Thematische Bibliographien / Art, New Zealand – 21st century

Auswahl der wissenschaftlichen Literatur zum Thema „Art, New Zealand – 21st century“

Autor: Grafiati

Veröffentlicht am 26. Juli 2024

Zuletzt aktualisiert am 26. Juli 2024

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Zeitschriftenartikel zum Thema "Art, New Zealand – 21st century"

Pauli, Dorothee. „Seeing Red and Feeling Blue: Social Commentary and Protest in the Work of Michael Reed“. Back Story Journal of New Zealand Art, Media & Design History, Nr. 9 (01.07.2021): 69–93. http://dx.doi.org/10.24135/backstory.vi9.65.

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Accounts of politically inspired art occupy the margins of New Zealand art history. The career of Michael Reed (born 1950, Christchurch) offers an opportunity to discuss how a New Zealand artist has responded to shifts in 20th and early 21st century global debates regarding social justice, economic exploitation, cultural domination and war. He works across a range of mainly print-based techniques but has also found international recognition for his technically innovative ‘medals of dishonor.’ Through his frequent involvement in collaborative projects, Reed has become part of national and international networks of artists who attempt to speak for the many victims of geo-political power struggles.

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Tahirsylaj, Armend, und Daniel Sundberg. „The unfinished business of defining competences for 21st century curricula—a systematic research review“. Curriculum Perspectives 40, Nr. 2 (05.08.2020): 131–45. http://dx.doi.org/10.1007/s41297-020-00112-6.

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Abstract Eighty-four articles are examined in this systematic research review, to provide a synthesis of the state of art with regard to educational research that focused on competence-based education (CBE) and curricula covering a period of 20 years from 1997 to 2017. Relying on PRISMA methodology and framed by discursive institutionalism, and curriculum and Didaktik traditions theoretically, the review was guided by two overarching research questions, focusing first on how much and what educational research on CBE approaches is available, and secondly, primarily in the present article, on the definitions that are reported in CBE research in terms of explicit and systematic versus implicit and tacit references, main educational perspectives/paradigms and academic versus applied orientation. Findings show Spain and New Zealand with most articles related to educational research on CBE, and identify four sources of competence definitions: OECD/DeSeCo, European Commission, national policy documents and the academic literature. It is concluded that there is still unfinished business for educational researchers in critically engaging with framing and defining competences for the twenty-first century, their causes, impact and consequences for schooling and learning internationally, as well as how CBE is recontextualised into specific national contexts.

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Walker, Shayne. „New wine from old wineskins, a fresh look at Freire“. Aotearoa New Zealand Social Work 27, Nr. 4 (08.11.2017): 47–56. http://dx.doi.org/10.11157/anzswj-vol27iss4id437.

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Recently, I re-read Freire’s (1972) Pedagogy of the oppressed and found his emphasis on love inspiring. I was left wondering why this is not often quoted regarding Freire. As an educator (University of Otago), regulator (SWRB), whānau worker and supervisor (NGO staff), I believe my work here in Aotearoa New Zealand is about creating contexts within which it is easier to love. I view love broadly as a set of attitudes, actions and thoughts. It produces a professional set of skills that is a personal journey of completion. I am not patient, tolerant or fair all the time, but I should at least try to be. Perhaps love in the context of professional relationships within the social work process is at the heart of a 21st century emancipation and liberation of Māori and other oppressed groups in Aotearoa. Freire understood that treating people as ‘fully human’ in the social work process was in itself an act of love, otherwise it would be dehumanising.In this article I will be discussing:conscientisation, colonisation, dehumanisation, historical trauma and intergenerational trauma;Freire’s (1972) notion of a ‘culture of silence’;identity;transformative relationships;love in social work;Freire’s virtues and qualities for social workers; andfully human practice.

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Vander Zwaag, Carrie. „21st-century learning a-buzz: Integrating and assessing an arts-centred STEAM approach to learning with apsicopes (beehives) in two Aotearoa intermediate classrooms“. Assessment Matters 16 (10.10.2022): 106–21. http://dx.doi.org/10.18296/am.0062.

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Integrated STEAM education (science, technology, engineering, art, and mathematics) has been shown to effectively foster global competencies as well as school and societal engagement for 21st century learners of diverse backgrounds. However, facilitating quality STEAM teaching and learning can be challenging for teachers, particularly in the area of subject integration and assessment. This is especially true in communities where value is placed on standardised testing and traditional single-subject forms of monitoring, measuring, and reporting on student knowledge. This article responds to the challenge for researchers and educators to develop novel approaches for authentic, integrated STEAM teaching and learning. We share the story of STEAM teaching and learning from within Aotearoa New Zealand’s first apiscope—living beehive—classrooms as teachers implement an innovative arts-centred STEAM teaching and learning approach to learning about bees. In this context, an unusual collaborative journey of students, teachers, researchers, and experts (scientist, beekeepers, artists) unfolds as they grapple with how best to integrate and assess STEAM teaching and learning that responds to students’ strengths and interests.

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Corbett, Susan. „Archives, Museums and Copyright Law: Reconciling the Traditional with Contemporary Practices“. Victoria University of Wellington Law Review 50, Nr. 4 (02.12.2019): 587. http://dx.doi.org/10.26686/vuwlr.v50i4.6303.

