title: Performative Methodologies: Geographies of Emotion and Affect in Digital Storytelling Workshops

authors: Bliss, Elaine

subjects: digital storytelling

abstract: This thesis advocates digital storytelling as a geographical methodology to understand how emotion and affect are produced. Digital storytelling is a flexible and workshopped methodology that captures experimental, creative and imaginative performances of emotion and affect. Through digital storytelling geographers may build understandings of how emotion and affect are experienced individually and collectively. I use 11 digital storytelling workshops, with more than 100 participants, as the primary sites for my research. The workshops were conducted in the United States and New Zealand and were modelled on the practice established by the Center for Digital Storytelling in Berkeley, California, United States. It is argued that digital storytelling workshops co-create emotion, affect, people and place.
Individual and group interviews, reflexive autobiographical journal writing, and digital storytelling workshop training, participation, and observing are used to access emotion and affect in digital storytelling workshops. A combination of qualitative research methods and critical social theories are used to highlight embodied, emotional and affectual geographies.
Three findings frame my discussion. First, digital storytelling workshops are performative spaces for the staging and circulation of emotion and affect. The concepts of infrastructure, improvisation, and intimacy are critical for understanding the dynamic nature of emotion and affect in digital storytelling workshops. Second, a focus on relationality allows for an examination of psychotherapeutic practice and the transformative capacity of digital storytelling workshops. Workshop spaces are understood as ‘connective mediums’ in which a third position – the gap between the flow of emotions and the representation of that experience - is possible. Third, voice in digital storytelling is a political process of speaking and listening. A focus on voice permits an exploration of the acoustic politics of emotion and affect at individual and collective spatial scales. Digital storytelling workshops facilitate processes of seeing, hearing and experiencing emotion and affect as a way of interpreting the geographical worlds of research participants. 
The Center for Digital Storytelling’s model incorporates a commitment to social justice that honours and values emotional knowledge. As a practice-based research methodology digital storytelling requires researchers to be reflexive and negotiate their multiply layered ethical positionings. As geographers continue to experiment with innovative ways of conducting research, the messiness of digital storytelling can contribute to methodological debates about the ‘doing’ of emotion and affect in geographical research.

text: Performative Methodologies: Geographies of Emotion and Affect in Digital Storytelling Workshops This thesis advocates digital storytelling as a geographical methodology to understand how emotion and affect are produced. Digital storytelling is a flexible and workshopped methodology that captures experimental, creative and imaginative performances of emotion and affect. Through digital storytelling geographers may build understandings of how emotion and affect are experienced individually and collectively. I use 11 digital storytelling workshops, with more than 100 participants, as the primary sites for my research. The workshops were conducted in the United States and New Zealand and were modelled on the practice established by the Center for Digital Storytelling in Berkeley, California, United States. It is argued that digital storytelling workshops co-create emotion, affect, people and place.
Individual and group interviews, reflexive autobiographical journal writing, and digital storytelling workshop training, participation, and observing are used to access emotion and affect in digital storytelling workshops. A combination of qualitative research methods and critical social theories are used to highlight embodied, emotional and affectual geographies.
Three findings frame my discussion. First, digital storytelling workshops are performative spaces for the staging and circulation of emotion and affect. The concepts of infrastructure, improvisation, and intimacy are critical for understanding the dynamic nature of emotion and affect in digital storytelling workshops. Second, a focus on relationality allows for an examination of psychotherapeutic practice and the transformative capacity of digital storytelling workshops. Workshop spaces are understood as ‘connective mediums’ in which a third position – the gap between the flow of emotions and the representation of that experience - is possible. Third, voice in digital storytelling is a political process of speaking and listening. A focus on voice permits an exploration of the acoustic politics of emotion and affect at individual and collective spatial scales. Digital storytelling workshops facilitate processes of seeing, hearing and experiencing emotion and affect as a way of interpreting the geographical worlds of research participants. 
The Center for Digital Storytelling’s model incorporates a commitment to social justice that honours and values emotional knowledge. As a practice-based research methodology digital storytelling requires researchers to be reflexive and negotiate their multiply layered ethical positionings. As geographers continue to experiment with innovative ways of conducting research, the messiness of digital storytelling can contribute to methodological debates about the ‘doing’ of emotion and affect in geographical research.

