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    Enriching spaces : a methodology for enhancing interaction between the user and their spaces in an Indian context : an exegesis presented in partial fulfilment of the requirements for the degree of Master of Design, Massey University, College of Creative Arts, Wellington, New Zealand
    (Massey University, 2018) Verma, Vrinda
    The longing for a personal space that serves as a sanctuary correlates with the current lack of engagement between the users and their spaces in the urban living of India (IES, 2018). Currently upper-middle-class families in India engage in the philosophy of materialism with their luxurious way of living to create this sense of retreat in order to be comfortable and satisfied (Hudders & Pandelaere, 2012). Drawing on minimalist theory to appertain a heightened value, this research introduces an amalgamation of Indian luxury strongly influenced by the Mughal dynasty with usability to enhance the connectivity of the user with their spaces. This practice led research project was derived from an autoethnographic case study of my family in India. Analysing the existing spaces and objects to develop a made to order site-specific active object, utilising the precision in craft and rich materials from Indian luxury with simplicity and clarity regarding minimalism through design thinking. To actualise this, the scope of innovation on an existing object has been identified from the case study through methods of spatial and ritual analysis, i.e., how the presence of an active object enhances or restricts the interaction between the user and their spaces. Furthermore, the research findings can be offered as a service to accommodate personal needs of India’s upper-middle-class families.
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    Function, understanding and assessment : a functionalist interpretation of the assessment of art : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Philosophy at Massey University
    (Massey University, 1994) Anderson, Matthew Lionel
    The purpose of this thesis is to develop a functionalist interpretation of the assessment of art. In the following chapters I will explore the idea that we can assess the value of art works in terms of the various functions that they serve. Rejecting the idea that the value of art works lies in some kind of metaphysical value, I suggest that art works are valuable because we value them. We value them, I argue, on account of the various artistic functions that they perform. The purpose of chapter one is to set the scene philosophically, by explaining in greater detail what is involved in a functionalist interpretation of the assessment of art. In this chapter I suggest that the primary objections to my framework of assessment derive from the idea that only aesthetic considerations are relevant to assessment. In response I argue that this idea, which is central to both modernism, aestheticism and formalism, is based upon an unacceptably narrow conception of the nature and purpose of art, and should be rejected. In chapters two to six, I discuss in detail five of the more important non-aesthetic functions of art, providing examples which help to illustrate their contribution to the value of art works. Together these functions help to show that the idea that only aesthetic considerations are relevant to the assessment of art is unacceptably restrictive. Chapter two is a discussion of the idea that a central function of art is to represent the objects of reality. I argue that the concept of representation as ordinarily construed has serious difficulties, and is based upon assumptions which we are better off abandoning. I suggest that it would be better to conceive of art as a vehicle in which we can present ideas, depictions, and conceptualizations of various aspects of our understanding and experience. Such 'presentations', I argue, can be valued for the way in which they provide insights into different aspects of the world, and thus contribute to our understanding. In chapter three, I show that an important dimension of the value of art can be the way in which art works function to express cultural and spiritual beliefs and values. In chapter four, I discuss the way in which art can function to act as a vehicle for the expression of social and political ideas. In chapter five, I show how the moral significance of an art work can contribute importantly to its value, and in chapter six, I discuss the relevance of the expression and arousal of emotion to the value of art works. In chapter seven, I return to discuss the importance of aesthetic considerations to the assessment of art. I suggest that although it would be difficult to sustain the argument that aesthetic merit is a necessary component of artistic value, it is nevertheless true that aesthetic considerations play a particularly important role in the assessment of art works.
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    The aesthetics of immersion : time, process and performance in practice : a thesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand
    (Massey University, 2003) Munnelly, Lisa
    The initial impetus for this inquiry stemmed from a visit to the group multimedia exhibition entitled 'In the Shed.com', which was part of the Wellington Fringe Festival in 2001 What particularly struck me with this show (described as an interactive upload of image layers and process) was how the paintings in it were completely overwhelmed by the accompanying digital projections. With this in mind I returned home later that night watch the current affairs show.'Nightline'.which previewed another exhibition on in town. The camera accompanied by some upbeat techno mix swooped, spun, jerked and ducked as if the cameraman was more inspired by the soundtrack than the work, which hung on the wall impassive, or helpless in its attempts to arrest the darting gaze of the camera. On reflection, I saw in this an alignment to Walter Benjamin's views that 'the masses seek distraction whereas art demands concentration from the spectator'.(Arendt 1970:241). Studies on perception which show that motion has the greatest appeal to our senses led me to pose the question; how could the static artwork compete against the innate attraction of the moving image? Theories around what is called the "aesthetic experience" point out, that for a viewer to really engage with an artwork, the information contained within it must engage with information already stored in the viewer's mind. I saw this strategy being employed by artists such as Cindy Sherman and Peter Doig, whose work plays with the well known imagery of classic film genres, acting as contemporary versions of historical painting which portrayed widely known religious grand narratives. However the strategy of using a pictorial narrative to hold the viewer's attention in my own work became problematic as the question of what to show became overpowering. To free my work from such pictorial subservience, I turned to minimalist and process art practices for inspiration.Following the likes of the artist Lee Lozano, I drew up an action plan of verbs; scratch, pour, layer, stack etc, and applied them to different media. Being engrossed in the physicality of different materials acted as a release from the constant decision making element of artistic production, while a prior acceptance that these action pieces were explorations rather than arrivals absolved me of the responsibility of needing to know the end before I'd even begun, thus allowing for the new and unexpected.
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    A new breed : wired for success : redefining the possibilities of solar powered electric fence energizers.
    (Massey University, 2014) Marks, Nicholas R
    Gallagher, world renowned for their electric fencing innovations, requested ways to develop their solar powered energizer range. The intent of this project was to work with Gallagher product specialists to identify key market gaps and use them to develop a conceptual design proposal for a new solar charged, battery powered electric fence energizer. Industrial design literature investigations provided a foundation for this project and specific methods were used to identify and utilize key information from the Gallagher product and energizer range and Gallagher’s competition. Other strategic research areas included; context of energizer use, common energizer issues, market gaps/opportunities, ergonomic principles, safety aspects, manufacturing guidelines and relevant state of the art technologies. The core research methods used to support the investigation and consider industrial design and business requirements were; market analysis, ethnography, surveys, informal expert interviews and focus group meetings with Gallagher departmental managers. Structured concept generation, test rigs, mock-ups, models, iterated design development and CAD renderings ensued. A potential market gap was discovered through these explorations where isolated farm blocks needed electric fencing, but had no mains power. The unit needed to be semiportable, yet had to have the potential power to supply the equivalent of mains powered energizer capabilities. Solar powered technology has widened the scope for design to solve this scenario, which provided the starting point for initial design concepts. The product was required to solve issues and objectives (functionality), be intuitive, easy to use and practical (usability), and appeal to the target market (desirability). The final design proposal is a modular energizer unit which allows the end user to customize the system to suit their individual needs. This investigation aimed to fulfil Gallagher’s brief to expand their solar powered energizer range, and uncover any other potential product opportunities in the market.