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By preserving and providing accessibility to cultural heritage, archives and museums have a crucial role in civil society. "Culture" is not a static concept; ideally, the practices of contemporary archives and museums should adapt to meet the changed expectations and cultural values of society. However, the limited permitted exceptions for archives in the Copyright Act 1994 are an obstacle to archives and museums attaining this goal. For example, the provisions are drafted from a traditional, analogue perspective, albeit with more recent minor changes in an attempt to acknowledge digital technologies. Furthermore, the permitted exceptions are confined to not-for-profit and state archives– a somewhat contentious limit in the 21st century when the Internet promises the means for cultural democracy. Museums are not mentioned at all. In addition, there is no legislative process permitting uses of orphan copyright works. This article explains how the permitted exceptions for archives could be amended in the upcoming review of the Copyright Act to better acknowledge and support cultural heritage institutions. It examines recent amendments in the Copyright, Designs and Patents Act 1988 (UK) and suggests that while some of these amendments would be useful for New Zealand to emulate, additional changes should also be considered.

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Poudyal, Chandra Sharma. „Virtual/Blended Delivery and the Future of Learning: A Reflection From Practice“. Journal of Education and Research 13, Nr. 1 (27.03.2023): 68–82. http://dx.doi.org/10.51474/jer.v13i1.664.

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This paper analyses teaching and learning practices in two diverse national contexts using reflection from experience. As an educator, I have experienced diverse teaching and learning contexts at different stages of my teaching journey. This diverse context experience, which ranges from my learning as a student in the traditional classroom environment in Nepal in the late 70s and early 80s with changing context of education delivery in early 2000 as an educator, and finally to the modern classroom environment with the virtual mode of delivery in the New Zealand tertiary sector, has encouraged me to reflect on my professional practice. I am using Mitra’s conceptual framework of the school in the cloud in my reflexivity. Sugata Mitra, through his school in the cloud concept, encourages disrupting the traditional system of education that acknowledges teachers as the core of knowledge. Instead, Mitra suggested that computer and the internet could act as a medium of knowledge without the active involvement of teachers. In this paper, I analyse and discuss how Mitra’s concept of self-organised learning could be applied to the future of learning in the 21st century.

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van Heugten, Kate. „Registration and social work education: A golden opportunity or a Trojan horse?“ Journal of Social Work 11, Nr. 2 (April 2011): 174–90. http://dx.doi.org/10.1177/1468017310386695.

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• Summary: The Social Workers Registration Act (2003) introduced a system of voluntary statutory registration of the social work occupation in Aotearoa New Zealand. This was hailed as a measure that would protect the public from unsafe practices, and enhance the status of the profession. More recently, however, commentators have noted that these positive effects may not necessarily be forthcoming. This article explores the impact of registration on educational programmes, by placing regulation of the occupation in the context of hegemonic neoliberalism. • Findings: Neoliberal approaches to social care not only constrain the delivery of services, but attempt to shape the perspectives of the social care workforce. Education is a potentially powerful tool for achieving that shaping. Where statutory regulation of social work is in force, competency based training threatens to supplant critical analysis, which is a hallmark of higher education. To retain viability as an academic discipline, social work educators must champion social work’s continuing role in analysing and theorizing the distribution of power in social welfare and social care. • Application: Social work educators have a role in supporting practitioners, who struggle to maintain disciplinary integrity whilst employed within 21st-century human services, by continuing to engage in critical debates, and advancing knowledge about the theory—practice nexus. In advancing such knowledge, they also have much to offer other disciplines in institutions of higher education that are looking to explicate their utility in the ‘real world’.

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Coutts, B. J., und D. B. Grant. „The New Zealand surveyor — the 21st century“. Journal of Spatial Science 54, Nr. 2 (Dezember 2009): 49–62. http://dx.doi.org/10.1080/14498596.2009.9635178.

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Swan, Stan. „Electronics education in New Zealand: 21st Century developments“. Electronics Education 2004, Nr. 1 (2004): 28–29. http://dx.doi.org/10.1049/ee.2004.0009.

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Stokes, Tim, und Felicity Goodyear-Smith. „Rethinking the consultation in 21st century Aotearoa New Zealand“. Journal of Primary Health Care 15, Nr. 1 (31.03.2023): 1–3. http://dx.doi.org/10.1071/hc23032.

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Dissertationen zum Thema "Art, New Zealand – 21st century"

Lee, Fang-Ching. „The accreting space a laboratory of light and materials : this exgesis submitted to Auckland University of Technology for the degree of Bachelor of Art & Design (Honours), 2006 /“. Full dissertation, 2006.

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Exegesis (Hon--Art and Design) -- AUT University, 2006.
Print copy is accompanied by CD. Includes bibliographical references. Also held in print (49 leaves : ill. ; 21 x 30 cm. + CD) in City Campus Theses Collection (T 709.93 LEE )

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Boyask, Ruth. „Salvaging practice from the remnants of twentieth century art education in New Zealand“. Thesis, University of Canterbury. School of Educational Studies and Human Development, 2003. http://hdl.handle.net/10092/4314.

