title: Eke panuku, eke tangaroa! How Black Ferns 7s athletes navigate Instagram and inspire the next generation in Aotearoa

authors: Keet, Thandiwe Maia

subjects: Gender

abstract: This thesis considers the role of Instagram in the lives of players on the New Zealand Black Ferns 7s rugby team, and audience engagement with players’ social media accounts. Using a mana wāhine methodology, this study explores how Black Ferns 7s players utilize and navigate Instagram, through mixed-methods enquiry, including a social media analysis of 8 players’ accounts, interviews with 3 Black Ferns 7s players, and talanoa sessions with members of the women’s rugby community in the Bay of Plenty, supplemented by input from Black Ferns players and fans via direct messages on Instagram. The quantitative social media analysis identified 4 key themes in players’ Instagram posts: achievement, team & rugby, life outside rugby, and culture & vulnerability. The analysis reveals that players post the most regarding their “team & rugby”, generating an “athlete first” self- representation. It finds a statistically significant difference in the thematic content of Instagram posts based on squad seniority and the number of followers a player has. Followers were found to engage most with posts regarding “achievement”, and the least with posts regarding “culture and vulnerability”.
The interviews elaborate upon these quantitative differences by highlighting why athletes specifically use Instagram, insights into Black Ferns aspirational team dynamics, and the importance of a player’s life outside of rugby. The thematic analysis also reveals the digital economic and collective labour involved in producing social media content as a member of this team, and what it means to be culturally “authentic” online in Aotearoa. It reveals the unique elements generated by the team-sport context of this study, including intra-team differences in social media usage. Furthermore, hauora, Indigenous role modeling, and Tall Poppy Syndrome emerge as factors particularly unique to the cultural context within which this study takes place. The discussions culminate in the establishment of a layered understanding of the external, internal, and individual factors which shape Instagram posting habits, and the features which most significantly impact why audiences follow the curated displays Black Ferns 7s athletes provide online.
This project contributes to international literature on sportswomen’s use of social media, demonstrating the powerful ways that players support one another in what, when, and how they post, and the importance of cultural identity in Māori and Pasifika players’ social media engagement. It further reveals the importance of team culture in shaping individual players’ social media and audience engagement. This thesis also highlights the significance of sporting and cultural histories and intersectional identities in digital self-representation and fan engagement with sportswomen’s social media usage.

text: Eke panuku, eke tangaroa! How Black Ferns 7s athletes navigate Instagram and inspire the next generation in Aotearoa This thesis considers the role of Instagram in the lives of players on the New Zealand Black Ferns 7s rugby team, and audience engagement with players’ social media accounts. Using a mana wāhine methodology, this study explores how Black Ferns 7s players utilize and navigate Instagram, through mixed-methods enquiry, including a social media analysis of 8 players’ accounts, interviews with 3 Black Ferns 7s players, and talanoa sessions with members of the women’s rugby community in the Bay of Plenty, supplemented by input from Black Ferns players and fans via direct messages on Instagram. The quantitative social media analysis identified 4 key themes in players’ Instagram posts: achievement, team & rugby, life outside rugby, and culture & vulnerability. The analysis reveals that players post the most regarding their “team & rugby”, generating an “athlete first” self- representation. It finds a statistically significant difference in the thematic content of Instagram posts based on squad seniority and the number of followers a player has. Followers were found to engage most with posts regarding “achievement”, and the least with posts regarding “culture and vulnerability”.
The interviews elaborate upon these quantitative differences by highlighting why athletes specifically use Instagram, insights into Black Ferns aspirational team dynamics, and the importance of a player’s life outside of rugby. The thematic analysis also reveals the digital economic and collective labour involved in producing social media content as a member of this team, and what it means to be culturally “authentic” online in Aotearoa. It reveals the unique elements generated by the team-sport context of this study, including intra-team differences in social media usage. Furthermore, hauora, Indigenous role modeling, and Tall Poppy Syndrome emerge as factors particularly unique to the cultural context within which this study takes place. The discussions culminate in the establishment of a layered understanding of the external, internal, and individual factors which shape Instagram posting habits, and the features which most significantly impact why audiences follow the curated displays Black Ferns 7s athletes provide online.
This project contributes to international literature on sportswomen’s use of social media, demonstrating the powerful ways that players support one another in what, when, and how they post, and the importance of cultural identity in Māori and Pasifika players’ social media engagement. It further reveals the importance of team culture in shaping individual players’ social media and audience engagement. This thesis also highlights the significance of sporting and cultural histories and intersectional identities in digital self-representation and fan engagement with sportswomen’s social media usage.

