title: Action sport media consumption trends across generations: Exploring the Olympic audience and the impact of action sports inclusion

authors: Wheaton, Belinda

subjects: Social Sciences

abstract: The ageing demographics of Olympic viewers is a key concern for the International Olympic Committee. The inclusion of action sports into the Olympic programmes has been a key strategy to try and connect with youth consumers, most recently through the inclusion of skateboarding, surfing, and sport climbing into the Tokyo 2020 summer games. Drawing on a questionnaire distributed online in nine languages, and contextualized with analysis of the action sport media, our research explores international and multigenerational action sport consumers’ sport viewing preferences and attitudes to the Olympic inclusion of action sports. Our findings suggest that action sport participants across different countries, ages, and genders are avid consumers of action sport media but also keen consumers of the Olympics. The majority of survey participants were enthusiastic about the inclusion of action sports (and particularly skateboarding) into the Olympic Games, although there were important trends across nationalities and ages. Nonetheless, reflecting debates in the subcultural media, participants also have concerns about the processes and politics of action sports inclusion. Action sports may well provide the International Olympic Committee with new lucrative markets, but to maximise the engagement of complex intergenerational audiences, their viewing preferences will need continued attention and understanding.

text: Action sport media consumption trends across generations: Exploring the Olympic audience and the impact of action sports inclusion The ageing demographics of Olympic viewers is a key concern for the International Olympic Committee. The inclusion of action sports into the Olympic programmes has been a key strategy to try and connect with youth consumers, most recently through the inclusion of skateboarding, surfing, and sport climbing into the Tokyo 2020 summer games. Drawing on a questionnaire distributed online in nine languages, and contextualized with analysis of the action sport media, our research explores international and multigenerational action sport consumers’ sport viewing preferences and attitudes to the Olympic inclusion of action sports. Our findings suggest that action sport participants across different countries, ages, and genders are avid consumers of action sport media but also keen consumers of the Olympics. The majority of survey participants were enthusiastic about the inclusion of action sports (and particularly skateboarding) into the Olympic Games, although there were important trends across nationalities and ages. Nonetheless, reflecting debates in the subcultural media, participants also have concerns about the processes and politics of action sports inclusion. Action sports may well provide the International Olympic Committee with new lucrative markets, but to maximise the engagement of complex intergenerational audiences, their viewing preferences will need continued attention and understanding.

year: 2019

title: All I remember is forgetting

authors: Hobson, Guy Marcus

subjects: Art

abstract: All I Remember is Forgetting is a novel about the complex weaving of memory, relationships and works of art. We observe these through the eyes of Roger Phillips, whom we first encounter washed up and living in his car after the failure of a third serious relationship. Unsuccessfully married twice, Roger has not navigated matrimony as well as he might. Instead he has escaped into a world of painting, photography and sculpture.
    The main driving force behind the narrative is a wooden box containing Roger’s collection of 600 art postcards. These are pictures collected from galleries and museums around the world. Thirty years in the collecting, it took Roger’s second wife, Margot, only fifteen minutes to pitch them all into a landfill north of Auckland. Also missing were his most treasured books. Gone were all the stories from the myths of the Greeks and Romans on which he fed his imagination. So much so, in fact, that he is convinced that Eris, goddess of strife and discord, has been on a mission to ruin his life. While every book held special meaning, it was to each postcard that Roger attached his most personal recollections – the gallery, the surrounding city, the occasion and the person he was with. Each a complex narrative. All the memories of his life were tied to those small pieces of card; suddenly they were lost for ever. Art had always been Roger’s escape, his safe haven, but also his erotica, wrapping him in the beauty and hidden narratives in the lives of artists and their models. The imperfect fragments of Roger’s life show us that love is not best understood through art. Roger fails to see the philosophy of kintsugi, the Japanese art of golden repair. Breakage and mending are part of the history of your life, to be celebrated not disguised.