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As the title of this thesis suggests, this is a project of salvaging practice from the site of 20th century art education in New Zealand, engaged in through research practice and its materialisation into text. Through exploring this site I ask what makes art useful to educational practice, using the voice of an embodied artist/researcher? The 20th century answers to this question range from developing a visual literacy that can be applied to the image-saturated world of mass media to the liberation of human potential through arts-based inquiries. My project includes the critical interrogation of these positions, contextualised within an argument that value in the practices of art comes from the contextual and contingent disciplinary understandings of art. Whilst the predominant logic of the research is founded in a theoretical hybridism of art and education, using the methodologies of art practice and narrative inquiry, each chapter represents a different way of thinking about the initial proposition on the value of art practice, using representational forms that are integral to their epistemologies. In the pursuit of the value of art practice, I have explored a number of rich art educational contexts. These have included investigating multiple depictions of the phenomenology of teaching and learning art as well as piecing together constructions of historical art education practice and the representation of both of these in academic discourse throughout the 20th century. The complexity of these contexts demands complex and multidimensional analyses. The significant findings of this text are the recommendations for recognition of the embodied nature of art learning, whereby art meanings are actively constructed within thinking and working, albeit contingent, bodies. This is a position that is undermined by a textualisation of culture that positions bodies entirely as discursive abstractions, removed from their phenomenological existence. I find that the re-examination of the significance of material effects to individual subject bodies re-inserts positions f!om which to speak on the value and ethics of art education, however, contingent subjectivities mean that an ethical art pedagogy needs careful consideration. Examining critical and emancipatory practices in art provides a guide for how this may be achieved.

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Gawronski, Alex. „No new Utopia? : the crisis of art as critique under globalisation“. Phd thesis, Sydney College of the Arts, 2005. http://hdl.handle.net/2123/3967.

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Malcolm-Buchanan, Vincent Alan. „Fragmentation and Restoration: Generational Legacies of 21st Century Māori“. The University of Waikato, 2009. http://hdl.handle.net/10289/2797.

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The content of this thesis is premised on a reflexive examination of some historical juxtapositions culminating in critical aspects of being Māori in the twenty first century and how such aspects have informed contemporary indigenous identity. That is, the continuing acknowledgement and exponential public recognition of critical concepts which inextricably link indigenous and civic identity. The theoretical sources for this research are, in the main, derived from anthropological and religious studies, particularly on the significance of mythologies and oral histories, as well as from the oral theorising of elders in Aotearoa New Zealand. A very significant contribution from one such elder, a senior Māori woman academic, has been included in the form of the transcript of an interview. She herself had collected the views of a number of elders on myth, creating a rare and valuable resource. In the interview she married her reflections on these with her own experiences and her cogent analyses. From the outset, it was necessary to be discerning so as to ensure the thesis workload was manageable and realistic. For this reason the selected critical aspects that have been used to frame this research are (1) a developing Western validation (that is, acknowledgement and respect) of Māori, Māori culture and their mythology; (2) oral history (genealogy) and traditions that have remained constant despite the influences of modernity; and (3) notions of fluidity, negotiation and pragmatism regarding kinship legacies and cultural heritage. The thesis is comprised of six chapters starting from a subjective narrative leading through increasingly objective discourses that culminate in a conclusion which supports a belief that modern Māori require a balancing of critical aspects of cultural heritage, with a broad understanding of the world of the 'other', in order to realise and develop their contemporary indigenous identity. Ultimately, indigenous ideologies, practices and knowledge recorded and examined in the world of academia today, become potential resources for tomorrow. The intention of this research is to aggregate and discuss intrinsic aspects of the Māori past as well as developing aspects of the present, in order to better understand the significance of the future, and to add to the growing corpus of indigenous worldviews.

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Naysmith, Robert Bramwell. „Implementing the New Zealand Curriculum: Understandings and experiences from three urban primary schools“. Thesis, University of Canterbury. School of Educational Studies and Human Development, 2011. http://hdl.handle.net/10092/5657.

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The introduction of the New Zealand Curriculum (Ministry of Education, 2007) provided both opportunities and challenges to schools. As teaching and learning has continued to evolve and develop in accordance with new research, technological innovations and changing school populations so too has curriculum. The curriculum was designed to initiate a transformation in values, principles, and key competencies that are needed for learners to successfully participate in schooling and society. The New Zealand government introduced a new curriculum in 2007 with the intention of it being implemented into schools by 2010. The content of curriculum was guided by pedagogical understandings supported by research. This included an emphasis on schools having ownership of their curriculum. The 2007 curriculum also had a larger focus on educating the whole child not just on learning objectives. This research investigates how three schools have undertaken the implementation of the New Zealand Curriculum (2007), and the effects this implementation has had on teaching and learning. Using semi-structured interviews, the descriptive narratives of each teacher’s and school’s experience and understanding has been explored. The results indicated that the participating schools are embracing the new curriculum and that changes made due to professional development, teacher collaboration and curriculum implementation are directly affecting learning for children in a positive way.

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Ryder, Marianne. „Forming a New Art in the Pacific Northwest: Studio Glass in the Puget Sound Region, 1970-2003“. PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1096.

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The studio glass movement first arose in the United States in the early 1950s, and was characterized by practitioners who wanted to divorce glass from its industrial associations and promote it as a fine arts medium. This movement began in a few cities in the eastern part of the country, and in Los Angeles, but gradually emerged as an art form strongly associated with the city of Seattle and the Puget Sound region. This research studies the emergence and growth of the studio glass movement in the Puget Sound region from 1970 to 2003. It examines how glass artists and Seattle's urban elites interacted and worked separately to build the support structures and "art world" that provided learning and mentoring opportunities, workspaces, artistic validation, audience development, critical and financial support, which helped make glass a signature Puget Sound art form, and the role that artist social networks, social capital, cultural capital and cultural policy played in sustaining this community. In particular, the research seeks to explore the factors that nourish a new art form and artist community in second-tier cities that do not have the substantial cultural and economic support structures found in the "arts super cities" such as Los Angeles, New York City, and San Francisco. This study contributes to the growing literature on artist communities, and the roles played by social capital, cultural capital, urban growth coalitions and policy at different stages of community development. Results can assist policymakers in formulating policies that incorporate the arts as a form of community development.

