title: A glimpse into the past, present, and future of engineering interactive computing systems

authors: Bowen, Judy

subjects: computer science

abstract: The area of Engineering Interactive Computing Systems (EICS) is often defined as the intersection between Software Engineering (SE) and Human-Computer Interaction (HCI). In this paper, we provide an overview of what EICS is and how it is positioned with respect to other venues in HCI, such as CHI, UIST, and IUI, highlighting its legacy and paying homage to past scientific events from which EICS emerged. We also take this opportunity to deliver a critical analysis of the past, present, and perhaps future research and development questions raised in EICS. In particular, we exemplify these questions by referring to scientific contributions which have been published in this area in this last issue of PACMHCI.

text: A glimpse into the past, present, and future of engineering interactive computing systems The area of Engineering Interactive Computing Systems (EICS) is often defined as the intersection between Software Engineering (SE) and Human-Computer Interaction (HCI). In this paper, we provide an overview of what EICS is and how it is positioned with respect to other venues in HCI, such as CHI, UIST, and IUI, highlighting its legacy and paying homage to past scientific events from which EICS emerged. We also take this opportunity to deliver a critical analysis of the past, present, and perhaps future research and development questions raised in EICS. In particular, we exemplify these questions by referring to scientific contributions which have been published in this area in this last issue of PACMHCI.

year: 2020

title: Grotesque Inversions On Stage, In Film: Horrid Yet Curious, Fascinating Yet Alarming

authors: Dellow, Delwyn Rae

subjects: Grotesque Theatre

abstract: Grotesque theatre is not a genre but a style of theatre made up of many strands which has been employed over many centuries beginning in Ancient Greece, particularly with Aristophanes and moving through time to the present.  François Rabelais recognised the grotesque in Church Feasts, Festivals, Guild performances, sotties and farces.  This thesis investigates through theatre and film the seven strands Bakhtin identifies:  grotesque image, abusive language, grotesque madness, scatalogical humour, light, reversals and the lower bodily stratum (1984, pp. 24-41).  In particular the thesis traces inversions in both theatre and film.  These two mediums have been selected to compare and contrast the use of the grotesque in each, as they share two strong commonalities in acting and the requirement of scripts.  

	Each chapter of this thesis deals with a script, and the last two chapters  incorporate the use of a movie for contrast.  The Introduction introduces the grotesque, offering an explanation of the styles of the grotesque as defined by Mikhail Bakhtin and Philip Thomson.  Examples are shown in pictures.  Chapter one explores two plays written by Eugene Ionesco:   Amedée or How to Get Rid of It, and Rhinoceros.  Chapter two moves back through time to Aristophanes' Lysistrata and explores the power women's bodies might have when men are in need.  The third chapter investigates The Roaring Girl, written by Middleton and Dekker.  This delves into the life of the character Moll Cutpurse and shows why Moll chose to dress as a man.  Chapters four and five deal with the fantasy and the gothic elements in Frankenstein and Dracula respectively:  focusing on bodily transformations; as well as the treatment of the monster and Dracula by society,  and their treatment in turn of society.  

	The grotesque is an intriguing style of theatre because it deals essentially with human nature and the human body in its imperfect and ever-changing form.  The grotesque therefore lends itself to horror, comedy and exaggeration making it a style which does not have to be limited by strict parameters.  The grotesque can be successfully woven into other genres such as the gothic or the absurd giving it even greater dimensions in storytelling, staging and special effects.  Human beings are often torn between the gory or visually disturbing whilst needing the safety of the normal and acceptable.  The grotesque offers both, which can make a scintillating piece of entertainment by fulfilling our needs at both ends of the emotional spectrum.  Grotesque theatre therefore by its very nature is a style which will continue to exist so long as it keeps its patrons in suspense.

