title: Captured voices in primary school art education.

authors: Price, Graham

subjects: art education

abstract: Eisner (1972) articulated a long-standing orientation in art education as he described the triadic relationship between socio-centric, child-centred and discipline-centred approaches in art education praxis. Hickman (2005) observed that teachers and students are now positioned to embrace a wider range of discourses as to what art might be. This impacts on why students make art and how it is taught. Wider arts discourse has resulted in influential paradigms and historically preferred arts pedagogies (Efland, 2002, 2004; Eisner, 1972; Kerlavage, 1992; Price, 2005). These discourses influence policy, curriculum, teacher beliefs about art and ultimately the ways in which these influences are played out in classrooms. Eisner (2002) argued the need for "empirically grounded examples of artistic thinking related to the nature of the tasks students engage in, the materials they work with, the context's norms and the cues the teacher provides to advance their students thinking" (p. 217). This paper draws on such theory and a two year action-research project, The Art of the Matter (Fraser et al., 2006) involving case studies and analysis. This paper focuses on a Year 4 to Year 6 'drawing into painting' context taught by experienced generalist teachers in New Zealand primary schools. The influence of school culture and programme structures is explored. I raise questions as to which socio-cultural and discipline-centred voices generalist teachers have been captured by, and consider to what extent it possible to still discern a student whisper under the clamour and control of adult proscribed activity.

text: Captured voices in primary school art education. Eisner (1972) articulated a long-standing orientation in art education as he described the triadic relationship between socio-centric, child-centred and discipline-centred approaches in art education praxis. Hickman (2005) observed that teachers and students are now positioned to embrace a wider range of discourses as to what art might be. This impacts on why students make art and how it is taught. Wider arts discourse has resulted in influential paradigms and historically preferred arts pedagogies (Efland, 2002, 2004; Eisner, 1972; Kerlavage, 1992; Price, 2005). These discourses influence policy, curriculum, teacher beliefs about art and ultimately the ways in which these influences are played out in classrooms. Eisner (2002) argued the need for "empirically grounded examples of artistic thinking related to the nature of the tasks students engage in, the materials they work with, the context's norms and the cues the teacher provides to advance their students thinking" (p. 217). This paper draws on such theory and a two year action-research project, The Art of the Matter (Fraser et al., 2006) involving case studies and analysis. This paper focuses on a Year 4 to Year 6 'drawing into painting' context taught by experienced generalist teachers in New Zealand primary schools. The influence of school culture and programme structures is explored. I raise questions as to which socio-cultural and discipline-centred voices generalist teachers have been captured by, and consider to what extent it possible to still discern a student whisper under the clamour and control of adult proscribed activity.

year: 2007

title: Environmental Aspects of Proteinous Bioplastic

authors: Hicks, Talia

subjects: bioplastic

abstract: During the processing of Novatein Thermoplastic Protein (NTP), volatile compounds are released which are odourous and potentially harmful. For NTP to be manufactured on a commercial scale the odour that currently arises during production must be minimised.
Literature revealed that blood components are thermally unstable under oxidising conditions and in addition, the presence of iron in bloodmeal, may catalyse the formation of various odourous compounds.
The objectives of this work were to establish an odour profile for bloodmeal and pre-extruded NTP (PNTP) and determine the effect of chemically treating bloodmeal on the resulting odour profile. In addition, the potential for NTP to be degraded by composting and effect of prolonged exposure to UV radiation was investigated.
It was found that the initial odour of bloodmeal was caused by putrefaction during the storage of whole blood prior to drying as well as the formation of other, less odourous, volatile compounds derived from lipids and proteins during drying.
The odour profile of pre-extruded NTP (PNTP) was found to change after chemical treatment of bloodmeal. Chemical treatments successfully minimised or changed the odour of the bloodmeal. Peracetic acid treatment successfully removed the characteristic bloodmeal odour resulting in decolourised bloodmeal with a mild vinegar odour. In general, removing odour from the PNTP could not be achieved without the addition of 10-20 wt% activated carbon or greater than 20 wt% natural zeolite.
Additionally, for NTP to be marketed as biodegradable as well as bio-derived plastic, it must be shown to degrade in the environment at a rate comparable with cellulose. NTP was found to undergo substantial deterioration and polymer degradation within 12 weeks of composting, for plasticised samples up to 47 % dry mass loss was observed. However, exposure to 12 weeks of ultra-violet radiation, lead to embrittlement of the plastic with very little polymer degradation occurring.

text: Environmental Aspects of Proteinous Bioplastic During the processing of Novatein Thermoplastic Protein (NTP), volatile compounds are released which are odourous and potentially harmful. For NTP to be manufactured on a commercial scale the odour that currently arises during production must be minimised.
Literature revealed that blood components are thermally unstable under oxidising conditions and in addition, the presence of iron in bloodmeal, may catalyse the formation of various odourous compounds.
The objectives of this work were to establish an odour profile for bloodmeal and pre-extruded NTP (PNTP) and determine the effect of chemically treating bloodmeal on the resulting odour profile. In addition, the potential for NTP to be degraded by composting and effect of prolonged exposure to UV radiation was investigated.
It was found that the initial odour of bloodmeal was caused by putrefaction during the storage of whole blood prior to drying as well as the formation of other, less odourous, volatile compounds derived from lipids and proteins during drying.
The odour profile of pre-extruded NTP (PNTP) was found to change after chemical treatment of bloodmeal. Chemical treatments successfully minimised or changed the odour of the bloodmeal. Peracetic acid treatment successfully removed the characteristic bloodmeal odour resulting in decolourised bloodmeal with a mild vinegar odour. In general, removing odour from the PNTP could not be achieved without the addition of 10-20 wt% activated carbon or greater than 20 wt% natural zeolite.
Additionally, for NTP to be marketed as biodegradable as well as bio-derived plastic, it must be shown to degrade in the environment at a rate comparable with cellulose. NTP was found to undergo substantial deterioration and polymer degradation within 12 weeks of composting, for plasticised samples up to 47 % dry mass loss was observed. However, exposure to 12 weeks of ultra-violet radiation, lead to embrittlement of the plastic with very little polymer degradation occurring.

year: 2010

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