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Barbosa, Andrea Lombardi. „Narrativas do desencontro: o MAM e as novas mídias“. Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20252.

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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-07-27T12:24:08Z No. of bitstreams: 1 Andrea Lombardi Barbosa.pdf: 9398124 bytes, checksum: 98ce7398f49a670adefc80ffe05c928b (MD5)
Made available in DSpace on 2017-07-27T12:24:08Z (GMT). No. of bitstreams: 1 Andrea Lombardi Barbosa.pdf: 9398124 bytes, checksum: 98ce7398f49a670adefc80ffe05c928b (MD5) Previous issue date: 2017-06-21
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Fundação São Paulo - FUNDASP
The present research proposes to understand the narratives between the new media and the Museum of Modern Art of São Paulo, from a brief mapping of institutions that act at the intersection with the digital media as a confrontation production exercise, or in creative circumstances that explore new languages and approaches. In terms of functions, some issues stand out: how to create and implement new ways of performing museums? What are the changes necessary for the museum to account for the exposure and conservation of work in new media? What is the position of the museum in the face of new technologies, both in its use in the management and documentation of the collection and in the aid of education projects and support for visitation? For both the established museums and the museums being created today, the challenges that the new media present are enormous. They are ephemeral and dematerialized actions, works in process, built collectively, that manifest themselves in the direct clash with the ubiquitous time of cyberspace, generating strategies that subvert, recreate, amplify and deconstruct the meaning often anticipated by the digital context. In this way, the balance between conservation and exposure is threatened by the very dynamics of artistic production that stresses spatiotemporal distances, breaks with the paradigm of contemplation and calls for intervention, participation and intensifies mediation with works. In this sense, the present research addresses not only the productions and the experience of the museums in the context of the new media that cross the MAM-SP, but also points to questions to discuss the perspectives of the digital aesthetics in contemporary museums
A presente pesquisa propõe que se compreenda as narrativas existentes entre as novas mídias e o Museu de Arte Moderna de São Paulo a partir de um breve mapeamento de instituições que atuam na intersecção com as mídias digitais como exercício de produção de enfrentamento, ou em circunstâncias criativas que exploram novas linguagens e abordagens. No plano das funções, algumas questões se sobressaem: como criar e implementar novas formas de atuação dos museus? Quais são as mudanças necessárias para que o museu dê conta da exposição e da conservação dos trabalhos em novas mídias? Qual é o posicionamento do museu frente às novas tecnologias, no que se refere ao seu uso no gerenciamento e na documentação da coleção, bem como no auxílio aos projetos de educação e no apoio à visitação? Tanto para os museus já estabelecidos, como para os que atualmente estão sendo criados, os desafios que as novas mídias apresentam são enormes. São ações efêmeras e desmaterializadas, obras em processo, construídas coletivamente, que se manifestam no embate direto com o tempo ubíquo do ciberespaço, gerando estratégias que subvertem, recriam, ampliam e desconstroem o sentido muitas vezes previsto pelo contexto digital. Dessa forma, o equilíbrio entre a conservação e a exposição se vê ameaçado pela própria dinâmica da produção artística que tensiona as distâncias espaçotemporais, rompe com o paradigma da contemplação e solicita a intervenção, a participação, intensificando a mediação com as obras. Neste sentido, a presente investigação aborda não somente as produções e a experiência dos museus no contexto das novas mídias que atravessam o MAM-SP, mas também aponta questões no sentido de discutir as perspectivas da estética digital nos museus contemporâneos

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Lin, Chia-Hui, und 林佳慧. „The Study of the Tertiary Education Reports and Acts in New Zealand in the 21st Century“. Thesis, 2003. http://ndltd.ncl.edu.tw/handle/70566264620834546603.

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碩士
國立暨南國際大學
比較教育研究所
91
This thesis mainly aims to explore acts and reports of tertiary education in New Zealand in the 21st century by adopting the method of document analysis. This thesis is divided into six chapters. After explaining the research backgrounds purposes, scope and methods used in the first chapter, the focus of the second charter is on the introduction of the development and leading institutions of the tertiary education reform in New Zealand. The third and fourth chapters put emphasis on the analysis of the reports and acts of the tertiary education reform in New Zealand. The fifth chapter explores the main reform strategies and progress of the tertiary education in New Zealand. Conclusions are then summarized in the final chapter and a few suggestions related to the future reform of higher education in Taiwan are also proposed.

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Dalley, Hamish. „Postcolonialism and the historical novel : allegorical realism and contemporary literature of the past in Nigeria, Australia and New Zealand“. Phd thesis, 2013. http://hdl.handle.net/1885/155168.

