title: Towards a philosophy of academic publishing

authors: Peters, Michael A.

abstract: This article is concerned with developing a philosophical approach to a number of significant changes to academic publishing, and specifically the global journal knowledge system wrought by a range of new digital technologies that herald the third age of the journal as an electronic, interactive and mixed-media form of scientific communication. The paper emerges from an Editors' Collective, a small New Zealand-based organisation comprised of editors and reviewers of academic journals mostly in the fields of education and philosophy. The paper is the result of a collective writing process.

text: Towards a philosophy of academic publishing This article is concerned with developing a philosophical approach to a number of significant changes to academic publishing, and specifically the global journal knowledge system wrought by a range of new digital technologies that herald the third age of the journal as an electronic, interactive and mixed-media form of scientific communication. The paper emerges from an Editors' Collective, a small New Zealand-based organisation comprised of editors and reviewers of academic journals mostly in the fields of education and philosophy. The paper is the result of a collective writing process.

year: 2016

title: Oloketa tingting fo apem education long Solomon Islands: Issues in Solomon Islands Education[Book review].

authors: Petrie, Kirsten Culhane

subjects: book review

abstract: The article reviews the book "Oloketa tingting fo apem education long Solomon Islands: Issues in Solomon Islands Education," edited by Noeline Alcorn.

text: Oloketa tingting fo apem education long Solomon Islands: Issues in Solomon Islands Education[Book review]. The article reviews the book "Oloketa tingting fo apem education long Solomon Islands: Issues in Solomon Islands Education," edited by Noeline Alcorn.

year: 2011

title: Colonial versus ancestral legacy: The assertion of culture and identity through public arts in Kirikiriroa/Hamilton

authors: Kiff, Shirin

subjects: Ethnography

abstract: This thesis is an ethnography of Hamilton. It focuses on the role of public arts as a cultural regeneration tool and their function in shaping the community(s) in Kirikiriroa/Hamilton through building a sense of place and identity. As a qualitative study, I conducted nine semi- structured interviews with public art artists, art advocates and residents to explore the relational context within which the development and transmission of meaning takes place, a process which is central to culture and identity. The primary purpose of the research interviews was to gain insight into the factors that motivate arts organisers and planners to direct valuable limited resources into public art projects and its observable outcomes. The second purpose of the interviews, conducted while walking to public artworks in the city centre with six participants, was to examine the effect of public art on the public.
My methods also include tracking press reviews, monitoring comments and posts on social media and institutional debates involving residents, artists, and public authorities concerning public arts. I also recorded data by taking photographs and recording field notes of my observations during and after the fieldwork process. Data gathering was also enhanced by the large-scale collection of written materials and resources, including public art publications and HCC policy documents. Taken together, these research methods allowed me to investigate whether Hamilton had achieved its goals in its cultural regeneration efforts. In my analysis, I discuss the role of public art and its association with place and consider how artworks may antagonise Māori-Pākehā relationships or otherwise emphasis residents’ sense of place.
Biculturalism and monoculturalism narratives appear to dominate public arts with the purpose of invoking either a colonial legacy or ancestral legacy while the politics of multiculturalism continue to jockey for place. Colonial legacy refers to the glorifying of colonial achievements while ancestral legacy in this context refers to Māori assertion of history, culture and identity. Particularly, in this research, ancestral legacy belonging to local hapū, Ngāti Wairere. Participants’ narratives reveal four overarching themes, 1) the publics’ resistance to the making of colonial places through public art, 2) Ngāti Wairere struggles to assert ancestral legacy through public arts, 3) the need for ethnically diverse artworks to create and maintain ethnically diverse places, and 4) a yearning for a collective identity represented through public arts. Hamilton’s public artworks are variously perceived as a superficial representation of Māori culture, identity and history, a reminder of a colonial binary discourse, the colonised versus the coloniser, an assertion of either a Māori ancestral legacy or a colonial legacy or, minimally, a nod to multiculturalism. Nevertheless, my research shows that participants engagement with these artworks reveal a yearning for a local collective identity that is still a work in progress.

text: Colonial versus ancestral legacy: The assertion of culture and identity through public arts in Kirikiriroa/Hamilton This thesis is an ethnography of Hamilton. It focuses on the role of public arts as a cultural regeneration tool and their function in shaping the community(s) in Kirikiriroa/Hamilton through building a sense of place and identity. As a qualitative study, I conducted nine semi- structured interviews with public art artists, art advocates and residents to explore the relational context within which the development and transmission of meaning takes place, a process which is central to culture and identity. The primary purpose of the research interviews was to gain insight into the factors that motivate arts organisers and planners to direct valuable limited resources into public art projects and its observable outcomes. The second purpose of the interviews, conducted while walking to public artworks in the city centre with six participants, was to examine the effect of public art on the public.
My methods also include tracking press reviews, monitoring comments and posts on social media and institutional debates involving residents, artists, and public authorities concerning public arts. I also recorded data by taking photographs and recording field notes of my observations during and after the fieldwork process. Data gathering was also enhanced by the large-scale collection of written materials and resources, including public art publications and HCC policy documents. Taken together, these research methods allowed me to investigate whether Hamilton had achieved its goals in its cultural regeneration efforts. In my analysis, I discuss the role of public art and its association with place and consider how artworks may antagonise Māori-Pākehā relationships or otherwise emphasis residents’ sense of place.
Biculturalism and monoculturalism narratives appear to dominate public arts with the purpose of invoking either a colonial legacy or ancestral legacy while the politics of multiculturalism continue to jockey for place. Colonial legacy refers to the glorifying of colonial achievements while ancestral legacy in this context refers to Māori assertion of history, culture and identity. Particularly, in this research, ancestral legacy belonging to local hapū, Ngāti Wairere. Participants’ narratives reveal four overarching themes, 1) the publics’ resistance to the making of colonial places through public art, 2) Ngāti Wairere struggles to assert ancestral legacy through public arts, 3) the need for ethnically diverse artworks to create and maintain ethnically diverse places, and 4) a yearning for a collective identity represented through public arts. Hamilton’s public artworks are variously perceived as a superficial representation of Māori culture, identity and history, a reminder of a colonial binary discourse, the colonised versus the coloniser, an assertion of either a Māori ancestral legacy or a colonial legacy or, minimally, a nod to multiculturalism. Nevertheless, my research shows that participants engagement with these artworks reveal a yearning for a local collective identity that is still a work in progress.

year: 2021