title: Using the theory of planned behaviour to predict intentions to reduce the environmental impact of travel

authors: Reddy, Siddhart

abstract: The use of private cars is responsible for a large amount of the world’s CO2 emissions
and the amount of pollution produced by the aviation industry is also growing at an alarming 
rate. Thus, it is important to understand the factors that can lead to pro-environmental 
behaviours (PEB), such as choosing more environmentally friendly options for air and car 
travel. I explored whether the Theory of Planned Behaviour (TPB) variables of
environmental attitudes, subjective norms, and perceived behavioural control (PBC) 
predicted individuals’ willingness to change their travel behaviour. A sample of 327 
participants from New Zealand and the United States of America completed an online 
questionnaire measuring TPB variables for low-, medium- and high-cost behaviours which 
were defined as short, medium, and long trips by both car and plane. I hypothesised that, in 
line with the A-B-C model, the TBP variables would be most predictive of intentions to 
reduce the environmental impact of medium-cost behaviours, rather than low- or high-cost 
behaviours. Attitudes, subjective norms, and PBC almost always significantly predicted
behavioural intention for the NZ sample, whilst only subjective norms and PBC were 
significant predictors for the USA sample, however, there was no support for the low-cost 
hypothesis or A-B-C model. Findings may influence and inform interventions and policy 
aimed at behavioural change in different contexts and that it may be beneficial for 
interventions to be tailored to specific populations based upon the strength of correlating 
variables.

text: Using the theory of planned behaviour to predict intentions to reduce the environmental impact of travel The use of private cars is responsible for a large amount of the world’s CO2 emissions
and the amount of pollution produced by the aviation industry is also growing at an alarming 
rate. Thus, it is important to understand the factors that can lead to pro-environmental 
behaviours (PEB), such as choosing more environmentally friendly options for air and car 
travel. I explored whether the Theory of Planned Behaviour (TPB) variables of
environmental attitudes, subjective norms, and perceived behavioural control (PBC) 
predicted individuals’ willingness to change their travel behaviour. A sample of 327 
participants from New Zealand and the United States of America completed an online 
questionnaire measuring TPB variables for low-, medium- and high-cost behaviours which 
were defined as short, medium, and long trips by both car and plane. I hypothesised that, in 
line with the A-B-C model, the TBP variables would be most predictive of intentions to 
reduce the environmental impact of medium-cost behaviours, rather than low- or high-cost 
behaviours. Attitudes, subjective norms, and PBC almost always significantly predicted
behavioural intention for the NZ sample, whilst only subjective norms and PBC were 
significant predictors for the USA sample, however, there was no support for the low-cost 
hypothesis or A-B-C model. Findings may influence and inform interventions and policy 
aimed at behavioural change in different contexts and that it may be beneficial for 
interventions to be tailored to specific populations based upon the strength of correlating 
variables.

year: 2024

title: Credit Loss Dynamics in Australasian Banking

authors: Hess, Kurt

subjects: Credit risk

abstract: The purpose of this thesis is to analyze the drivers and dynamics of credit losses in Australasian banking over an extended period of time in order to improve the means by which financial institutions manage their credit risks and regulatory bodies safeguard the stability and integrity of the financial system.
The analysis is based on a specially constructed data base of credit loss and provisioning data retrieved from original financial reports published by Australian and New Zealand banks. The observation period covers 1980 to 2005, starting at the time when such information was published for the first time in bank financial statements. It moreover covers the time of major crises which occurred in both Australia and New Zealand in the late 1980s and early 1990s.
The heterogeneity of reporting the data both amongst banks and through time requires the development of a reporting typology which allows data extraction with equivalent informational content. As a thorough study of credit risks requires long data series often not available from third party data providers, the method developed here will provide value to a range of researchers.
Based on an evaluation of many alternative proxies which track a bank's credit loss experience (CLE), the thesis proposes a preferred model for impaired assets expense (as % of loans) as dependent variable, mainly because of its timely nature and good data availability. Explanatory variables include aggregate macro variables of which changes in unemployment and the return in the share markets are found to have the most significant influence on a bank's credit losses. Bank-specific control variables include a pre-provision earnings proxy whose significance points to the use of provisions for the purpose of income smoothing by Australasian banks. The model also controls for size and nature of lending as smaller, retail-oriented housing lenders, on average, exhibit lower loan losses. Clear results are found with regard to the effect of rapid expansion which appears to be followed by a surge of bad debt provisions 2 to 3 years later. Moreover, inefficient banks tend to suffer greater credit losses.
An important part of the thesis looks at the characteristics of alternative CLE proxies such as stock of provisions, impaired assets and write-offs which have been used by earlier literature. Estimating the preferred model with such alternative CLE parameters confirms their peculiarities such as the memory character of stock of provisions and the delayed nature of write-offs. These measures correlate rather poorly amongst themselves which calls for caution in the comparative interpretation of earlier studies that use differing CLE proxies.