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The historical novel is one of the most prominent modes of contemporary writing in the former British Empire, yet the genre's postcolonial variant has not been the subject of critical analysis in its own right. This neglect can be explained by the dominance of a "resistance paradigm" in postcolonial studies, which tends to equate realism with naive mimesis and thus treats the historical novel as either a vehicle for imperialist ideology or a site of discursive conflict over the meaning of the past. As a result, the genre's epistemological and aesthetic complexities have been marginalised. This thesis responds to this neglect by critically analysing examples of the historical novel published since 2000 in Nigeria, Australia, and New Zealand. Historicised close analysis reveals that notwithstanding the anti-mimetic presumptions of much contemporary postcolonial criticism, and despite differences arising from contextual particularities, these texts are shaped by a common "realist impulse" that frames their narratives as defensible interpretations of the past. This ethical obligation to evidence-based interpretation has formal and epistemological consequences that manifest in an aesthetic framework I call allegorical realism. This term names a mode of representation in which fictional elements oscillate between ontological and conceptual registers in ways that simultaneously produce empathetically-unsettling relations to imagined individuals and interpretations of macro-historical change. This combination of affect and abstraction defines the genre as one based neither around assumptions about the transparency of language, nor overly pessimistic views that knowledge of the past is unachievable. I show that focusing analysis on allegorical realism allows critical attention to move away from its exclusive concern with textual resistance and instead explore how the genre is inflected by the various narratives it mediates and the specificities of postcolonial contexts. This research identifies three main variants of the contemporary postcolonial historical novel, each characterised by a different modulation of allegorical realism. Settler allegory comprises texts like Kate Grenville's The Secret River (2005) and Fiona Kidman's The Captive Wife (2006), in which colonists' alienation from occupied territory is reflected formally in the undercutting of allegorical procedures that align imaginary characters with their settings. Transnational historical novels, by contrast, stretch the spatio-temporal coordinates of allegorical realism to encompass processes taking place in global settings. This generates aesthetic effects that link apparently dissimilar novels like Witi Ihimaera's The Trowenna Sea (2009) and Chimamanda Ngozi Adichie's Half of a Yellow Sun (2006). Finally, melancholy realism describes texts like Chris Abani's Song for Night (2007) and Richard Flanagan's Gould's Book of Fish (2001)-texts which disrupt the boundaries between past and present to unsettle postcolonial complacency. Tracing allegorical realism across these modes reveals how postcolonial concerns continue to recreate the genre, and how the oscillation of the allegorical signifier can challenge dominant accounts of historical change. The genre provides a significant archive for exploring how postcolonial literature is characterised by disjunctive temporalities irreducible to dominant narratives of modernity, while nonetheless being shaped by processes that link the globalised world.

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Markwick, Moira. „Eating as a cultural performance in early 21st century New Zealand : an exploration of the relationships between food and place : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Social Anthropology at Massey University, Auckland, New Zealand“. 2009. http://hdl.handle.net/10179/1234.

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During New Zealand’s comparatively short history as a nation, its cuisine has undergone great development. The culinary traditions brought by the early settlers, from both Eastern Polynesia and then Britain, offered a relatively limited variety, however, since the late 20th century New Zealand’s foodways have undergone a revolution; today a smorgasbord of international cuisines awaits our selection. This gastronomic range is the result of a number of factors which include the influx of diverse immigrants, increased air travel by New Zealanders, the return of military personnel from overseas and globalisation. To conduct this investigation of the relationships between people, identity, food and place I approach the topic from three perspectives. Firstly, I examine how exotic foods are used to link immigrants to New Zealand with loved ones in their homelands, and also how the same foods act as a bridge between those immigrants and other New Zealanders. Secondly, I look at how exotic foods serve to connect New Zealanders with, generally, far-away places, as through its evocative powers food has the ability to transport ordinary people to places where they may rather be. Lastly, I explore how some New Zealanders are making exotic foods ‘ours’ by combining them with the abundance of fresh local produce. Appropriating the exotic and combining it with the indigenous to make it ours is the story of New Zealand; our society has developed through the arrival of many people and cultures, and food is a lens through which to observe this process today. This work differs from many ethnographic accounts in that it does not focus on a coherent group of people, but rather is based around the theme of food and eating in the New Zealand context. The thesis is the culmination of approximately twelve months of data gathering for which a multi-method approach was used. This process included: a review of both academic and popular literature; visits to food-related places such as cultural festivals, wine and food festivals, Agricultural and Pastoral Shows, Home Shows, community markets, farmers’ markets, various Auckland supermarkets, ethnic food stores, specialty food shops; mainstream and ethnic cafés and restaurants, shopping centre food courts and various other miscellaneous places; attending different ethnic cooking courses and a series of semi-structured interviews. The interview process used different interviewee configurations: individuals, married couples and pairs, in an attempt to generate various perspectives and so enhance the data. The thesis concludes that, firstly, exotic foods represent a means by which immigrants are able to connect with both loved ones remaining in the old home, and also to form new relationships with other New Zealanders in their new home. Secondly, exotic foods, through either their consumption or through people’s memories of consumption, provide a bridge between New Zealanders and other places. Lastly, New Zealanders are increasingly taking exotic foods, combining them with the nation’s abundant local and unique indigenous foodstuffs and making it ours

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Bücher zum Thema "Art, New Zealand – 21st century"

Alexander, Tolnay, Neuer Berliner Kunstverein, Stadtgalerie im Sophienhof (Kiel, Germany) und Galerie der Stadt Sindelfingen, Hrsg. Date Line: Zeitgenössische Kunst des Pazifik = contemporary art from the Pacific. Berlin: NBK, Neuer Berliner Kunstverein, 2007.

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Rosanna, Raymond, und Salmond Amiria Manutahi, Hrsg. Pasifika styles: Artists inside the museum. Cambridge: University of Cambridge Museum of Archaeology and Anthropology, in association with Otago University Press, 2008.

