title: “O, she’s warm!”: The taking of hands … and bears … and time’s … in The Winter’s Tale

authors: Forbes, Malcolm Alexander

subjects: Shakespeare

abstract: Shakespeare wrote words and plays. Words might well be considered to be the ‘life blood’ of a play. But plays are more than words. Plays have characters, movement, costumes and props. Words inhabit and animate, give rhyme and reason to an actor being on a stage, performing for an audience. But between the words, the play still exists. This thesis is an exploration of those ‘moments’ that are played out in silence and are watched rather than heard. To tell the story of The Winter’s Tale, Shakespeare was faced with some specific problems. There are essentially two tales to be told in the space of one play. The first requires for an all consuming jealousy to be played out. He solved this with a simple and understandable wordless action. Then to conclude this first tragic section, the story demanded that a helpless baby be abandoned - lost. Here he used an old trick in a new and surprising way, to be played quickly and, with his unerring sense of staging, for a laugh. The second tale then had to begin, and the baby had to become a woman. For this he used a convention - unconventionally. Finally, at the end of the play, he decided to change the story. To conclude his tale, the tale he was telling, with an image of redemption, reconciliation and hope. Of all the moments, this is the one that is the quietest, slowest and most beautifully painted. This thesis is an exploration of those moments. A discussion about how Shakespeare, who has probably added more words into the lexicon that any other person, was also essentially a visual artist. That he ‘drew and painted and sculpted’ - creating stage pictures.

text: “O, she’s warm!”: The taking of hands … and bears … and time’s … in The Winter’s Tale Shakespeare wrote words and plays. Words might well be considered to be the ‘life blood’ of a play. But plays are more than words. Plays have characters, movement, costumes and props. Words inhabit and animate, give rhyme and reason to an actor being on a stage, performing for an audience. But between the words, the play still exists. This thesis is an exploration of those ‘moments’ that are played out in silence and are watched rather than heard. To tell the story of The Winter’s Tale, Shakespeare was faced with some specific problems. There are essentially two tales to be told in the space of one play. The first requires for an all consuming jealousy to be played out. He solved this with a simple and understandable wordless action. Then to conclude this first tragic section, the story demanded that a helpless baby be abandoned - lost. Here he used an old trick in a new and surprising way, to be played quickly and, with his unerring sense of staging, for a laugh. The second tale then had to begin, and the baby had to become a woman. For this he used a convention - unconventionally. Finally, at the end of the play, he decided to change the story. To conclude his tale, the tale he was telling, with an image of redemption, reconciliation and hope. Of all the moments, this is the one that is the quietest, slowest and most beautifully painted. This thesis is an exploration of those moments. A discussion about how Shakespeare, who has probably added more words into the lexicon that any other person, was also essentially a visual artist. That he ‘drew and painted and sculpted’ - creating stage pictures.

year: 2011

title: A graphical notation for the design of information visualisations

authors: Humphrey, Matthew C.

subjects: computer science

abstract: Visualisations are coherent, graphical expressions of complex information that enhance people’s ability to communicate and reason about that information. Yet despite the importance of visualisations in helping people to understand and solve a wide variety of problems, there is a dearth of formal tools and methods for discussing, describing and designing them. Although simple visualisations, such as bar charts and scatterplots, are easily produced by modern interactive software, novel visualisations of multivariate, multirelational data must be expressed in a programming language. The Relational Visualisation Notation is a new, graphical language for designing such highly expressive visualisations that does not use programming constructs. Instead, the notation is based on relational algebra, which is widely used in database query languages, and it is supported by a suite of direct manipulation tools. This article presents the notation and examines the designs of some interesting visualisations.

text: A graphical notation for the design of information visualisations Visualisations are coherent, graphical expressions of complex information that enhance people’s ability to communicate and reason about that information. Yet despite the importance of visualisations in helping people to understand and solve a wide variety of problems, there is a dearth of formal tools and methods for discussing, describing and designing them. Although simple visualisations, such as bar charts and scatterplots, are easily produced by modern interactive software, novel visualisations of multivariate, multirelational data must be expressed in a programming language. The Relational Visualisation Notation is a new, graphical language for designing such highly expressive visualisations that does not use programming constructs. Instead, the notation is based on relational algebra, which is widely used in database query languages, and it is supported by a suite of direct manipulation tools. This article presents the notation and examines the designs of some interesting visualisations.

year: 1997-02

title: Pretty difficult: Implementing kaupapa Māori theory in English-medium secondary schools

authors: Bishop, Russell

subjects: Te Kotahitanga Project

abstract: Developed in New Zealand some twenty years ago, kaupapa Māori has had a successful impact in education, notably in Māori-medium settings such as kōhanga reo, kura kaupapa Māori and wharekura. However, in mainstream educational settings, where the vast majority of Māori children continue to be educated, achievement disparities between Māori and their non-Māori peers persist. This article focuses on Te Kotahitanga, a large-scale kaupapa Māori school reform project that seeks to address educational disparities by improving the educational achievement of Māori students in mainstream schooling. Experiences with implementing Te Kotahitanga would suggest that reforming mainstream educational practices along kaupapa Māori lines is not easy. This article examines three main impediments encountered in attempts to implement the Te Kotahitanga project in mainstream schools: confusion about the culture of the Māori child; uneven implementation of the project; and problems with measuring student progress. For the project’s aims to be realised, professional development needs to be ongoing, iterative and responsive.

text: Pretty difficult: Implementing kaupapa Māori theory in English-medium secondary schools Developed in New Zealand some twenty years ago, kaupapa Māori has had a successful impact in education, notably in Māori-medium settings such as kōhanga reo, kura kaupapa Māori and wharekura. However, in mainstream educational settings, where the vast majority of Māori children continue to be educated, achievement disparities between Māori and their non-Māori peers persist. This article focuses on Te Kotahitanga, a large-scale kaupapa Māori school reform project that seeks to address educational disparities by improving the educational achievement of Māori students in mainstream schooling. Experiences with implementing Te Kotahitanga would suggest that reforming mainstream educational practices along kaupapa Māori lines is not easy. This article examines three main impediments encountered in attempts to implement the Te Kotahitanga project in mainstream schools: confusion about the culture of the Māori child; uneven implementation of the project; and problems with measuring student progress. For the project’s aims to be realised, professional development needs to be ongoing, iterative and responsive.

year: 2012