studies - Te Kura Whakapāho by Subject "36 Creative Arts and Writing"

Now showing 1 - 3 of 3
  • Item
    ’Asi – The Presence of the Unseen
    (School of Art and Design, AUT, 2022-01-27) Faumuina, Cecelia
    This paper considers an indigenous, methodological framework developed for my doctoral thesis, ‘Asi: The Presence of the Unseen. Defined as ‘Ngatu’ the framework employs the heliaki (metaphor) of women’s collective crafting of indigenous fabric, to structure an artistic research project. Ngatu is cloth made from the bark of the paper mulberry tree. Used for floor mats, bedding, clothing and room dividers it is also often given as a gift at weddings, funerals and formal presentations. Ngatu is considered one of Oceania’s distinctive art forms and processes. Within the study, the position of the researcher is both a creator of artistic work and a reflector on the experience and practices of other collaborators. The Ngatu framework enables a practice-led inquiry that is underpinned by indigenous principles: uouongataha (the pursuit of harmony), mālie/māfana (warmth and beauty) and anga fakatōkilalo (being open to learning). Guided by these values, the methodology employs five distinct phases: TŌ (gestation) TĀ (harvesting knowledge) NGAOHI / TUTU (preparing and expanding ideas) HOKO/KOKA’ANGA (harmonious composition), and FOAKI (presentation). The Ngatu methodology may be seen in the light of a significant discussion in 2019, where a gathering of Oceanic scholars considered a proliferation of Indigenous models of inquiry that had been developed by Pacific researchers outside of conventional Western research paradigms. Although much of the discussion focused on research emanating from Health and the Social Sciences, the use of heliaki to describe methodological approaches to artistic inquiry also has a discernible history in doctoral theses in Aotearoa/New Zealand (Pouwhare, 2020; Toluta’u, 2015; Tupou, 2018; Vea, 2015). The Ngatu methodological framework was applied to the question, “What occurs when young Oceanic people work together artistically in a group, drawing on values from their cultural heritage to create meaningful faiva (artistic performances)?” In posing this question, the thesis sought to understand how, ‘asi (the spirit of the unseen), might operate as an empowering agency for endeavour and belonging. As such, the study proposed that ‘asi which is conventionally identified at the peak of artistic performance, might be also discernible before and after such an event, and resource the energy of artistic practice as a whole. The Ngatu methodology was applied to two bodies of work. The first was a co-created project called Lila. This was developed by a team of secondary school students who produced a contemporary faiva for presentation in 2019. This case study was used in conjunction with interviews from contemporary Oceanic youth leaders, reflecting on the nature and agency of ‘asi, as it appears in their artistic workshops with young people. The second work was a performance called FAIVA | FAI VĀ. This was the researcher’s artistic response to the witnessed nature of ‘asi. The performance integrated spoken word poetry, sound, illustration and video design.
  • Item
    Podcasting and Ethics: Independent Podcast Production in New Zealand
    (SAGE Publications, 2023-07-02) Tennant, Lewis
    In New Zealand – like in the US and UK – independently produced podcasts fall outside of local media regulations. New Zealand’s media laws and regulatory bodies remain broadcast and legacy media-focussed, so podcast content that has not been previously broadcast is not regulated or otherwise overseen. In the absence of regulation, this study explores the ways nine independent podcast producers from New Zealand self-govern their content, as well as their motivations for doing so. It is an investigation of the ways ‘amateur’ content producers approach media ethics, and more broadly podcast production in practice. Not guided or bound by formal publishing or editorial responsibilities, and mostly with no formal media training, study participants demonstrate adherence to journalistic principles. They consider ethical and editorial quandaries as they arise during the production process, factoring in the needs and disposition of their audience. This process is informed by their worldview, as well as their perspectives and experiences as media consumers. Though these podcasters champion the ethos of independent podcasting, the content of their shows is not free from third party influence. These podcasters are also parents, partners, employees, and colleagues; life roles that inform the content of their show. Though they push back against podcasting being legislated, these podcasters see value in creating an informal set of guidelines or a voluntary code of practice for podcasting in New Zealand. This project contributes to ongoing explorations of independent podcasting and podcasting practice, focussing on what defines, motivates, and informs self-driven practitioners.
  • Item
    Second Nature, a Practice-Led Design Investigation Into Consumerism Responding to Sustainable Home Habits
    (Universidade Anhembi Morumbi, 2023-03-15) Chambers, Jade; Mortensen Steagall, Marcos
    This article discusses a graphic design project about unsustainable habits around the home and their effects on climate change. The article reflects on practice-led design research, asking: How can graphic design be used to provoke young adults to make positive changes towards their unsustainable consumer habits in their homes? The design project entitled: Second Nature - is an awareness campaign that combines the researcher’s passion for environmental sustainability and creative practice as a way of expression through graphic design conventions. The project responded to the research question with a communication campaign, consisting of a series of design artefacts, including a poster series, a zine set, social media presence and a website. The artefacts allow the audience to consider the negative impact their habits cause, providing ways to make small changes towards a more sustainable lifestyle. In conducting the study, reflective and heuristic enquiry was utilised as an approach to problem-solving. In the enquiry, the project employed methods such as contextual review of knowledge, mind mapping, sketching and mock-ups to ideate, reflect and test. The article adopts a commentary on practice and evidences the design decisions to the context, including how the artefacts engage with the audience. The research contributes to the current discourses about climate change in a world dominated by consumerism, proposing and unpacking how an awareness campaign can be used as a tool to combat the depletion of our greater home, earth.
Items in these collections are protected by the Copyright Act 1994 (New Zealand). These works may be consulted by you, provided you comply with the provisions of the Act and the following conditions of use:
  • Any use you make of these works must be for research or private study purposes only, and you may not make them available to any other person.
  • Authors control the copyright of their works. You will recognise the author’s right to be identified as the author of the work, and due acknowledgement will be made to the author where appropriate.
  • You will obtain the author’s permission before publishing any material from the work.