This is a many-layered exercise in ekphrasis, where dramatic verbal descriptions of works of art are layered with descriptions of Roger’s married life. In some cases both become so entwined that they form an entirely new layer of art. The novel weaves the highs and lows of Roger’s journey; both the pain and the humour. Through the lens of great art and its creators we find mirrors, reflections and the distortion between life and art. We travel from Sheffield and London to Paris and New York, before coming firmly to rest in New Zealand.
   
Do not believe everything that Roger tells you, but remember the words of Oscar Wilde: it is only through art that we can shield ourselves from the sordid perils of actual existence.

text: All I remember is forgetting All I Remember is Forgetting is a novel about the complex weaving of memory, relationships and works of art. We observe these through the eyes of Roger Phillips, whom we first encounter washed up and living in his car after the failure of a third serious relationship. Unsuccessfully married twice, Roger has not navigated matrimony as well as he might. Instead he has escaped into a world of painting, photography and sculpture.
    The main driving force behind the narrative is a wooden box containing Roger’s collection of 600 art postcards. These are pictures collected from galleries and museums around the world. Thirty years in the collecting, it took Roger’s second wife, Margot, only fifteen minutes to pitch them all into a landfill north of Auckland. Also missing were his most treasured books. Gone were all the stories from the myths of the Greeks and Romans on which he fed his imagination. So much so, in fact, that he is convinced that Eris, goddess of strife and discord, has been on a mission to ruin his life. While every book held special meaning, it was to each postcard that Roger attached his most personal recollections – the gallery, the surrounding city, the occasion and the person he was with. Each a complex narrative. All the memories of his life were tied to those small pieces of card; suddenly they were lost for ever. Art had always been Roger’s escape, his safe haven, but also his erotica, wrapping him in the beauty and hidden narratives in the lives of artists and their models. The imperfect fragments of Roger’s life show us that love is not best understood through art. Roger fails to see the philosophy of kintsugi, the Japanese art of golden repair. Breakage and mending are part of the history of your life, to be celebrated not disguised.

This is a many-layered exercise in ekphrasis, where dramatic verbal descriptions of works of art are layered with descriptions of Roger’s married life. In some cases both become so entwined that they form an entirely new layer of art. The novel weaves the highs and lows of Roger’s journey; both the pain and the humour. Through the lens of great art and its creators we find mirrors, reflections and the distortion between life and art. We travel from Sheffield and London to Paris and New York, before coming firmly to rest in New Zealand.
   
Do not believe everything that Roger tells you, but remember the words of Oscar Wilde: it is only through art that we can shield ourselves from the sordid perils of actual existence.

year: 2021

title: Iarararararī

authors: Maxwell, Te Kahautu

abstract: Poi. Lyrics composed by Raniera Poihipi rāua ko Te Kahautu Maxwell. Musical score composed by Te Kahautu Maxwell, Pixie Rogers, Tama Hata, Raharuha Mitai, Renee Mitai, Maisey Rika, Ramari Sherman, Te Rina Ransfield. Performed by Ōpōtiki Mai Tawhiti (Kapa Haka group) (4mins)

Waiata Tira: Aroha
Whakaeke: Haere mai rā
Mōteatea: Te Pātere a Te Turuki
Poi: Iarararararī
Waiata ā ringa: Taku Mana Māori Motuhake
Haka: Waiwharangi
Whakawātea: Āio

text: Iarararararī Poi. Lyrics composed by Raniera Poihipi rāua ko Te Kahautu Maxwell. Musical score composed by Te Kahautu Maxwell, Pixie Rogers, Tama Hata, Raharuha Mitai, Renee Mitai, Maisey Rika, Ramari Sherman, Te Rina Ransfield. Performed by Ōpōtiki Mai Tawhiti (Kapa Haka group) (4mins)

Waiata Tira: Aroha
Whakaeke: Haere mai rā
Mōteatea: Te Pātere a Te Turuki
Poi: Iarararararī
Waiata ā ringa: Taku Mana Māori Motuhake
Haka: Waiwharangi
Whakawātea: Āio

year: 2020-02-06