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    The art of living, retro-gradient jives : an exegesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand
    (Massey University, 2018) Tapsell-Kururangi, James
    Is there an art to living? To make meaning of the sober experience, the shortcomings of my present life. These works, albeit tell of the grief, love, longing, loss, dreams, of living. I try to resist the retrogressive forces of our contemporary cultural, social and political maelstrom. Explored through a series of performative and durational lived works; 1442 Hinemoa St 2017, my childhood home is now an Airbnb, an observation of the domestic home and the surround neoliberal forces in Aōtearoa. Poroporo Road 2017, a journey taken with my uncle to find my grandfather's tin of buried marbles, ontologically observing the Māori ritual of tikanga. An Intercity Bus Ride 2017, a queer passage of grief. FUN-RAZAR 2017, a convivial fundraiser with a latent nomadism, negotiating dematerialising art practice. Two afternoons spent in Mexico City 2017, participation in the tourism economy of Mexico City. Suncake, 2018 a ritualised sharing of cultural ecosystems. A Love Song 2018, a musical cathartic embodiment of grief. Tropical Lab 2018, a study of my mother’s oral histories and geopolitics of international socially engaged residencies. Nans home, an epistemological study of living. I document my humbling experience of what it has been like to frame life as art.
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    Filmic space : reverie and matter : a thesis presented in partial fulfilment of the requirements of the degree of Master in Design at Massey University
    (Massey University, 2005) Wang, Ying
    Filmic Space: Reverie and Matter is an exploration of how to provoke emotive qualities into interior space through filmic and digital techniques. It proposes that emotions can be evoked spatially into the interior realm. This research, which has been worked through a design process, consists of three spatial sites. The space of a film is analysed through details and views of the film, which provoke the emotions of its audience. The space of a place (a gallery) is analysed to explore how we can rethink the privacy of imagination and the temporal nature of emotions in a physical condition. The space of digital virtuality is studied for its ability to reproduce a material, water, into an immaterial form as a digital design work. These studies establish the fourth site, the space of an installation, where a film, a place and an element, water, merge in a full-bodied experience. The final exploration, the space of text, documents and reflects upon the whole research project. The emotive qualities of Filmic Space: Reverie and Matter interweave in the form of creative writing, which expresses personal feelings and emotions about a film, a place and the process of designing. Each site privileges the subjective over the objective. And like emotions provoked by bodies of water, the real can only be felt.