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Item An airport for Wellington : factors influencing the development of the Wellington International Airport at Rongotai : a thesis presented in partial fulfilment of the degree of Master of Philosophy in History at Massey University(Massey University, 1994) Wood, George EdwinAir transport services have four main components - aircraft, runways with the corresponding handling facilities on the ground, the system installed to ensure safety of the aircraft in flight, and staff to operate the service. This study will focus on the provision of landing and take off grounds and airport facilities for aircraft operating at Wellington up to the opening of the Wellington International Airport in 1959. Reference will be made in passing to aircraft and their needs because airports must be designed to cater for their requirements. Reference will also be made, but only briefly, to the services needed to provide for safety, such as radar and weather forecasting. Aircraft operated at Rongotai from 1911, but little air activity occurred for many years. In 1934, an investigation was undertaken to select a site for an airport to serve Wellington, and Rongotai was recommended but many years were to elapse before the Wellington International Airport was opened in 1959. Prior to this, Wellington was served by a variety of facilities - Rongotai aerodrome, a twin airport complex of Rongotai and Paraparaumu, Paraparaumu alone as an interim airport while the Wellington International Airport was under consideration and construction, and the flying boat base at Evans Bay. [From introduction]Item I'm going where the cold wind blows : 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, 2017) Hadwen, W W A"What is time without conscious perception? Quotidian spaces within seemingly lifeless environments we wouldn’t typically think to consider, are brought to light, not for their potentially sinister value, but for an appreciation of the fleeting traces of life. What small events take place that define time passing? How do we affect what we don’t consider? I am drawn to the calm of night-time, when what is left behind, the traces, become the inhabitants of these urban settings. It is what we leave behind that lingers. An idea which I have been further developing during my MFA is the notion of time-based photography, which has become the main drive of the physical processing of my art practice. This concept in particular has acted as an appliable medium which can be crafted to work with sound or silence, projection, both photographic and time-based installation and is experiential for the audience. Over the past three years I have been conducting photographic studies of these sites within urban and industrial settings, searching for mundane, generally non-specific, anonymous sites that present interestingly lit structural, textural and overall compositional properties. The work I make comes from a basis of documentative nightscape photography, while formally considering light, site, trace and time. With introduced aspects of fiction and subtle augmentations of the imagery, I simultaneously capture and create my experiences to be presented in an isolated, dramatised, distinctive viewing space. A large part of my work, I have found, is more instinctive and spontaneous - looking for happy coincidences. My research is centred around artworks and installations, film, music, writing and experiences which I have been inspired by, the things which I feel my work and interests resonate with and that I can often see similarities to. In July of this year I was part of a group that embarked on a European Fine Arts Study Tour while three international art events were coinciding – this only happens once a decade. 2017 was a special year too, as one of the events, Documenta 14 was split between Athens and Kassel, Germany. The tour began in Athens, then on to the Venice Biennale, followed by a short visit to Berlin. The bulk of Documenta 14 was in Kassel and we finished at Skulptur Projekte in Münster. The tour lasted twenty-one days and involved viewing a large and diverse range of artworks most days. As a result of this, I was able to see a lot of work that I connected with, recording and researching as we went. This gave me a huge range of compelling works to choose from to suit my exegesis, and has heavily impacted on my practice as an artist, both conceptually and in the physical making and installation processes. Now, more than half of my artist research and the final imagery that I intend to work with was found and made on that amazing tour. I feel that my artistic ability and self awareness has gone through a sort of metamorphosis."Item Displaced rhythms and harmonic dissonance : Master of Fine Arts research exegesis(Massey University, 2017) Matthew, David WilliamDisplaced Rhythms and Harmonic Dissonance provides a discussion of environmental practices and