title: The Effect of Gender on Identification and Interpretation of Non-Suicidal Self-Injury.

authors: Curtis, Cate

subjects: Gender

abstract: INTRODUCTION: Reported rates of non-suicidal self-injury (NSSI) differ by gender but may be under-reported and under-recognised in men. People engaging in NSSI rarely seek professional help without encouragement, so others play a key role in its identification and potential intervention. The current research investigated others' interpretations of NSSI, examining whether gender affects the likelihood of NSSI identification and views of how common and acceptable NSSI is. METHOD: Participants (N = 429; 74.1% female, 23.3% male; please see below for further demographic information) responded to two vignettes describing a person self-injuring by punching a wall or by cutting themselves. The person's gender in each vignette was manipulated. Following each vignette, the participants rated the level to which they agreed the behaviour was common for the gender of the person described, as well as the level to which they agreed the behaviour was acceptable for the gender of the person described, on a 5-point Likert scale. Following both vignettes, participants were presented with a definition of NSSI and rated the level to which they agreed cutting and wall-punching were forms of NSSI on 5-point Likert scales. Independent-samples t tests and goodness of fit χ2 tests were conducted as appropriate. RESULTS: Participants were more likely to identify wall-punching as common for men and cutting as common for women. However, there was no significant difference in whether wall-punching was identified as NSSI or considered to be an acceptable behaviour, regardless of the gender of the person engaging in it. That is, although research suggests that men are far more likely to engage in wall-punching as a form of NSSI than women, participants did not recognise this. Overall, the results indicated a gender-dependent difference in how acceptable and common NSSI is thought to be, but no noticeable difference in identification of a behaviour as NSSI. Wall-punching, typically a form of NSSI engaged in by males, tended not to be identified as such. CONCLUSION: There is an effect of gender on how NSSI is interpreted, and it seems that men's NSSI is, and will continue to be, under-recognised. This has important implications for the treatment of men's NSSI, which is more likely to be seen as aggression and therefore deserving of punishment than an attempt at emotion regulation.

text: The Effect of Gender on Identification and Interpretation of Non-Suicidal Self-Injury. INTRODUCTION: Reported rates of non-suicidal self-injury (NSSI) differ by gender but may be under-reported and under-recognised in men. People engaging in NSSI rarely seek professional help without encouragement, so others play a key role in its identification and potential intervention. The current research investigated others' interpretations of NSSI, examining whether gender affects the likelihood of NSSI identification and views of how common and acceptable NSSI is. METHOD: Participants (N = 429; 74.1% female, 23.3% male; please see below for further demographic information) responded to two vignettes describing a person self-injuring by punching a wall or by cutting themselves. The person's gender in each vignette was manipulated. Following each vignette, the participants rated the level to which they agreed the behaviour was common for the gender of the person described, as well as the level to which they agreed the behaviour was acceptable for the gender of the person described, on a 5-point Likert scale. Following both vignettes, participants were presented with a definition of NSSI and rated the level to which they agreed cutting and wall-punching were forms of NSSI on 5-point Likert scales. Independent-samples t tests and goodness of fit χ2 tests were conducted as appropriate. RESULTS: Participants were more likely to identify wall-punching as common for men and cutting as common for women. However, there was no significant difference in whether wall-punching was identified as NSSI or considered to be an acceptable behaviour, regardless of the gender of the person engaging in it. That is, although research suggests that men are far more likely to engage in wall-punching as a form of NSSI than women, participants did not recognise this. Overall, the results indicated a gender-dependent difference in how acceptable and common NSSI is thought to be, but no noticeable difference in identification of a behaviour as NSSI. Wall-punching, typically a form of NSSI engaged in by males, tended not to be identified as such. CONCLUSION: There is an effect of gender on how NSSI is interpreted, and it seems that men's NSSI is, and will continue to be, under-recognised. This has important implications for the treatment of men's NSSI, which is more likely to be seen as aggression and therefore deserving of punishment than an attempt at emotion regulation.

year: 2023-08-18

title: Proceedings of CBISE ’98 CaiSE*98 workshop on component based information systems engineering

authors: Grundy, John C.