year: 2022

title: Archetypes and the unthought: The projection of the King’s Court in New Zealand television media

authors: Mataira, Kelvin

abstract: This thesis explores archetypal projections of conflict in Television New Zealand’s news and current affairs as an unthought. The television news and current affairs programmes identified in the thesis relate to issues of conflict between the Maori people of New Zealand, and the Government and Crown agencies of New Zealand. The unresolved issues of conflict are manifest in what has become popularly known as the Treaty of Waitangi settlement process.

The thesis is informed by Foucault’s conviction that the unthought is the power that is linked to every mode of knowledge. The thesis argues that knowledge in relation to thought is limited because the knowledge is surrounded by an immense region of shadow. In an ontology based on thought only it is shown how the Shadow and the King’s Court archetypes conceal and prevent human beings from comprehending other discourses.

It is argued that Foucault’s concern with the unthought is reflected in Carl Gustav Jung’s convictions about the collective unconscious. Jung’s theory of the quarternio: thinking, sensing, intuition and feeling that describe the four functions of the mind, inform the theory and the methodology for the thesis. It is proposed that the discursive activities of television media can be understood in relation to Hermes the Greek God of magic, lies and illusion. It is further proposed that the images that are projected from television media can be informed by mythical accounts of Hermes’ behaviour and activity in relation to Zeus, Apollo, Dionysus, and Ares.

In the thesis, the quarternio and the Greek Gods are represented by the archetypes of the King’s Court. The Ruler archetype represents Zeus and Apollo as the thinking function of the mind. The Sage archetype is shown to be located in close proximity to the Ruler. The Warrior archetype represents Dionysus as the sensing function of the mind. The Magician archetype represents Hermes as the intuitive function of the mind. The Fool archetype represents Ares as the feeling function of the mind. The Destroyer archetype as the inferior and rejected contents of the collective unconscious represents the archetypal Shadow that undermines the activities of the King’s Court. 

It is maintained in the thesis that television media projections of the King’s Court are a metaphor of the mind, and in particular of the contents of the collective unconscious. The King’s Court as a mythical and archetypal metaphor invites an inspection of the unthought through the epistemology of image. The thesis furnishes a methodology based on the epistemology of television. Through an analysis of popular contemporary films such as the Star Wars Trilogy that are shown to be heavily invested with archetypal motif, discourses for each of the King’s Court archetypes are presented. Foucault’s notion of the rituals and gestures that constitute the true discourse in a regime of truth informs the definition of discourse in the thesis. Discourse in the thesis is to be understood as verbal and non-verbal modes of communication.

Foucault’s notion of disciplinary power provides a method for analysing television news and current affairs programmes as an order of discourse. Disciplinary power enables an understanding of the power relations in television media as the power that circulates in an inquisition between the examiner and the confessor. The archetypes of the King’s Court are projected through the rituals of inquisition in television media.

In the analysis all of the archetypes of the King’s Court are seen except for the Magician. Television it is argued represents the Magician. The Destroyer, the Ruler the Sage, the Warrior and the Fool on television media are controlled by the Magician. The Magician shows that the Ruler’s discourse reflected through the King’s Court represents the regime of truth. The competing discourse of the Destroyer as archetypal foe is located outside of the King’s Court and in opposition to the Ruler’s discourse. The Ruler’s discourse is Apollonine. The Ruler projects the image of control, peace, reconciliation, rationality, serenity, authority, and wealth. The Sage as the intellectual and the Fool as the archetypal Trickster are shown to actively facilitate the power of the Ruler. The Warrior who is projected as a powerful leader may be alienated from the King’s Court.

text: Archetypes and the unthought: The projection of the King’s Court in New Zealand television media This thesis explores archetypal projections of conflict in Television New Zealand’s news and current affairs as an unthought. The television news and current affairs programmes identified in the thesis relate to issues of conflict between the Maori people of New Zealand, and the Government and Crown agencies of New Zealand. The unresolved issues of conflict are manifest in what has become popularly known as the Treaty of Waitangi settlement process.

The thesis is informed by Foucault’s conviction that the unthought is the power that is linked to every mode of knowledge. The thesis argues that knowledge in relation to thought is limited because the knowledge is surrounded by an immense region of shadow. In an ontology based on thought only it is shown how the Shadow and the King’s Court archetypes conceal and prevent human beings from comprehending other discourses.