identity, highlighted by exploration into the expanded fields of music, noise and sound production, tattoo, sculpture, video, and performance.Item Whanaketanga/Evolution : exhibition report for Masters of Māori Visual Arts at Massey University, Palmerston North, New Zealand(Massey University, 2017) Morgan, Tracey"Whanaketanga | Evolution, focused on technical construction and application using various materials. As art evolves, we find new ways to express concept, thought and imagination. This Exhibition Report is aimed at maintaining customary concepts and techniques using new materials, not customarily associated with Māori weaving such as cane, chain, screen mesh, perspex and plastic. Whilst the customary use of Māori woven taonga serves a utilitarian purpose, the challenge was to show new ways of thinking aimed at creating new forms of art not necessarily seen before. This biography of a decade of practice as a weaver begins with works completed over the past two years, submitted and exhibited as part of the Master of Māori Visual Arts journey. The exhibition is supplemented by previous works to demonstrate a personal evolution into new works employing non-customary materials."--ForewordItem Whāriki : beyond simple : an exhibition report presented as partial fulfilment of the requirements for the degree of Masters of Māori Visual Arts, Massey University, Palmerston North, New Zealand(Massey University, 2016) Henare, Te Hemo AtaThis thesis/exhibition report is an explication of the significance and relationship of Kai rāranga, rāranga whāriki and their relationship with whānau, hapū and iwi. It explores the impetus behind and relationships important in, and to the production of whāriki. Through the exploration of these relationships the necessity for whāriki wānanga throughout Aotearoa and having wānanga as the preferred medium of imparting knowledge pertaining to rāranga whāriki and for continuity in the production of whāriki is emphasised. It touches on the Māori convention of tono that facilitates interaction between the Kai rārangaresearcher and the Kai tono-researched negating the sometimes invasive convention of ethics approval and formalised contractual obligations. It follows the pathway of author and Kai rāranga, Te Hemo Ata Henare’s, coming to be of her mahi whāriki practice. It is an intimate account that extends from function and technique to foundational connectivity to the wider roopu whāriki and those who have preceded us with templates of excellence that recognise the importance of the whakapapa of Māori whakaaro, our epochs and eons of transcendent time and the interconnectedness of all things in and through these patterned processes (Jackson, 2013; Marsden, 2003; Tamanui, 2013). As Karani Sonny Pāpuni said; “…you take this whāriki home with you and then a piece of us will always be with your whānau” (Mate ki Tātahi [Sonny] Pāpuni, personal communication, May 17 1991). A clear objective emerging out of this research exercise was to produce a body of work in the form of an exhibition of whāriki and to produce a pictorial and written explication of the process and praxis of whāriki wānanga. However, through the research process, I was returned; i hoki atu ki te timatatanga ō oku mahi, so I could come to know and be. The theme that emerges through rāranga whāriki is the inseparability and the multiplicity of whakapapa and/or whanaungatanga that the Kai rāranga embodies essential for the continuation of the praxis of rāranga whāriki that can only be described as extraordinarily ‘Beyond Simple’.Item Islamic State, Syria's civil war and the reshaping of the Middle East : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Defence and Security Studies at Massey University, Manawatu, New Zealand(Massey University, 2017) White, MichaelThe Islamic State grew out of the ashes of a defeated al-Qaeda in Iraq. The continued conflicts in Iraq and Syria have provided the catalyst for a resurgent Islamic State. Syria’s civil war has allowed the Islamic State to remerge like a terrorist phoenix, reborn from its own ashes. This thesis analyses the origins of the Islamic State, and the geo-political conditions and on-going conflicts in Iraq and Syria which have permitted the growth and expansion of the Islamic State. It also analyses how the fight against the Islamic State is changing the security environment within the Middle East.Item Tūhono : the United Collective : an exhibition report presented in partial fulfilment of the requirements for the degree of Masters of Māori Visual Arts, Massey University, Palmerston North, New Zealand(Massey University, 2018) Hauraki, Glenn DouglasThis exhibition report provides a detailed outline of the pathway undertaken to complete the requirements of a Masters of Māori Visual Arts Thesis and the presentation of works Tūhono in December 2017. Tūhono explores the combination of tikanga Māori and customary techniques alongside modern and contemporary