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Moore, Mike. Fighting for New Zealand: New Zealand in the 21st century. Wellington, N.Z: MMSC, 1993.

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Thompson, Hamish. Paste up: A century of New Zealand poster art. Auckland, N.Z: Godwit, 2003.

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McQueen, Euan. W.W. Stewart, 20th century New Zealand railway painter. Wellington, N.Z: Grantham House, 1998.

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Vine, Richard. New China, new art =: Zhongguo dang dai yi shu. Munich: Prestel, 2008.

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Shaw, Tina, und Jack Ross. Myth of the 21st century: An anthology of new fiction. Auckland [N.Z.]: Reed Books, 2006.

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Brown, Warwick. Seen this century: 100 contemporary New Zealand artists : a collector's guide. Auckland, N.Z: Godwit, 2009.

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Brown, Warwick. Seen this century: 100 contemporary New Zealand artists : a collector's guide. Auckland, N.Z: Godwit, 2009.

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Griffith, Terri. The essential New art examiner. DeKalb: NIU Press, 2011.

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Buchteile zum Thema "Art, New Zealand – 21st century"

Barry, Kristin M. „Reclaiming Rock Art: Descendant Community Investment in Australian and New Zealand Patrimony“. In Transforming Heritage Practice in the 21st Century, 265–81. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-14327-5_19.

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Ragupathy, Rajan, Kate Kilpatrick und Zaheer-Ud-Din Babar. „Pharmaceutical Pricing in New Zealand“. In Pharmaceutical Prices in the 21st Century, 189–207. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-12169-7_11.

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Khurana, Sanchita. „Art and New Populisms“. In Encyclopedia of New Populism and Responses in the 21st Century, 1–4. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-16-9859-0_431-1.

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Strathdee, Robert Craig. „The Creation of Contrasting Geographies of Talent in England and New Zealand“. In Tertiary Education in the 21st Century, 61–84. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230614529_4.

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Hall, Peter, und Michael Jack. „Bioenergy Opportunities from Forests in New Zealand“. In Challenges and Opportunities for the World's Forests in the 21st Century, 659–76. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-7076-8_29.

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Walsh, Pat, Raymond Harbridge und David Wilkinson. „Employment Relations in New Zealand: The Role of the State vis-à-vis the Labour Movement“. In Unions in the 21st Century, 61–74. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230524583_5.

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Rolfe, Jim. „Pragmatic Optimisation: Australia—New Zealand Relations in the 21st-Century“. In The World of Small States, 93–109. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-18803-0_6.

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Spoonley, Paul. „New Ways of Working: Changing Labour Markets in 21st Century New Zealand“. In Beyond Skill, 79–101. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230291270_5.

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Fam, Kim Shyan, Bill Merrilees und Pedro Q. Brito. „Retail Promotion Practices in New Zealand, Australia and Portugal - A Comparison“. In Global Perspectives in Marketing for the 21st Century, 339–42. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-17356-6_103.

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Zhang, Qilong. „Early Childhood Teacher Education in New Zealand: Facts, Values, and Uncertainties“. In International Perspectives on Early Childhood Teacher Education in the 21st Century, 131–44. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-5739-9_9.

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Konferenzberichte zum Thema "Art, New Zealand – 21st century"

Benter, Markus M., Ian G. Bywater und Ken E. Scott. „Low Ash Fuel and Chemicals From the Convertech Process“. In ASME 1998 International Gas Turbine and Aeroengine Congress and Exhibition. American Society of Mechanical Engineers, 1998. http://dx.doi.org/10.1115/98-gt-351.

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A new, efficient process for reducing the ash content, drying and fractionating raw lignocellulosic materials into chemicals and a dry solid end product, eminently suitable as a fuel for conventional boilers or for milling to a fine powder for gas turbine firing, shows strong potential for renewable power generation. The dry, low ash solids, termed “Cellulig™”, will also be suitable for gasification and to drive gas turbines. Sustainable liquid and gaseous fuels will become increasingly necessary in the 21st century to reduce dependence on imported fuels, to replace dwindling supplies of oil and natural gas and to avoid environmental damage from green house gases. Convertech Group Ltd. has built a demonstration biomass processing plant at Burnham, Canterbury, New Zealand, with investment from the energy industry and the Australian Energy Research and Development Council. The essential chemical and process engineering elements are described and the current and future development opportunities outlined.

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„Improving & Parameterising Macronutrient Models for Application of LUCI in New Zealand“. In 21st Century Watershed Technology Conference and Workshop Improving Water Quality and the Environment. American Society of Agricultural and Biological Engineers, 2014. http://dx.doi.org/10.13031/wtcw.2014-040.

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„Mitigating nutrient loss from pastoral farmland in the Rotorua lakes district of New Zealand“. In 21st Century Watershed Technology Conference and Workshop Improving Water Quality and the Environment. American Society of Agricultural and Biological Engineers, 2014. http://dx.doi.org/10.13031/wtcw.2014-028.

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„Characterization of Denitrification in the Subsurface Environment of the Manawatu River catchment, New Zealand“. In 21st Century Watershed Technology Conference and Workshop Improving Water Quality and the Environment. American Society of Agricultural and Biological Engineers, 2014. http://dx.doi.org/10.13031/wtcw.2014-029.

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Chen, Siyu. „Biographical Studies of Ernest Hemingway in the 21st Century: New Trends and New Features“. In proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.468.