text: Credit Loss Dynamics in Australasian Banking The purpose of this thesis is to analyze the drivers and dynamics of credit losses in Australasian banking over an extended period of time in order to improve the means by which financial institutions manage their credit risks and regulatory bodies safeguard the stability and integrity of the financial system.
The analysis is based on a specially constructed data base of credit loss and provisioning data retrieved from original financial reports published by Australian and New Zealand banks. The observation period covers 1980 to 2005, starting at the time when such information was published for the first time in bank financial statements. It moreover covers the time of major crises which occurred in both Australia and New Zealand in the late 1980s and early 1990s.
The heterogeneity of reporting the data both amongst banks and through time requires the development of a reporting typology which allows data extraction with equivalent informational content. As a thorough study of credit risks requires long data series often not available from third party data providers, the method developed here will provide value to a range of researchers.
Based on an evaluation of many alternative proxies which track a bank's credit loss experience (CLE), the thesis proposes a preferred model for impaired assets expense (as % of loans) as dependent variable, mainly because of its timely nature and good data availability. Explanatory variables include aggregate macro variables of which changes in unemployment and the return in the share markets are found to have the most significant influence on a bank's credit losses. Bank-specific control variables include a pre-provision earnings proxy whose significance points to the use of provisions for the purpose of income smoothing by Australasian banks. The model also controls for size and nature of lending as smaller, retail-oriented housing lenders, on average, exhibit lower loan losses. Clear results are found with regard to the effect of rapid expansion which appears to be followed by a surge of bad debt provisions 2 to 3 years later. Moreover, inefficient banks tend to suffer greater credit losses.
An important part of the thesis looks at the characteristics of alternative CLE proxies such as stock of provisions, impaired assets and write-offs which have been used by earlier literature. Estimating the preferred model with such alternative CLE parameters confirms their peculiarities such as the memory character of stock of provisions and the delayed nature of write-offs. These measures correlate rather poorly amongst themselves which calls for caution in the comparative interpretation of earlier studies that use differing CLE proxies.

year: 2008

title: huka can haka: Taonga performing tino rangatiratanga

authors: Nopera, Tāwhanga Mary-Legs

subjects: Raranga

abstract: huka can haka is an ongoing body of creative works used to frame the ideas expressed in this thesis. Spoken, ‘huka’ sounds like ‘hooker’, he is a performance persona developed to help heal from the bitter-sweet reality of being Māori, genderfluid, same-sex attracted and HIV positive in Aotearoa New Zealand. huka can haka refers to an inbetween gendered space of performance where ‘huka’ translates from Māori to English as the sea-foam that gathers between land and sea, white rain such as snow or hail, the dancing tags that are woven into cloaks, or as the transliteration of sugar. ‘Haka’ is predominantly perceived as a masculine form of traditional Māori dance and is akin to weaving with the entire body. Haka is highly sexualised and invigorates a sense of connection to Māori genealogies, family, community, language, land and cultural practices. huka can haka infers the agency enacted through the intentional performance of an identity between cultures and gender in Aotearoa New Zealand. ‘Taonga’ translates from Māori to English to represent things people value and treasure – they can be tangible or ephemeral and include shared and individual memories, people, words, actions, the things we make and beautify, as well as the natural environment that sustains us. ‘Tino rangatiratanga’ is a Māori assertion of the right to determine our lives without the disruptive controls enacted through the New Zealand government by the British Crown. Taonga performing tino rangatiratanga, infers the agency present in valuable things – because taonga exist we become aware of reasons to protect them, we create protective processes and we appreciate the value of ourselves as protectors. huka can haka: Taonga performing tino rangatiratanga explores how making art heals – it describes the transformations that manifest when creating through Māori knowledge.


Raranga is the framework used to organise and explain my research. Raranga is a traditional process of Māori weaving and through its use as a methodology, I am able to connect my explorations to the relational values that are part of Māori culture. I use raranga as a framework to interpret my own practice which is unique to me – there is no separation between my practice and the ways I live my life which differs from the approaches of other weavers. Within this project I utilise a range of research approaches that are qualitative, autobiographical, subjective, creative and practice-based.  Traditional Māori methods of story-telling, pūrākau, are used to communicate this research in digital image, digital video, writing and performance art. Through doing this I describe how contemporary media explorations can be interpreted as forms of raranga and haka, which can help mediate the sometimes oppressive use of text, image, moving image and performance in advancing colonial intents. The primary findings in this research are:
1.	that creative practice research can help people to connect sexuality with creativity, to, re-story and re-generate narratives of empowerment; 
2.	that multimedia approaches to identity knowledge gathering, assists in embodying empowerment;
3.	that Kaupapa Māori Theory can challenge dominant perceptions of gendered Māori bodies, and is inclusive of the ‘do it yourself’ strategies described through Transgender theory;
4.	that a raranga methodology can be embodied through performance and performance artefacts, connecting research to the lived experiences of research subjects;
5.	that raranga is a powerful tool to interpret sexual trauma, offering connective strategies to release damaging internalised behaviours;
6.	that raranga can centre marginal identities as bodies full of hope; 
7.	that performance of historical trauma as ceremony can offer collective forms of healing, and;
8.	that raranga heals, giving direction to multiple and conflicting strands of lived experience.