year: 2015

title: Cycloaurated triphenylphosphine-sulfide and –selenide

authors: Kilpin, Kelly Joan

subjects: gold complexes

abstract: The first examples of cycloaurated phosphine sulfides and triphenylphosphine selenide have been synthesised; these complexes are fairly rare examples of gold(III) complexes with potentially reducing sulfur- and selenium-donor ligands. The cycloaurated complex (AuCl₂ (2-C₆H₄P(S)Ph₂) was synthesised in good yield by transmetallation of the organomercury precursor Hg(2-C₆H₄P(S)Ph₂)₂ with Me₄N[AuCl₄]. A route to the chloro-mercury analogue ClHg(2-C₆H₄P(S)Ph₂) was developed by reaction of the cyclomanganated triphenylphosphine sulfide (CO)₄Mn(2-C₆H₄P(S)Ph₂) with HgCl₂; this mercury substrate was also used in the synthesis of AuCl₂(2-C₆H₄P(S)Ph₂). The cycloaurated triphenylphosphine selenide complex AuCl₂(2-C₆H₄P(Se)Ph₂) was synthesised by an analogous methodology using the new phosphine selenide Hg(2-C₆H₄P(Se)Ph₂)₂ [prepared from Hg(2-C₆H₄PPh₂)₂ and elemental Se under sonication]. The phosphonamidic analogue AuCl₂(2-C₆H₄P(S)(Net₂)₂) has also been synthesised from PhP(S)(Net₂)₂via lithiation and mercuration. X-Ray crystal structures of several compounds are reported, and show the presence of puckered ring systems.

text: Cycloaurated triphenylphosphine-sulfide and –selenide The first examples of cycloaurated phosphine sulfides and triphenylphosphine selenide have been synthesised; these complexes are fairly rare examples of gold(III) complexes with potentially reducing sulfur- and selenium-donor ligands. The cycloaurated complex (AuCl₂ (2-C₆H₄P(S)Ph₂) was synthesised in good yield by transmetallation of the organomercury precursor Hg(2-C₆H₄P(S)Ph₂)₂ with Me₄N[AuCl₄]. A route to the chloro-mercury analogue ClHg(2-C₆H₄P(S)Ph₂) was developed by reaction of the cyclomanganated triphenylphosphine sulfide (CO)₄Mn(2-C₆H₄P(S)Ph₂) with HgCl₂; this mercury substrate was also used in the synthesis of AuCl₂(2-C₆H₄P(S)Ph₂). The cycloaurated triphenylphosphine selenide complex AuCl₂(2-C₆H₄P(Se)Ph₂) was synthesised by an analogous methodology using the new phosphine selenide Hg(2-C₆H₄P(Se)Ph₂)₂ [prepared from Hg(2-C₆H₄PPh₂)₂ and elemental Se under sonication]. The phosphonamidic analogue AuCl₂(2-C₆H₄P(S)(Net₂)₂) has also been synthesised from PhP(S)(Net₂)₂via lithiation and mercuration. X-Ray crystal structures of several compounds are reported, and show the presence of puckered ring systems.

year: 2010

title: Hoea Te Waka ki Uta: Critical Kaupapa Māori Research and Mormon Studies Moving Forward

authors: Simon, Hemopereki

abstract: The following is a reflective commentary on the place of Critical Indigenous Studies, with a focus on Kaupapa Māori Research, within Mormon Studies. Specifically, the piece explores the following questions: What does Kaupapa Māori Research look like when engaging in Mormon Studies? What positionality needs to be taken by Kaupapa Māori researchers and Critical Indigenous scholars when engaging in Mormon Studies? What are the main areas Critical Indigenous scholars and Kaupapa Māori scholars should engage when tackling issues around Mormonism? These questions are important in light of the growing importance of the cultural renaissance in Te Ao Māori and the rise of Kaupapa Māori Research.

text: Hoea Te Waka ki Uta: Critical Kaupapa Māori Research and Mormon Studies Moving Forward The following is a reflective commentary on the place of Critical Indigenous Studies, with a focus on Kaupapa Māori Research, within Mormon Studies. Specifically, the piece explores the following questions: What does Kaupapa Māori Research look like when engaging in Mormon Studies? What positionality needs to be taken by Kaupapa Māori researchers and Critical Indigenous scholars when engaging in Mormon Studies? What are the main areas Critical Indigenous scholars and Kaupapa Māori scholars should engage when tackling issues around Mormonism? These questions are important in light of the growing importance of the cultural renaissance in Te Ao Māori and the rise of Kaupapa Māori Research.

year: 2021