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Schwartz, Mark, und Cal Disney. „Art of the Deal: Building WTE in the 21st Century“. In 16th Annual North American Waste-to-Energy Conference. ASMEDC, 2008. http://dx.doi.org/10.1115/nawtec16-1942.

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The nation’s first successful commercial waste-to-energy facility went on-line in 1975 and the industry has accumulated a three-decade long track record—operating safely, improving efficiencies, and meeting new, tougher environmental standards. The industry has matured and has learned from operating experience. But as the industry faces a revival, have we also learned to improve on the art of the deal? In the past, the standard lump sum RFP approach forced project sponsors and vendors into a type of Russian roulette—one-sided gamesmanship that opened one or both sides to unreasonable risk with willing partners in the construction and financial community. On today’s financial and financial risk playing field, though, Wheelabrator believes that the road to prosperity—for sponsor and vendor—is found in above-board open book negotiations. It’s a process designed to reduce economic risk and provides a more realistic picture of the actual cost of the project once it’s in the ground and operating. Mark Schwartz, Senior Manager of Business Development for Wheelabrator Technologies, and Cal Disney, Vice President of Whiting-Turner, will review the pitfalls of the past and discuss how the process can be improved when all parties participate in the design, permitting and construction oversight of a facility. They will discuss how the process can lead to contracts with fixed costs, lower capital costs, minimal risks and a public private partnership that gets the most value for taxpayer dollars.

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„Effects of sampling frequency and calculation methods on estimation of annual nutrient loads: A case study of Manawatu River, New Zealand“. In 21st Century Watershed Technology Conference and Workshop Improving Water Quality and the Environment. American Society of Agricultural and Biological Engineers, 2014. http://dx.doi.org/10.13031/wtcw.2014-014.

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Афиногенова, Н. Н., und О. В. Ковалева. „SCULPTURE FELT AS A NEW MATERIAL IN THE PLASTIC ARTS OF THE 21ST CENTURY. ARTISTIC EXPERIMENTS“. In КОДЫ. ИСТОРИИ В ТЕКСТИЛЕ. Crossref, 2024. http://dx.doi.org/10.54874/9785605162971.2024.3.02.

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Декоративный войлок — вид художественного нетканого текстиля. Имеет глубокие исторические корни в материальной культуре человечества. В ХХI веке войлок окончательно оформился в самостоятельное направление современного искусства. В настоящей статье проанализирован феномен скульптурной пластичности войлока как материала, позволяющего создавать трехмерные арт-формы и композиции, актуальные в современной объемнопространственной среде. Рассмотрены примеры объектов «мягкой скульптуры» из войлока c художественной и технологической точек зрения. Decorative felt is a type of artistic non-woven textile. It has deep historical roots in the material culture of humanity. In the 21st century, felt finally emerged as an independent movement of contemporary art. This article analyzes the phenomenon of sculptural plasticity of felt as a material that allows you to create three-dimensional art forms and compositions that are relevant in the modern three-dimensional environment. Examples of objects of “soft sculpture” made of felt are considered from artistic and technological points of view.

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Gridley, Marvin C., und Steven H. Walker. „Inlet and Nozzle Technology for 21st Century Fighter Aircraft“. In ASME 1996 International Gas Turbine and Aeroengine Congress and Exhibition. American Society of Mechanical Engineers, 1996. http://dx.doi.org/10.1115/96-gt-244.

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The focus of propulsion integration technology in the 21st century will be economy. USAF inlet and nozzle technology goals translate into 50% weight reduction and 25% acquisition cost reduction metrics for new aircraft system. Innovative technology to enable these reductions over current state-of-the-art systems in weight and cost is required. For inlet systems, compact diffusers that reduce system volume by 50% will demand fewer parts and improved aerodynamic performance. Exhaust systems will be fixed with fewer parts, requiring a technology like fluidics, for example, to provide area control and thrust vectoring capabilities. Cooperative programs for both inlet and nozzle systems are in place to insure that technologies required to meet weight and cost reduction goals are matured by the year 2000.

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Carter, Nanette. „The Sleepout“. In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a3999pm4i5.

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Going to bed each night in a sleepout—a converted verandah, balcony or small free-standing structure was, for most of the 20th century, an everyday Australian experience, since homes across the nation whether urban, suburban, or rural, commonly included a space of this kind. The sleepout was a liminal space that was rarely a formal part of a home’s interior, although it was often used as a semi-permanent sleeping quarter. Initially a response to the discomfort experienced during hot weather in 19th century bedrooms and encouraged by the early 20th century enthusiasm for the perceived benefits of sleeping in fresh air, the sleepout became a convenient cover for the inadequate supply of housing in Australian cities and towns and provided a face-saving measure for struggling rural families. Acceptance of this solution to over-crowding was so deep and so widespread that the Commonwealth Government built freestanding sleepouts in the gardens of suburban homes across Australia during the crisis of World War II to house essential war workers. Rather than disappearing at the war’s end, these were sold to homeowners and occupied throughout the acute post-war housing shortage of the 1940s and 1950s, then used into the 1970s as a space for children to play and teenagers to gain some privacy. This paper explores this common feature of Australian 20th century homes, a regional tradition which has not, until recently, been the subject of academic study. Exploring the attitudes, values and policies that led to the sleepout’s introduction, proliferation and disappearance, it explains that despite its ubiquity in the first three-quarters of the 20th century, the sleepout slipped from Australia’s national consciousness during a relatively brief period of housing surplus beginning in the 1970s. As the supply of affordable housing has declined in the 21st century, the free-standing sleepout or studio has re-emerged, housing teenagers of low-income families.

