title: Surf zone currents and influence on surfability

authors: Phillips, David

abstract: Surfing headlands are shallow and exposed coastal features that provide a specific form of breaking wave allowing a board-rider to ride on the unbroken wave face. The seabed shape and refraction of the waves in relation to depth contours provide the greatest influence on the quality of the surf break. The large scale and orientation of the Raglan headland allows only the low frequency swells to refract around the headland to create seven different surfing breaks. Each represents a compartmentalization of the shoreline along the headland. This creates variability in wave and current characteristics depending on the orientation and bathymetry at different locations. This provides not only potential access points through the surf-zone (ie: smaller currents), but greater surfability in a range of conditions that is not possible on small scale headlands.
Headlands with surfing waves can be classified as mis-aligned sections of the coast, where the higher oblique angle of the breaking surf generates strong wave-driven currents. These currents are far greater than that found on coastlines in equilibrium with the dominant swell direction, where comparatively insignificant longshore drift is found. The strength and direction of wave-driven currents in the surf zone can influence the surfability of a break. At a surfing headland strong currents flowing downdrift along the shoreline make it difficult for a paddling surfer to get to the "take-off" location of the break, or maintain position in the line-up. In comparison currents flowing updrift along headlands makes getting "out the back" relatively easy, although surfers can be taken out to sea past the "take-off" point by a fast flowing current.
Field experiments at Raglan, on the west coast of New Zealand have been conducted to measure current speed and direction during a large swell event. Observations of surfers attempting to paddle through the breaking-wave zone, confirms the strength of the wave-driven currents with surfers being swept rapidly down the headland. Results from the experiments at Raglan, have shown strong currents in the inshore breaking wave zone with burst-averaged velocities attaining 0.8 ms-1, and maximum bed orbital velocities of up to 2.0 ms-1. Interestingly, further offshore the currents have been found to flow in a re-circulating gyre back up the headland. Comparisons are made from observations of waves and currents found at other surfing headlands around the world. The effect that strong currents may have on the surfability of artificial surfing reefs needs to be considered in the design process, if the surfing amenity is to be maximised for large surf conditions.

text: Surf zone currents and influence on surfability Surfing headlands are shallow and exposed coastal features that provide a specific form of breaking wave allowing a board-rider to ride on the unbroken wave face. The seabed shape and refraction of the waves in relation to depth contours provide the greatest influence on the quality of the surf break. The large scale and orientation of the Raglan headland allows only the low frequency swells to refract around the headland to create seven different surfing breaks. Each represents a compartmentalization of the shoreline along the headland. This creates variability in wave and current characteristics depending on the orientation and bathymetry at different locations. This provides not only potential access points through the surf-zone (ie: smaller currents), but greater surfability in a range of conditions that is not possible on small scale headlands.
Headlands with surfing waves can be classified as mis-aligned sections of the coast, where the higher oblique angle of the breaking surf generates strong wave-driven currents. These currents are far greater than that found on coastlines in equilibrium with the dominant swell direction, where comparatively insignificant longshore drift is found. The strength and direction of wave-driven currents in the surf zone can influence the surfability of a break. At a surfing headland strong currents flowing downdrift along the shoreline make it difficult for a paddling surfer to get to the "take-off" location of the break, or maintain position in the line-up. In comparison currents flowing updrift along headlands makes getting "out the back" relatively easy, although surfers can be taken out to sea past the "take-off" point by a fast flowing current.
Field experiments at Raglan, on the west coast of New Zealand have been conducted to measure current speed and direction during a large swell event. Observations of surfers attempting to paddle through the breaking-wave zone, confirms the strength of the wave-driven currents with surfers being swept rapidly down the headland. Results from the experiments at Raglan, have shown strong currents in the inshore breaking wave zone with burst-averaged velocities attaining 0.8 ms-1, and maximum bed orbital velocities of up to 2.0 ms-1. Interestingly, further offshore the currents have been found to flow in a re-circulating gyre back up the headland. Comparisons are made from observations of waves and currents found at other surfing headlands around the world. The effect that strong currents may have on the surfability of artificial surfing reefs needs to be considered in the design process, if the surfing amenity is to be maximised for large surf conditions.

year: 2003-06-01

title: The safetyfication of curriculum as an example of bureaucratic governance

authors: Estellés, Marta

abstract: This presentation takes up what Author 1 terms the “safetyfication” of education. Safetyfication refers to the process through which the notion of ‘safety’ has acquired an omnipresent status in education in the Anglophone world as a result of an amalgam of claims that range from disciplinary calls to social justice demands. In this paper-presentation, the authors will analyze attempts to make the curriculum safer – or free from sociopolitical risk – under Author 2’s political analysis of bureaucracy as a form of governance (2018; 2023). The main argument made is that this form of governance operates inadvertently, through the safetyfication of education.