subjects: computer science

abstract: Component-based information systems development is an area of research and practice of increasing importance. Information Systems developers have realised that traditional approaches to IS engineering produce monolithic, difficult to maintain, difficult to reuse systems. In contrast, the use of software components, which embody data, functionality and well-specified and understood interfaces, makes interoperable, distributed and highly reusable IS components feasible. Component-based approaches to IS engineering can be used at strategic and organisational levels, to model business processes and whole IS architectures, in development methods which utilise component-based models during analysis and design, and in system implementation. Reusable components can allow end users to compose and configure their own Information Systems, possibly from a range of suppliers, and to more tightly couple their organisational workflows with their IS support. 
This workshop proceedings contains a range of papers addressing one or more of the above issues relating to the use of component models for IS development. All of these papers were refereed by at least two members of an international workshop committee comprising industry and academic researchers and users of component technologies. Strategic uses of components are addressed in the first three papers, while the following three address uses of components for systems design and workflow management. Systems development using components, and the provision of environments for component management are addressed in the following group of five papers. The last three papers in this proceedings address component management and analysis techniques.
All of these papers provide new insights into the many varied uses of component technology for IS engineering. I hope you find them as interesting and useful as I have when collating this proceedings and organising the workshop.

text: Proceedings of CBISE ’98 CaiSE*98 workshop on component based information systems engineering Component-based information systems development is an area of research and practice of increasing importance. Information Systems developers have realised that traditional approaches to IS engineering produce monolithic, difficult to maintain, difficult to reuse systems. In contrast, the use of software components, which embody data, functionality and well-specified and understood interfaces, makes interoperable, distributed and highly reusable IS components feasible. Component-based approaches to IS engineering can be used at strategic and organisational levels, to model business processes and whole IS architectures, in development methods which utilise component-based models during analysis and design, and in system implementation. Reusable components can allow end users to compose and configure their own Information Systems, possibly from a range of suppliers, and to more tightly couple their organisational workflows with their IS support. 
This workshop proceedings contains a range of papers addressing one or more of the above issues relating to the use of component models for IS development. All of these papers were refereed by at least two members of an international workshop committee comprising industry and academic researchers and users of component technologies. Strategic uses of components are addressed in the first three papers, while the following three address uses of components for systems design and workflow management. Systems development using components, and the provision of environments for component management are addressed in the following group of five papers. The last three papers in this proceedings address component management and analysis techniques.
All of these papers provide new insights into the many varied uses of component technology for IS engineering. I hope you find them as interesting and useful as I have when collating this proceedings and organising the workshop.

year: 1998-06

title: huka can haka: Taonga performing tino rangatiratanga

authors: Nopera, Tāwhanga Mary-Legs

subjects: Raranga

abstract: huka can haka is an ongoing body of creative works used to frame the ideas expressed in this thesis. Spoken, ‘huka’ sounds like ‘hooker’, he is a performance persona developed to help heal from the bitter-sweet reality of being Māori, genderfluid, same-sex attracted and HIV positive in Aotearoa New Zealand. huka can haka refers to an inbetween gendered space of performance where ‘huka’ translates from Māori to English as the sea-foam that gathers between land and sea, white rain such as snow or hail, the dancing tags that are woven into cloaks, or as the transliteration of sugar. ‘Haka’ is predominantly perceived as a masculine form of traditional Māori dance and is akin to weaving with the entire body. Haka is highly sexualised and invigorates a sense of connection to Māori genealogies, family, community, language, land and cultural practices. huka can haka infers the agency enacted through the intentional performance of an identity between cultures and gender in Aotearoa New Zealand. ‘Taonga’ translates from Māori to English to represent things people value and treasure – they can be tangible or ephemeral and include shared and individual memories, people, words, actions, the things we make and beautify, as well as the natural environment that sustains us. ‘Tino rangatiratanga’ is a Māori assertion of the right to determine our lives without the disruptive controls enacted through the New Zealand government by the British Crown. Taonga performing tino rangatiratanga, infers the agency present in valuable things – because taonga exist we become aware of reasons to protect them, we create protective processes and we appreciate the value of ourselves as protectors. huka can haka: Taonga performing tino rangatiratanga explores how making art heals – it describes the transformations that manifest when creating through Māori knowledge.


Raranga is the framework used to organise and explain my research. Raranga is a traditional process of Māori weaving and through its use as a methodology, I am able to connect my explorations to the relational values that are part of Māori culture. I use raranga as a framework to interpret my own practice which is unique to me – there is no separation between my practice and the ways I live my life which differs from the approaches of other weavers. Within this project I utilise a range of research approaches that are qualitative, autobiographical, subjective, creative and practice-based.  Traditional Māori methods of story-telling, pūrākau, are used to communicate this research in digital image, digital video, writing and performance art. Through doing this I describe how contemporary media explorations can be interpreted as forms of raranga and haka, which can help mediate the sometimes oppressive use of text, image, moving image and performance in advancing colonial intents. The primary findings in this research are:
1.	that creative practice research can help people to connect sexuality with creativity, to, re-story and re-generate narratives of empowerment; 
2.	that multimedia approaches to identity knowledge gathering, assists in embodying empowerment;
3.	that Kaupapa Māori Theory can challenge dominant perceptions of gendered Māori bodies, and is inclusive of the ‘do it yourself’ strategies described through Transgender theory;
4.	that a raranga methodology can be embodied through performance and performance artefacts, connecting research to the lived experiences of research subjects;
5.	that raranga is a powerful tool to interpret sexual trauma, offering connective strategies to release damaging internalised behaviours;
6.	that raranga can centre marginal identities as bodies full of hope; 
7.	that performance of historical trauma as ceremony can offer collective forms of healing, and;
8.	that raranga heals, giving direction to multiple and conflicting strands of lived experience.


