title: Closing Plenary

authors: Sawrey, Richard

subjects: Maori

abstract: The closing session of the symposium was a plenary session in which invited speakers were asked to make brief critical and reflective comment on the symposium theme and future directions regarding Māori and Pacific psychologies.

text: Closing Plenary The closing session of the symposium was a plenary session in which invited speakers were asked to make brief critical and reflective comment on the symposium theme and future directions regarding Māori and Pacific psychologies.

year: 2008

title: Census 2018 and Implications for Māori

authors: Kukutai, Tahu

abstract: The population census is a universal tool of governance but has come under increasing pressure as governments look to reduce costs, gain efficiencies and counter declining response rates. In Aotearoa New Zealand, the census transformation strategy has a short-term focus on modernising the census and a long-term vision of a fully administrative census. The digital-first 2018 Census was an ambitious step towards modernisation but there are growing concerns that it may fail to deliver high-quality data, particularly for Māori and iwi. This research note considers the implications of lower response rates and reflects on the steps that might be taken to retain the trust and confidence of Māori in the census, including possibilities for Māori data governance across the official statistics system.

text: Census 2018 and Implications for Māori The population census is a universal tool of governance but has come under increasing pressure as governments look to reduce costs, gain efficiencies and counter declining response rates. In Aotearoa New Zealand, the census transformation strategy has a short-term focus on modernising the census and a long-term vision of a fully administrative census. The digital-first 2018 Census was an ambitious step towards modernisation but there are growing concerns that it may fail to deliver high-quality data, particularly for Māori and iwi. This research note considers the implications of lower response rates and reflects on the steps that might be taken to retain the trust and confidence of Māori in the census, including possibilities for Māori data governance across the official statistics system.

year: 2018

title: Netflix dramedy 'After Life' and the uncanny nature of grief

authors: Schott, Gareth R.

subjects: After Life

abstract: The concept of das unheimlich (Jentsch 1902), or the uncanny, is applied to the phenomenology of grief and the manner loss transforms a person’s familiar life-world into an uncertain and unfamiliar space. Discussion of the collision of the foreign (emptiness and absence) with the familiar (conjugal material objects and spaces) as a dimension of grief has been infrequent and unsystematic. This article argues that this understanding of the uncanny is commendably conveyed by the Netflix grief-comedy or dramedy After Life, written by, and starring Ricky Gervais. The UK series focuses on the anguished existence of a widower as he endures the perpetuation of his life without his wife. Characterisation of bereavement, as the experience of having someone “suddenly ripped from one’s life-world” (Dubose 1997: 368), is obscured in After Life by the continued presence (and digital afterlife) of his wife via ‘home videos’ and the video diaries she secretly recorded whilst dying. The dead’s continued presence throughout After Life reflects wider trends for the dying turning to digital services such as Safe Beyond to leave ‘date messages’ (birthdays, or anniversaries) or ‘event messages’ (weddings, graduations) that will continue to insert the physically departed into the lives of loved ones at key intervals of life. This paper explores the manner in which After Life serves to reflect on both the transformed experience of spaces in mourning and how screens contribute to the uncanny nature of grief.

text: Netflix dramedy 'After Life' and the uncanny nature of grief The concept of das unheimlich (Jentsch 1902), or the uncanny, is applied to the phenomenology of grief and the manner loss transforms a person’s familiar life-world into an uncertain and unfamiliar space. Discussion of the collision of the foreign (emptiness and absence) with the familiar (conjugal material objects and spaces) as a dimension of grief has been infrequent and unsystematic. This article argues that this understanding of the uncanny is commendably conveyed by the Netflix grief-comedy or dramedy After Life, written by, and starring Ricky Gervais. The UK series focuses on the anguished existence of a widower as he endures the perpetuation of his life without his wife. Characterisation of bereavement, as the experience of having someone “suddenly ripped from one’s life-world” (Dubose 1997: 368), is obscured in After Life by the continued presence (and digital afterlife) of his wife via ‘home videos’ and the video diaries she secretly recorded whilst dying. The dead’s continued presence throughout After Life reflects wider trends for the dying turning to digital services such as Safe Beyond to leave ‘date messages’ (birthdays, or anniversaries) or ‘event messages’ (weddings, graduations) that will continue to insert the physically departed into the lives of loved ones at key intervals of life. This paper explores the manner in which After Life serves to reflect on both the transformed experience of spaces in mourning and how screens contribute to the uncanny nature of grief.

year: 2022-12-07