processes. The three pou whakairo were developed to align with the kaupapa Te Kore, Te Pō, and Te Ao Mārama. A range of tools and techniques, both traditional and contemporary were used to explore the medium.Item "Lasses, live up to your privileges, and stand up for your rights!" : gender equality in the Salvation Army in New Zealand, 1883-1960 : a thesis submitted to Massey University in fulfilment of the requirements for the degree of Master of Arts in History(Massey University, 2017) Hendy, RaewynThis thesis evaluates The Salvation Army’s claim that women and men had equal status in the organisation, in the light of research from elsewhere in the world that women did not have genuinely equal opportunities in the organisation. It examines the gender history of The Salvation Army in New Zealand from the time of its arrival in Dunedin in 1883 until 1960 with its primary aim being to determine the nature and extent of gender equality in the organisation during this period. In order to do this, it examines the roles, opportunities and responsibilities offered both to male and female officers; discusses how women and men were portrayed in official publications, primarily the New Zealand edition of The War Cry; and looks for both obvious and subtle signs of discrimination against women officers. It also attempts to uncover traces of the voices and stories of the women who served The Salvation Army in New Zealand. Throughout the period under investigation women officers made up a very high proportion of Salvation Army officers in New Zealand. Prior to World War One, particularly in the period from 1883 to 1900, women officers were able to participate in most aspects of the work of The Salvation Army in New Zealand, with positions appearing to be allocated on merit and availability rather than on gender. Over time however and particularly in the years from 1930 to 1960, women officers were increasingly relegated to positions in smaller corps and into roles involving the care of women and children. Married women officers were often treated as subordinate to their husbands and offered limited opportunities within the organisation. The Salvation Army increasingly conformed to, rather than challenged, the gender mores of other religious denominations and of New Zealand society more generally. Therefore, I conclude, that on balance, although there were occasionally some exceptional women, and at some points, particularly during the years prior to World War One, a degree of equality, that The Salvation Army in New Zealand largely failed to offer equality of opportunity, or equal roles, responsibilities and status to its women officers.Item "Comic self-consciousness" : oblique approaches to the elegiac : a thesis presented in partial fulfilment of the requirements for the degree of Master in Creative Writing at Massey University, Albany, New Zealand(Massey University, 2017) Fulton, Kim JenniferThis thesis, composed of a collection of poetry and a critical essay, explores the contemporary elegiac poem. Whereas traditional elegists focused on death, contemporary elegiac poems deal with loss in a broader sense. The challenge contemporary elegiac poets take on is to engage with feeling but without veering into sentimentality. In the critical portion of this thesis, “‘Comic self-consciousness’: Oblique approaches to the elegiac,” I explore how two contemporary poets, Billy Collins and William Matthews, approach loss indirectly to evade sentimentality. Specifically, I argue that Collins and Matthews, both of whom are noted for their elegiac orientation and their use of wit, engage with loss through three strategies: the postponement of acknowledging the loss central to the poem, the use of incongruities manifesting as humour and irony, and by gaining the reader’s complicity through the use of metapoetics. In the creative portion of the thesis, “Farewell, My Lovely,” I have drawn inspiration from the strategies modelled by these two poets to engage with at times light-hearted or ironic approaches to loss—via wit, irony and at times metapoetics—to produce a collection of elegiac lyric poems that approach loss indirectly.Item Ghosting about : exegesis for MFA at Massey University(Massey University, 2017) Steelsmith, Mark AntonyThere are more things I have forgotten than I care to remember, yet, I go looking for them. My work uses light, sound, cardboard boxes and ghosts to help me remember. It is an exploration of memory and daydreaming whilst wandering around the urban-scape of Wellington. Memory has a disruptive influence on the architecture and spaces we occupy. Using Mark Fisher’s lost futures version of Hauntology I investigate how my memories have been tied up in a particular part of the city. I use ghosting as my framework to look through windows, peer into the past and imagine the future that never was. My mobile phone has become a note taking device as I go “ghosting those same streets”.