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    Wind turbine infrasound: Phenomenology and effect on people
    (Elsevier B.V., 2022-11-25) Flemmer C; Flemmer R
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    Being big, becoming small : conversations with Māori women about weight loss surgery : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Social Anthropology at Massey University, Albany, Aotearoa, New Zealand
    (Massey University, 2019) Joensen, Clare
    Weight loss surgery is increasingly being used to combat obesity, resulting in recipients becoming more visible in society. This in turn facilitates the normalising of what once would have been considered a radical medical procedure and the proliferation of discourse that more often than not measures success against models of slimness and appearance and underplays the downsides of surgery. Through the use of a narrative phenomenological approach, this research explores the experiences of surgery recipients, specifically Māori women, and asks the question; ‘how does the embodiment of radical change impact on relationality, interiority, conviviality, and ‘being in the world’?’ Through learning from Māori women, this research also explores how being Māori shapes experience both before and after surgery and in doing so, contrasts to literature which frames experiences of indigenous women through a Foucauldian lens of colonialism. I argue that, as Māori, these women are supported by the collective – significantly so – but also have to grapple with and push back negative discourses that leak into their world. I also argue that life post-surgery is entangled with both liminality and potentialities; precarious, unsettled and unsettling, while being simultaneously imbued with hope and focused towards an extending future. Surgery does transform bodies through enabling tremendous weight loss but also transfigures far more than it is designed to do.
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    The arc of the moral universe bends towards justice : evangelical Christians engaging with social justice : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Social Anthropology at Massey University, Palmerston North, New Zealand
    (Massey University, 2016) Rivera-Puddle, Catherine
    This research explores how young evangelical Christians frame the concept of social justice, in particular relating to human trafficking. In the last fifteen years there has been a considerable increase in the number of Evangelicals who are becoming interested in, and participating with, initiatives that have an emphasis on social justice issues. This is a change from evangelical missionary activity which focuses mainly on proselytising and ‘soul winning’. My ethnographic research was conducted amongst of a group of young evangelicals who were students at a ‘justice based’ Christian training school in New Zealand. Fieldwork consisted of participant observation of the course lectures and interviewing fourteen students from eight different countries. I found the main motivator for the students’ interest in social justice were personal experiences they had with God where he ‘broke their heart’ over issues such as human trafficking. How they then engaged with social justice was mediated by digital technology, especially social media. They were also influenced by changing theology as to the character and nature of God, and what it means to be a Christian in a globalized world. Using Bruno Latour’s ‘modes of existence’ theory and Michael Jackson’s Existential phenomenological lens, I argue that social science needs to allow spiritual beings to be ‘real’ in order to understand the worldview of people like my participants, who order their lives through divine encounters and relationships with God. My findings showed that the literature on evangelicals and human trafficking is insufficient because the experiential nature of evangelical Christianity is not taken into account. Experience, rather than belief, is the primary motivation for interest in social justice for young evangelicals.
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    This is a journey into sound/bring the noise : 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, 2009) Cairns, Gregory John
    The aim of this thesis is to survey the discussions around the position of sound art within the broader arts, and to explore strategies and research areas within fine art and my own practice, so as to identify new areas of enquiry and develop my work within this field. I investigate the phenomenology of vision and hearing and contrast the different ways these two senses operate as primary sources of perception. I analyse the privileging of sight and the dominance of the visual in art institutions. Ideas of the literal and model subject within installation art are explored and the convergence of these subjectivities is overlaid with this phenomenological research, in order to develop a direction within installation art. The lack of authoritative sources in this field, beyond the few relevant texts, has meant that my research has employed respected new media and the Internet as a second tier of sources. I also analyse my own practice as an example of how sound art activates extramusical ideas. My research concludes that sound art has much to reveal to the broader arts community about perception and the creation of meaning, and also that there are many prospective avenues of enquiry within fine arts for the inclusion and analysis of audio based work. Keywords: sound art; phenomenology; hearing; privileging of sight; subjectivities; extramusical; perception.
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    Interactive cinema is an oxymoron, but may not always be
    (Game Studies, 30/09/2012) Veale KR
    "Interactive Cinema" is a term that has been associated with videogames within historical media discourse, particularly since the early nineties due to the proliferation of CD-ROM technology. It is also a fundamental misnomer, since the processes of experiential engagement presented by the textual structures of videogames and cinema are mutually exclusive. The experience of cinematic texts is defined, in part, by the audience's lack of ability to alter events unfolding within the film's diegesis. In comparison, the experience of videogames is tied inextricably to the player's investment and involvement within the game's textual diegesis, and within a Heideggerian world-of-concern. However, there has been a recent development that suggests a bridge between these two structures: texts which are less defined by their ludic qualities than by a set structure - but where the affective qualities of the experience rely entirely on the direct involvement of the person engaging with the text. These are a storytelling form which are neither "played" or "watched," and it may be that "interactive cinema" is an appropriate way of conceptualising these experiences.