title: Editorial: Jean-Luc Godard's film socialisme and the pedagogy of the image

authors: Peters, Michael A.

abstract: Editorial. The philosophy of film, or film philosophy, has experienced new life since the 1980s, to explore various aspects of film as an artistic medium: the nature of film, director as auteur, film narration, and the effects of film on philosophy. It could be argued that philosophy caught up with film as a dominant medium in the 20th century while pedagogy remains hopelessly tangled in the textualism of print culture and barely able to register the existence of new social media with which most students have considerable fluency.

text: Editorial: Jean-Luc Godard's film socialisme and the pedagogy of the image Editorial. The philosophy of film, or film philosophy, has experienced new life since the 1980s, to explore various aspects of film as an artistic medium: the nature of film, director as auteur, film narration, and the effects of film on philosophy. It could be argued that philosophy caught up with film as a dominant medium in the 20th century while pedagogy remains hopelessly tangled in the textualism of print culture and barely able to register the existence of new social media with which most students have considerable fluency.

year: 2012

title: David Mclean Wallace: a Waiorongomai blacksmith who founded an engineering firm

authors: Hart, Philip

abstract: Born in Scotland and trained as a blacksmith, Wallace arrived in New Zealand in 1873, working at Ngaruawahia, Auckland, and Huntly before settling in Waiorongomai in 1885. Soon obtaining most of the available work, he acquired other blacksmiths’ businesses. Shifting to Te Aroha in 1892, his business grew steadily, and in 1912 a private company comprising Wallace and his sons was formed. With the arrival of the motor car, the firm adapted to repair these, an adaptability assisted by his inventive skills. After patenting a popular miners’ pick, he turned to inventions to benefit farmers.
Wallace was involved in many aspects of community life, serving on several committees, and for a while was on the borough council where, occasionally, when opposed by other councillors, he was a belligerent member. But in general he was popular and highly respected.

text: David Mclean Wallace: a Waiorongomai blacksmith who founded an engineering firm Born in Scotland and trained as a blacksmith, Wallace arrived in New Zealand in 1873, working at Ngaruawahia, Auckland, and Huntly before settling in Waiorongomai in 1885. Soon obtaining most of the available work, he acquired other blacksmiths’ businesses. Shifting to Te Aroha in 1892, his business grew steadily, and in 1912 a private company comprising Wallace and his sons was formed. With the arrival of the motor car, the firm adapted to repair these, an adaptability assisted by his inventive skills. After patenting a popular miners’ pick, he turned to inventions to benefit farmers.
Wallace was involved in many aspects of community life, serving on several committees, and for a while was on the borough council where, occasionally, when opposed by other councillors, he was a belligerent member. But in general he was popular and highly respected.

year: 2016

title: Matariki, commodity culture, and multiple identities

authors: Hardy, Ann

subjects: Matariki

abstract: The event known as Matariki, the rising of the Pleiades in winter, which Māori take as the mark of the beginning of a new year, was not a strong feature of the wider public sphere for most of the 20th century. Since 2001, however, when Te Taura Whiri, the Māori Language Commission, published an explanatory booklet with the aim of reviving interest in Matariki as an aide to the maintenance of te reo, it has been promoted by several quasi-governmental institutions, especially the national museum, Te Papa, as a winter festival for all New Zealanders. Its main public presence to date has been through media products: posters, banners, websites, television programmes, newspaper features, calendars, some theatrical performances and physical commemoration ceremonies.

The larger project, of which this paper represents an initial descriptive and positioning phase, is a continuation of the researcher's long-standing interest in the intersections of religiosity, culture, and media as they are active in the environment of Aotearoa New Zealand. It assumes, building on theorists such as Bellah and Lundby that the creation of such festivals is an act of 'civil religiosity' that attempts to create and strengthen national community around a set of numinous symbols.
However, the development of an enterprise such as Matariki is pursued in a complex political field, where broad agreement across various factions is needed before the festival can take on an enduring material and symbolic existence. In investigating the factors that will determine the future of Matariki it is relevant to consider the interaction of three factors in particular: the ethno-political history of New Zealand; the characteristics of contemporary reflexive spirituality, which are intertwined with commodificatory tendencies and thirdly, the impacts of increasing globalisation on the parameters of identity-formation for citizens in late-modern societies.

text: Matariki, commodity culture, and multiple identities The event known as Matariki, the rising of the Pleiades in winter, which Māori take as the mark of the beginning of a new year, was not a strong feature of the wider public sphere for most of the 20th century. Since 2001, however, when Te Taura Whiri, the Māori Language Commission, published an explanatory booklet with the aim of reviving interest in Matariki as an aide to the maintenance of te reo, it has been promoted by several quasi-governmental institutions, especially the national museum, Te Papa, as a winter festival for all New Zealanders. Its main public presence to date has been through media products: posters, banners, websites, television programmes, newspaper features, calendars, some theatrical performances and physical commemoration ceremonies.

The larger project, of which this paper represents an initial descriptive and positioning phase, is a continuation of the researcher's long-standing interest in the intersections of religiosity, culture, and media as they are active in the environment of Aotearoa New Zealand. It assumes, building on theorists such as Bellah and Lundby that the creation of such festivals is an act of 'civil religiosity' that attempts to create and strengthen national community around a set of numinous symbols.
However, the development of an enterprise such as Matariki is pursued in a complex political field, where broad agreement across various factions is needed before the festival can take on an enduring material and symbolic existence. In investigating the factors that will determine the future of Matariki it is relevant to consider the interaction of three factors in particular: the ethno-political history of New Zealand; the characteristics of contemporary reflexive spirituality, which are intertwined with commodificatory tendencies and thirdly, the impacts of increasing globalisation on the parameters of identity-formation for citizens in late-modern societies.

year: 2011