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Item Crossing disciplinary boundaries: An ethnographic exploration of academic publishing invitations.(Taylor and Francis Group, 2024-10-24) Severinsen CBackground: This autoethnographic study examines email invitations for health researchers to publish in journals outside their expertise, exploring implications for interdisciplinary research and knowledge production. Methods: Over three months, email invitations to publish outside the author’s field were documented and analysed thematically and through reflexive journaling. Results: Five main themes in publication invitations were identified: emphasising novelty, promising rapid publication, appealing to research impact, flattering language, and persistent messaging. Reflexive analysis revealed complex factors shaping responses, including publication pressures, desires for prestige, and tensions between disciplinary norms and interdisciplinary collaboration. While invitations may present opportunities for novel collaborations, they often reflect predatory publishing practices. Conclusions: Navigating this landscape requires careful discernment, commitment to academic integrity, and reflexivity about one’s positionality. The study underscores the need for researchers to critically interrogate the motivations behind such invitations. Further research could explore decision-making processes across disciplines and implications for academic publishing integrity and equity.Item Drum song and spirit mask : a multiple-eyed seeing Indigenous methodological framework for ethical documentary filmmaking ; Drum song : the rhythm of life : documentary trailer, treatment one sheet, and slide deck : a thesis and exegesis submitted to Te Kuenga Ki Pūrehuroa (Massey University) in Te Whanganui-a-Tara (Wellington) on Te Āti Awa (traditional Māori lands) of Aotearoa (New Zealand) in fulfillment of the requirements for the degree of Master of Creative Enterprise (MCE) within Te Rewa o Puanga (the School of Music and Creative Media Production)(Massey University, 2022) Moneymaker, KellyThis thesis explores cultural meaning-making in documentary filmmaking as a process that places storytelling in local hands by positioning the filmmaker as a listener-facilitator to find a space for mutual knowing between Western and Indigenous worldviews. The critical analysis applies an Indigenous, comparative decolonial lens to Multiple-eyed Seeing as it relates to creative arts practice and Indigenous methodologies that empower local Native voices to challenge popular conventions in documentary production. Creative arts pedagogies are studied while working with a transcultural framework, drawing upon Indigenous guiding principles of Inupiat, Māori, and Samoan peoples. Research methods include community-based participatory action research (CB-PAR), autoethnography, narrative reflection; and co-creative processes of collaborating with Elders, localhost, and crew members. This all grounds the ethical pursuit of cultural restoration, empowerment, self-determination, reciprocity, and agentic representation. This work is meant to support others wishing to co-create media with Indigenous communities. I submit this thesis to reclaim Indigenous voices through the process of documentary filmmaking.Item Violins, venues and vortexes : interrogating pre-reflective relationality in orchestral work : a thesis presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Management at Massey University, Manawatū Campus, Palmerston North, New Zealand(Massey University, 2022) Gilling, DavidThis thesis explores the social structures of organising through an analysis of pre-reflective relationality in orchestral performance across three exemplary settings. These are: the opening stanza of a performance by the orchestra in which I play; a highly regarded performance by a well-known orchestra and conductor; and a concert performed under the shadow of COVID-19. Within these contexts, the player’s relationship with instrument and score, the role of the conductor, relations between conductor and player, and the player’s relations with audience, artifact and colleague are discussed. The study draws on autoethnography and the descriptive phenomenological method of Giorgi (2012). This framework allows work practices that are specialized, tacit, and entrenched to be interrogated through the theoretical lens of Merleau-Ponty’s (1968) late ontology as represented by the constructs of reversibility, écart, and Flesh. The research contributes to organisational knowledge on three dimensions. The contribution to theory is made through the interrogation of the pre-reflective relational bonds in symphony orchestras, first between individuals and artifacts, and then between individuals and colleagues, which shape the inter-collegial ‘between space’ (Ladkin, 2013) where the organizing of performance – the music-making itself – happens. The contribution to method is made in the exploration of specialized personal experience for research purposes through Giorgi’s framework and Merleau-Ponty’s constructs, while the contribution to practice builds on this foundation by using Merleau-Ponty’s ideas to acknowledge the inanimate alongside the human and so offer a fresh starting point for the understanding of organizational relationality. This approach also allows orchestral performance to emerge as a primordially interwoven, inherently reversible meshwork of relational connectivity harnessed in pursuit of a collective purpose. As organizations look beyond COVID-19 to a world where the virtual and hybrid must be accommodated alongside the longstanding and traditional, holistic approaches such as the one offered here will resonate with researchers and managers alike as they come to terms with relational structures and organizational contexts transformed by the combined effects of pandemic-related disruption and technological change.