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Berichte der Organisationen zum Thema "Art, New Zealand – 21st century"

Chilcoat, Richard A. Strategic Art: The New Discipline for 21st Century Leaders. Fort Belvoir, VA: Defense Technical Information Center, Oktober 1995. http://dx.doi.org/10.21236/ada301857.

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Mills, Kathy, Elizabeth Heck, Alinta Brown, Patricia Funnell und Lesley Friend. Senses together : Multimodal literacy learning in primary education : Final project report. Institute for Learning Sciences and Teacher Education, Australian Catholic University, 2023. http://dx.doi.org/10.24268/acu.8zy8y.

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[Executive summary] Literacy studies have traditionally focussed on the seen. The other senses are typically under-recognised in literacy studies and research, where the visual sense has been previously prioritised. However, spoken and written language, images, gestures, touch, movement, and sound are part of everyday literacy practices. Communication is no longer focussed on visual texts but is a multisensory experience. Effective communication depends then on sensory orchestration, which unifies the body and its senses. Understanding sensory orchestration is crucial to literacy learning in the 21st century where the combination of multisensory practices is both digital and multimodal. Unfortunately, while multimodal literacy has become an increasing focus in school curriculum, research has still largely remained focussed on the visual. The Sensory Orchestration for Multimodal Literacy Learning in Primary Education project, led by ARC Future Fellow Professor Kathy Mills, sought to address this research deficit. In addressing this gap, the project built an evidence base for understanding how students become critical users of sensory techniques to communicate through digital, virtual, and augmented-reality texts. The project has contributed to the development of new multimodal literacy programs and a next-generation approach to multimodality through the utilisation of innovative sensorial education programs in various educational environments including primary schools, digital labs, and art museums.

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Yatsymirska, Mariya. Мова війни і «контрнаступальна» лексика у стислих медійних текстах. Ivan Franko National University of Lviv, März 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11742.

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The article examines the language of the russian-ukrainian war of the 21st century based on the materials of compressed media texts; the role of political narratives and psychological-emotional markers in the creation of new lexemes is clarified; the verbal expression of forecasts of ukrainian and foreign analysts regarding the course of hostilities on the territory of Ukraine is shown. Compressed media texts reflect the main meanings of the language of the russian-ukrainian war in relation to the surrounding world. First of all, the media vocabulary was supplemented with neologisms – aggressive and sad: “rashism”, “denazification”, “katsapstan”, “orks”, “rusnia”, “kremlins”, “parebrik”, “in the swamps”, “nuclear dictator”, “putinism”, “two hundred” and others. Numerals acquired new expressive and evaluative meanings: “200s” (dead), “300s” (wounded), “400s” (russian military personnel who filed reports for termination of the contract), “500s” (hopelessly drunk russian soldiers, alcoholics who are unable to perform combat tasks). The language of war intensified the slogans of the struggle for state independence and people’s freedom. The scope of the greeting “Glory to Ukraine! – Glory to Heroes!”. New official holidays have appeared in the history of Ukraine since 2014: “Heroes of the Heavenly Hundred” Day (February 20), “Ukrainian Volunteer Day” (March 14), “Defenders and Defenders of Ukraine Day” (October 14), “Volunteer Day” (5 December). As you know, the professional holiday of the military is the Day of the Armed Forces of Ukraine” (December 6). A special style is characteristic of media texts on military topics: “Iron Force of Ukraine” (Iron Force of Ukraine), “digitize the Army” (for effective simulation of military operations); “grain corridor” (export of Ukrainian grain to African and European countries); “don’t let Ukraine lose” (the position of the Allies at the first stage of the war), “Ukraine must win!” (the position of the Allies in the second stage of the war); “in the Russian-Ukrainian war, the thinking of the 19th century collided with the thinking of the 21st century”, “a politician is a person who understands time” (Grigori Yavlinskyy, Russian oppositionist); “aggressive neutrality” (about Turkey’s position); “in Russia”, “there, in the swamps” (in Russia), “weak, inadequate evil” (about Russia), “behind the fence”; “a great reset of the world order”; “technology of military creativity”; “they are not Russian and not Ukrainian, they are Soviet”, “people without mentality”, “in Ukraine and without Ukraine” (Vitaly Portnikov about a separate category of Russian-speaking citizens in Ukraine); “information bed of Ukraine” (about combat operations on the front line; “when a descendant asks me what I did in those terrifying moments, I will know what to answer. At the very least, I did not stand aside” (opinion of a Ukrainian fighter). Compressed in media texts is implemented in the headline, note, infographic, chronicle, digest, help, caption for photos, blitz poll, interview, short articles, caricature, visual text, commercial, etc. Researchers add “nominative-representative text (business card text, titles of sections, pages, names of presenters, etc.) to concise media texts for a functional and pragmatic purpose.” accent text (quote, key idea); text-navigator (content, news feed, indication of movement or time); chronotope”. A specific linguistic phenomenon known as “language compression” is widespread in media texts. Language compression is the art of minimization; attention is focused on the main, the most essential, everything secondary is filtered out. Compression uses words succinctly and sparingly to convey the meaning as much as possible. For example, the headline “Racism. What is the essence of the new ideology of the Russian occupiers?”. The note briefly explains the meaning of this concept and explains the difference from “nazism” and “fascism”. Key words: compressed media text, language compression, language of war, emotional markers, expressive neologisms, political journalism.

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