text: The safetyfication of curriculum as an example of bureaucratic governance This presentation takes up what Author 1 terms the “safetyfication” of education. Safetyfication refers to the process through which the notion of ‘safety’ has acquired an omnipresent status in education in the Anglophone world as a result of an amalgam of claims that range from disciplinary calls to social justice demands. In this paper-presentation, the authors will analyze attempts to make the curriculum safer – or free from sociopolitical risk – under Author 2’s political analysis of bureaucracy as a form of governance (2018; 2023). The main argument made is that this form of governance operates inadvertently, through the safetyfication of education.

year: 2024

title: Indigenising the screen: Screenplay and critical analysis for The Prophet

authors: Bristowe, Joseph Curtis

subjects: indiginization

abstract: This thesis tests the hypothesis that it is possible to both decolonise and indigenise the New Zealand cinema screen. Secondary research reveals how those discourses that promoted roles and expectations for Māori within the New Zealand film industry were based principally upon historical colonial ideologies imposed by various means upon the native populous, and subsequently reproduced. These discourses of race, gender and religion perpetuate negative belief systems about Māori and contribute to the reproduction of stereotypical images of Māori, such as the irrational, naive, simpleminded and warlike Māori man, or the domesticated, lustful and sexually available Māori woman. 

Research by creative practice advances the project of decolonising the New Zealand screen through the writing of a feature length screenplay based on careful research and intimate cultural knowledge, and by working according to an appropriate kaupapa Māori framework. The resulting screenplay, The Prophet, brings to life the multitude of forces that coalesced to shape the life of 19th century Māori warrior and prophet, Te Kooti Arikirangi Te Tūruki. In his death, as in his life, he remains an enigmatic figure. In written accounts and in Pākehā memories he appears as a violent rebel, mass murderer and religious fanatic. This epic re-telling focuses on the character of Te Kooti, showing him to be a man who accomplished great feats in the face of injustice, adversity and hardship. 
A critical analysis of the screenplay reveals how I adopted a unique cross cultural writing approach drawing upon both the 'classic' western narrative structure as well as kaupapa Māori pūrākau oral tradition. I argue that this approach combines effectively to materialise strong anti-colonial perspectives aimed specifically at subverting long-held and dominant colonial discourses. Such an approach to scriptwriting rejects the tradition of being defined, constructed and represented through discourses that serve to promote the interests of the Pākehā majority and, in doing so, urges the utilisation of Māori philosophies, concepts and practices in the scriptwriting/film production process.

text: Indigenising the screen: Screenplay and critical analysis for The Prophet This thesis tests the hypothesis that it is possible to both decolonise and indigenise the New Zealand cinema screen. Secondary research reveals how those discourses that promoted roles and expectations for Māori within the New Zealand film industry were based principally upon historical colonial ideologies imposed by various means upon the native populous, and subsequently reproduced. These discourses of race, gender and religion perpetuate negative belief systems about Māori and contribute to the reproduction of stereotypical images of Māori, such as the irrational, naive, simpleminded and warlike Māori man, or the domesticated, lustful and sexually available Māori woman. 

Research by creative practice advances the project of decolonising the New Zealand screen through the writing of a feature length screenplay based on careful research and intimate cultural knowledge, and by working according to an appropriate kaupapa Māori framework. The resulting screenplay, The Prophet, brings to life the multitude of forces that coalesced to shape the life of 19th century Māori warrior and prophet, Te Kooti Arikirangi Te Tūruki. In his death, as in his life, he remains an enigmatic figure. In written accounts and in Pākehā memories he appears as a violent rebel, mass murderer and religious fanatic. This epic re-telling focuses on the character of Te Kooti, showing him to be a man who accomplished great feats in the face of injustice, adversity and hardship. 
A critical analysis of the screenplay reveals how I adopted a unique cross cultural writing approach drawing upon both the 'classic' western narrative structure as well as kaupapa Māori pūrākau oral tradition. I argue that this approach combines effectively to materialise strong anti-colonial perspectives aimed specifically at subverting long-held and dominant colonial discourses. Such an approach to scriptwriting rejects the tradition of being defined, constructed and represented through discourses that serve to promote the interests of the Pākehā majority and, in doing so, urges the utilisation of Māori philosophies, concepts and practices in the scriptwriting/film production process.

year: 2009