title: Iwi case study report- Tarawera river: Tuwharetoa ki Kawerau, Te Arawa and Ngati Awa

authors: Dodd, Materoa

subjects: Iwi land rights

abstract: There is a deep sense of injustice and creeping despair that the cultural life of the Tarawera River has been destroyed. Cultural lore has been reduced to a perspective of the dominant cultures’ rule of law. The plea for the cultural voice of the Tarawera River to be heard echoes throughout this research, yet the silence of the response is deafening. This research informs on the cultural story of the Tarawera River, it examines the ways in which the relationship between Te Arawa, Tūwharetoa Ki Kawerau and Ngāti Awa and the Tarawera River changed since the discharge of effluent from pulp and paper mills into the river began nearly half a century ago. The research reported on here involves action research approached and informed by Māori epistemologies and what has come to be known as ‘kaupapa Māori research’, an approach that privileges indigenous values, attitudes and practices.

text: Iwi case study report- Tarawera river: Tuwharetoa ki Kawerau, Te Arawa and Ngati Awa There is a deep sense of injustice and creeping despair that the cultural life of the Tarawera River has been destroyed. Cultural lore has been reduced to a perspective of the dominant cultures’ rule of law. The plea for the cultural voice of the Tarawera River to be heard echoes throughout this research, yet the silence of the response is deafening. This research informs on the cultural story of the Tarawera River, it examines the ways in which the relationship between Te Arawa, Tūwharetoa Ki Kawerau and Ngāti Awa and the Tarawera River changed since the discharge of effluent from pulp and paper mills into the river began nearly half a century ago. The research reported on here involves action research approached and informed by Māori epistemologies and what has come to be known as ‘kaupapa Māori research’, an approach that privileges indigenous values, attitudes and practices.

year: 2002-02

title: Ki te kapu o taku ringa - In the palm of my hand

authors: Hill, Rodrigo

subjects: Mātauranga Māori

abstract: This publication accompanies the launching of our exhibition 'Ki te Kapu o Taku Ringa - In the Palm of My Hand' at the Ōtorohanga Museum in June 2024.
The title is taken from a line of King Tāwhiao's song-poem 'Maioha mō Waikato'. Ejected from their homelands he and his Waikato brethren took refuge with their Maniapoto relations in Te Nehenehenui; parts of which are mentioned in the song-poem. Teh 'maioha' was composed expressing King Tāwhiao's love for his homelands, and his solastagic holding fast to those lands '...in the palm of his hand.'

text: Ki te kapu o taku ringa - In the palm of my hand This publication accompanies the launching of our exhibition 'Ki te Kapu o Taku Ringa - In the Palm of My Hand' at the Ōtorohanga Museum in June 2024.
The title is taken from a line of King Tāwhiao's song-poem 'Maioha mō Waikato'. Ejected from their homelands he and his Waikato brethren took refuge with their Maniapoto relations in Te Nehenehenui; parts of which are mentioned in the song-poem. Teh 'maioha' was composed expressing King Tāwhiao's love for his homelands, and his solastagic holding fast to those lands '...in the palm of his hand.'

year: 2024

title: Using shared displays to support group design; A study of the use of informal user interface designs when learning to program

authors: Plimmer, Beryl

abstract: Hand-drawn sketches have traditionally been used to depict design ideas because they are quick to draw and can include as much or little detail as is required to convey the essence of the ideas. Computer tools are now an alternative and offer advantages for editing, storing and transmitting designs. However, designers consistently reject using current computer tools because these tools interrupt the creative process. Various studies have supported the designer's position, consistently showing that traditional tools produce more and better design ideas. 

This thesis describes the development and evaluation of a design-friendly computer tool that focuses specifically on the needs of the novice programmer who is designing user interfaces. From an extensive review of the literature on design, learning to programming and previous sketch tools we extracted the specifications for a tool that: compares favourably as a design medium with traditional tools such as the pen, paper and whiteboards, provides the editing and storage support expected of computer tools, helps students to gain a better understanding of programming problems and integrates seamlessly into a program development environment.

Freeform, the tool we have developed to these specifications, has had two iterations of development and usability testing. This tool is unique in that it: is integrated into a commercial program development environment, uses a digital whiteboard for interaction and includes character recognition. Using Freeform, students can both quickly hand-draw user interface designs and interact with the design while it is still rendered as a sketch. When satisfied with the design the student invokes the recognition engine. The sketch is then overlaid with recognition data. Any incorrect interpretations can be altered by the student. The student can then instruct Freeform to create the formal user interface in the program development environment. The translation of sketch glyphs to user interface widgets is achieved by parsing the sketch and recognition data with transformation rules. 

We have conducted two evaluation studies using Freeform. The first study directly compared Freeform to a traditional alternative. We found that, although the design quality was similar, the students believed that when they were using Freeform they both understood the problem better and enjoyed the experience more. We noted during this study that the interactive checking available in Freeform prompted more changes to the designs than the static checking done on a standard whiteboard. In the second study, we asked students to check designs rendered as both sketches in Freeform and as formal diagrams in a user interface builder. The students made significantly more revisions to the Freeform sketches and therefore produced better designs from Freeform. 

The usability tests and evaluation studies we have conducted suggest that computer-based low-fidelity design tools: can compete favourably with traditional tools as a design medium, offer better support for editing and storage, and may have advantages for checking over both traditional sketch mediums and formal interactive computer designs.

text: Using shared displays to support group design; A study of the use of informal user interface designs when learning to program Hand-drawn sketches have traditionally been used to depict design ideas because they are quick to draw and can include as much or little detail as is required to convey the essence of the ideas. Computer tools are now an alternative and offer advantages for editing, storing and transmitting designs. However, designers consistently reject using current computer tools because these tools interrupt the creative process. Various studies have supported the designer's position, consistently showing that traditional tools produce more and better design ideas. 

This thesis describes the development and evaluation of a design-friendly computer tool that focuses specifically on the needs of the novice programmer who is designing user interfaces. From an extensive review of the literature on design, learning to programming and previous sketch tools we extracted the specifications for a tool that: compares favourably as a design medium with traditional tools such as the pen, paper and whiteboards, provides the editing and storage support expected of computer tools, helps students to gain a better understanding of programming problems and integrates seamlessly into a program development environment.

Freeform, the tool we have developed to these specifications, has had two iterations of development and usability testing. This tool is unique in that it: is integrated into a commercial program development environment, uses a digital whiteboard for interaction and includes character recognition. Using Freeform, students can both quickly hand-draw user interface designs and interact with the design while it is still rendered as a sketch. When satisfied with the design the student invokes the recognition engine. The sketch is then overlaid with recognition data. Any incorrect interpretations can be altered by the student. The student can then instruct Freeform to create the formal user interface in the program development environment. The translation of sketch glyphs to user interface widgets is achieved by parsing the sketch and recognition data with transformation rules. 

We have conducted two evaluation studies using Freeform. The first study directly compared Freeform to a traditional alternative. We found that, although the design quality was similar, the students believed that when they were using Freeform they both understood the problem better and enjoyed the experience more. We noted during this study that the interactive checking available in Freeform prompted more changes to the designs than the static checking done on a standard whiteboard. In the second study, we asked students to check designs rendered as both sketches in Freeform and as formal diagrams in a user interface builder. The students made significantly more revisions to the Freeform sketches and therefore produced better designs from Freeform. 

The usability tests and evaluation studies we have conducted suggest that computer-based low-fidelity design tools: can compete favourably with traditional tools as a design medium, offer better support for editing and storage, and may have advantages for checking over both traditional sketch mediums and formal interactive computer designs.

year: 2004