The thesis makes prominent the generative and progressive nature of raranga and is chronological in design. Theoretical explorations inspire creative works, which then in turn inform avenues for deeper theorisation, leading to new creative works and so on until the thesis conclusion. Through this creative practice research project I assert raranga as a powerful process to interpret the agency that grows between makers, the materials we use and the objects we create. Ultimately, this thesis outlines a way to weave experiences of sexualised and gendered trauma, and affirm the healing present at the intersection between oppositional relationships.

text: huka can haka: Taonga performing tino rangatiratanga huka can haka is an ongoing body of creative works used to frame the ideas expressed in this thesis. Spoken, ‘huka’ sounds like ‘hooker’, he is a performance persona developed to help heal from the bitter-sweet reality of being Māori, genderfluid, same-sex attracted and HIV positive in Aotearoa New Zealand. huka can haka refers to an inbetween gendered space of performance where ‘huka’ translates from Māori to English as the sea-foam that gathers between land and sea, white rain such as snow or hail, the dancing tags that are woven into cloaks, or as the transliteration of sugar. ‘Haka’ is predominantly perceived as a masculine form of traditional Māori dance and is akin to weaving with the entire body. Haka is highly sexualised and invigorates a sense of connection to Māori genealogies, family, community, language, land and cultural practices. huka can haka infers the agency enacted through the intentional performance of an identity between cultures and gender in Aotearoa New Zealand. ‘Taonga’ translates from Māori to English to represent things people value and treasure – they can be tangible or ephemeral and include shared and individual memories, people, words, actions, the things we make and beautify, as well as the natural environment that sustains us. ‘Tino rangatiratanga’ is a Māori assertion of the right to determine our lives without the disruptive controls enacted through the New Zealand government by the British Crown. Taonga performing tino rangatiratanga, infers the agency present in valuable things – because taonga exist we become aware of reasons to protect them, we create protective processes and we appreciate the value of ourselves as protectors. huka can haka: Taonga performing tino rangatiratanga explores how making art heals – it describes the transformations that manifest when creating through Māori knowledge.


Raranga is the framework used to organise and explain my research. Raranga is a traditional process of Māori weaving and through its use as a methodology, I am able to connect my explorations to the relational values that are part of Māori culture. I use raranga as a framework to interpret my own practice which is unique to me – there is no separation between my practice and the ways I live my life which differs from the approaches of other weavers. Within this project I utilise a range of research approaches that are qualitative, autobiographical, subjective, creative and practice-based.  Traditional Māori methods of story-telling, pūrākau, are used to communicate this research in digital image, digital video, writing and performance art. Through doing this I describe how contemporary media explorations can be interpreted as forms of raranga and haka, which can help mediate the sometimes oppressive use of text, image, moving image and performance in advancing colonial intents. The primary findings in this research are:
1.	that creative practice research can help people to connect sexuality with creativity, to, re-story and re-generate narratives of empowerment; 
2.	that multimedia approaches to identity knowledge gathering, assists in embodying empowerment;
3.	that Kaupapa Māori Theory can challenge dominant perceptions of gendered Māori bodies, and is inclusive of the ‘do it yourself’ strategies described through Transgender theory;
4.	that a raranga methodology can be embodied through performance and performance artefacts, connecting research to the lived experiences of research subjects;
5.	that raranga is a powerful tool to interpret sexual trauma, offering connective strategies to release damaging internalised behaviours;
6.	that raranga can centre marginal identities as bodies full of hope; 
7.	that performance of historical trauma as ceremony can offer collective forms of healing, and;
8.	that raranga heals, giving direction to multiple and conflicting strands of lived experience.


The thesis makes prominent the generative and progressive nature of raranga and is chronological in design. Theoretical explorations inspire creative works, which then in turn inform avenues for deeper theorisation, leading to new creative works and so on until the thesis conclusion. Through this creative practice research project I assert raranga as a powerful process to interpret the agency that grows between makers, the materials we use and the objects we create. Ultimately, this thesis outlines a way to weave experiences of sexualised and gendered trauma, and affirm the healing present at the intersection between oppositional relationships.

year: 2017