It is argued that Foucault’s concern with the unthought is reflected in Carl Gustav Jung’s convictions about the collective unconscious. Jung’s theory of the quarternio: thinking, sensing, intuition and feeling that describe the four functions of the mind, inform the theory and the methodology for the thesis. It is proposed that the discursive activities of television media can be understood in relation to Hermes the Greek God of magic, lies and illusion. It is further proposed that the images that are projected from television media can be informed by mythical accounts of Hermes’ behaviour and activity in relation to Zeus, Apollo, Dionysus, and Ares.

In the thesis, the quarternio and the Greek Gods are represented by the archetypes of the King’s Court. The Ruler archetype represents Zeus and Apollo as the thinking function of the mind. The Sage archetype is shown to be located in close proximity to the Ruler. The Warrior archetype represents Dionysus as the sensing function of the mind. The Magician archetype represents Hermes as the intuitive function of the mind. The Fool archetype represents Ares as the feeling function of the mind. The Destroyer archetype as the inferior and rejected contents of the collective unconscious represents the archetypal Shadow that undermines the activities of the King’s Court. 

It is maintained in the thesis that television media projections of the King’s Court are a metaphor of the mind, and in particular of the contents of the collective unconscious. The King’s Court as a mythical and archetypal metaphor invites an inspection of the unthought through the epistemology of image. The thesis furnishes a methodology based on the epistemology of television. Through an analysis of popular contemporary films such as the Star Wars Trilogy that are shown to be heavily invested with archetypal motif, discourses for each of the King’s Court archetypes are presented. Foucault’s notion of the rituals and gestures that constitute the true discourse in a regime of truth informs the definition of discourse in the thesis. Discourse in the thesis is to be understood as verbal and non-verbal modes of communication.

Foucault’s notion of disciplinary power provides a method for analysing television news and current affairs programmes as an order of discourse. Disciplinary power enables an understanding of the power relations in television media as the power that circulates in an inquisition between the examiner and the confessor. The archetypes of the King’s Court are projected through the rituals of inquisition in television media.

In the analysis all of the archetypes of the King’s Court are seen except for the Magician. Television it is argued represents the Magician. The Destroyer, the Ruler the Sage, the Warrior and the Fool on television media are controlled by the Magician. The Magician shows that the Ruler’s discourse reflected through the King’s Court represents the regime of truth. The competing discourse of the Destroyer as archetypal foe is located outside of the King’s Court and in opposition to the Ruler’s discourse. The Ruler’s discourse is Apollonine. The Ruler projects the image of control, peace, reconciliation, rationality, serenity, authority, and wealth. The Sage as the intellectual and the Fool as the archetypal Trickster are shown to actively facilitate the power of the Ruler. The Warrior who is projected as a powerful leader may be alienated from the King’s Court.

year: 2000

title: Low-cost fluid flow sensor to enable electronic control of fractional distillation columns

authors: Scott, Jonathan B.

subjects: sensors

abstract: A sensor is described that measures fluid flow up to 20 ml/minute, and down to 0.001 ml/minute. The measurement involves counting drips as they fall through a pair of optical beams. The beams are formed using a pair of ordinary optical proximity sensors arranged to face each other so that each photo- receiver sees the other sensor’s emitter. The beams operate at two different frequencies so as to prevent reflected signals interfering. Only two sensors, an 8-pin microcontroller, and four resistors are required for the sensing. Calibration for a specific fluid is straightforward. An ethanol-water mixture produces 16 drips/ml, significantly different from the default pharmaceutical value of 12 drips/ml.

text: Low-cost fluid flow sensor to enable electronic control of fractional distillation columns A sensor is described that measures fluid flow up to 20 ml/minute, and down to 0.001 ml/minute. The measurement involves counting drips as they fall through a pair of optical beams. The beams are formed using a pair of ordinary optical proximity sensors arranged to face each other so that each photo- receiver sees the other sensor’s emitter. The beams operate at two different frequencies so as to prevent reflected signals interfering. Only two sensors, an 8-pin microcontroller, and four resistors are required for the sensing. Calibration for a specific fluid is straightforward. An ethanol-water mixture produces 16 drips/ml, significantly different from the default pharmaceutical value of 12 drips/ml.

year: 2021