text: Grotesque Inversions On Stage, In Film: Horrid Yet Curious, Fascinating Yet Alarming Grotesque theatre is not a genre but a style of theatre made up of many strands which has been employed over many centuries beginning in Ancient Greece, particularly with Aristophanes and moving through time to the present.  François Rabelais recognised the grotesque in Church Feasts, Festivals, Guild performances, sotties and farces.  This thesis investigates through theatre and film the seven strands Bakhtin identifies:  grotesque image, abusive language, grotesque madness, scatalogical humour, light, reversals and the lower bodily stratum (1984, pp. 24-41).  In particular the thesis traces inversions in both theatre and film.  These two mediums have been selected to compare and contrast the use of the grotesque in each, as they share two strong commonalities in acting and the requirement of scripts.  

	Each chapter of this thesis deals with a script, and the last two chapters  incorporate the use of a movie for contrast.  The Introduction introduces the grotesque, offering an explanation of the styles of the grotesque as defined by Mikhail Bakhtin and Philip Thomson.  Examples are shown in pictures.  Chapter one explores two plays written by Eugene Ionesco:   Amedée or How to Get Rid of It, and Rhinoceros.  Chapter two moves back through time to Aristophanes' Lysistrata and explores the power women's bodies might have when men are in need.  The third chapter investigates The Roaring Girl, written by Middleton and Dekker.  This delves into the life of the character Moll Cutpurse and shows why Moll chose to dress as a man.  Chapters four and five deal with the fantasy and the gothic elements in Frankenstein and Dracula respectively:  focusing on bodily transformations; as well as the treatment of the monster and Dracula by society,  and their treatment in turn of society.  

	The grotesque is an intriguing style of theatre because it deals essentially with human nature and the human body in its imperfect and ever-changing form.  The grotesque therefore lends itself to horror, comedy and exaggeration making it a style which does not have to be limited by strict parameters.  The grotesque can be successfully woven into other genres such as the gothic or the absurd giving it even greater dimensions in storytelling, staging and special effects.  Human beings are often torn between the gory or visually disturbing whilst needing the safety of the normal and acceptable.  The grotesque offers both, which can make a scintillating piece of entertainment by fulfilling our needs at both ends of the emotional spectrum.  Grotesque theatre therefore by its very nature is a style which will continue to exist so long as it keeps its patrons in suspense.

year: 2012

title: Translated identities: 'Pakeha' as subjects of the Treaty of Waitangi

authors: Goldsmith, Michael

subjects: Treaty of Waitangi

abstract: The politics of translation is clearly a perennial focus of debate in New Zealand, as shown by thematic links between the New Zealand social anthropology conferences at Waikato in 1990 and Auckland in 2004. Of the many issues of translation swirling around ongoing attempts to interpret the Treaty of Waitangi, a surprisingly neglected one concerns the identities of the people on behalf of whom the Crown signed the Treaty. The term 'Pakeha' appears only once in the Treaty, the question of whom it refers to is by no means straightforward, and it would be unwise to presume that it had the same range of meanings in 1840 as it does in present-day biculturalism. This point is demonstrated by a re-reading of historical material concerning the parties present at or implicated in the signing of the Treaty, including the so-called Pakeha Maori.

text: Translated identities: 'Pakeha' as subjects of the Treaty of Waitangi The politics of translation is clearly a perennial focus of debate in New Zealand, as shown by thematic links between the New Zealand social anthropology conferences at Waikato in 1990 and Auckland in 2004. Of the many issues of translation swirling around ongoing attempts to interpret the Treaty of Waitangi, a surprisingly neglected one concerns the identities of the people on behalf of whom the Crown signed the Treaty. The term 'Pakeha' appears only once in the Treaty, the question of whom it refers to is by no means straightforward, and it would be unwise to presume that it had the same range of meanings in 1840 as it does in present-day biculturalism. This point is demonstrated by a re-reading of historical material concerning the parties present at or implicated in the signing of the Treaty, including the so-called Pakeha Maori.

year: 2005