The thesis makes prominent the generative and progressive nature of raranga and is chronological in design. Theoretical explorations inspire creative works, which then in turn inform avenues for deeper theorisation, leading to new creative works and so on until the thesis conclusion. Through this creative practice research project I assert raranga as a powerful process to interpret the agency that grows between makers, the materials we use and the objects we create. Ultimately, this thesis outlines a way to weave experiences of sexualised and gendered trauma, and affirm the healing present at the intersection between oppositional relationships.

text: huka can haka: Taonga performing tino rangatiratanga huka can haka is an ongoing body of creative works used to frame the ideas expressed in this thesis. Spoken, ‘huka’ sounds like ‘hooker’, he is a performance persona developed to help heal from the bitter-sweet reality of being Māori, genderfluid, same-sex attracted and HIV positive in Aotearoa New Zealand. huka can haka refers to an inbetween gendered space of performance where ‘huka’ translates from Māori to English as the sea-foam that gathers between land and sea, white rain such as snow or hail, the dancing tags that are woven into cloaks, or as the transliteration of sugar. ‘Haka’ is predominantly perceived as a masculine form of traditional Māori dance and is akin to weaving with the entire body. Haka is highly sexualised and invigorates a sense of connection to Māori genealogies, family, community, language, land and cultural practices. huka can haka infers the agency enacted through the intentional performance of an identity between cultures and gender in Aotearoa New Zealand. ‘Taonga’ translates from Māori to English to represent things people value and treasure – they can be tangible or ephemeral and include shared and individual memories, people, words, actions, the things we make and beautify, as well as the natural environment that sustains us. ‘Tino rangatiratanga’ is a Māori assertion of the right to determine our lives without the disruptive controls enacted through the New Zealand government by the British Crown. Taonga performing tino rangatiratanga, infers the agency present in valuable things – because taonga exist we become aware of reasons to protect them, we create protective processes and we appreciate the value of ourselves as protectors. huka can haka: Taonga performing tino rangatiratanga explores how making art heals – it describes the transformations that manifest when creating through Māori knowledge.


Raranga is the framework used to organise and explain my research. Raranga is a traditional process of Māori weaving and through its use as a methodology, I am able to connect my explorations to the relational values that are part of Māori culture. I use raranga as a framework to interpret my own practice which is unique to me – there is no separation between my practice and the ways I live my life which differs from the approaches of other weavers. Within this project I utilise a range of research approaches that are qualitative, autobiographical, subjective, creative and practice-based.  Traditional Māori methods of story-telling, pūrākau, are used to communicate this research in digital image, digital video, writing and performance art. Through doing this I describe how contemporary media explorations can be interpreted as forms of raranga and haka, which can help mediate the sometimes oppressive use of text, image, moving image and performance in advancing colonial intents. The primary findings in this research are:
1.	that creative practice research can help people to connect sexuality with creativity, to, re-story and re-generate narratives of empowerment; 
2.	that multimedia approaches to identity knowledge gathering, assists in embodying empowerment;
3.	that Kaupapa Māori Theory can challenge dominant perceptions of gendered Māori bodies, and is inclusive of the ‘do it yourself’ strategies described through Transgender theory;
4.	that a raranga methodology can be embodied through performance and performance artefacts, connecting research to the lived experiences of research subjects;
5.	that raranga is a powerful tool to interpret sexual trauma, offering connective strategies to release damaging internalised behaviours;
6.	that raranga can centre marginal identities as bodies full of hope; 
7.	that performance of historical trauma as ceremony can offer collective forms of healing, and;
8.	that raranga heals, giving direction to multiple and conflicting strands of lived experience.


The thesis makes prominent the generative and progressive nature of raranga and is chronological in design. Theoretical explorations inspire creative works, which then in turn inform avenues for deeper theorisation, leading to new creative works and so on until the thesis conclusion. Through this creative practice research project I assert raranga as a powerful process to interpret the agency that grows between makers, the materials we use and the objects we create. Ultimately, this thesis outlines a way to weave experiences of sexualised and gendered trauma, and affirm the healing present at the intersection between oppositional relationships.

year: 2017