title: 'Party Season': A screenplay-based inquiry into filming and judgment, with accompanying essay

authors: Shepherd, Barrett James

subjects: screenplay

abstract: Party Season is about sex and speech and employs some of the conventions of the porn film. Apparently inconsequential 'filler' scenes and dialogue link the pay-off scenes of vividly depicted sex. Except that, in Party Season, this relationship is gradually reversed - the scenes of excessive behaviour becoming 'filler' scenes linking the pay-off moments, the latter often embedded in deliberately extended 'unrealistic' dialogue. A key component of this as a piece of inquiry-based practice is the exploration of this altering balance and of how action and dialogue can function to produce such a reversal of conventionality. The intention with the accompanying essay is to sustain a progressive interweaving of reflective commentary and analytical vignettes. There is also an intended symmetry here - an 'excessive' essay (long, without conventional subheadings, breaks, etc.) will sit alongside the 'excessive' screenplay as its twin of sorts, a different style of invention. The essay is to speech what the screenplay is to sex.

text: 'Party Season': A screenplay-based inquiry into filming and judgment, with accompanying essay Party Season is about sex and speech and employs some of the conventions of the porn film. Apparently inconsequential 'filler' scenes and dialogue link the pay-off scenes of vividly depicted sex. Except that, in Party Season, this relationship is gradually reversed - the scenes of excessive behaviour becoming 'filler' scenes linking the pay-off moments, the latter often embedded in deliberately extended 'unrealistic' dialogue. A key component of this as a piece of inquiry-based practice is the exploration of this altering balance and of how action and dialogue can function to produce such a reversal of conventionality. The intention with the accompanying essay is to sustain a progressive interweaving of reflective commentary and analytical vignettes. There is also an intended symmetry here - an 'excessive' essay (long, without conventional subheadings, breaks, etc.) will sit alongside the 'excessive' screenplay as its twin of sorts, a different style of invention. The essay is to speech what the screenplay is to sex.

year: 2007

title: Lake Rotoiti fieldwork and modelling to support considerations of Ohau Channel diversion from Lake Rotoiti

authors: Hamilton, David P.

abstract: A detailed assessment of the water quality effects of the Ohau Channel inflow to Lake Rotoiti was carried out using field and computer modelling analyses. The modelling assessment evaluates the effects on Lake Rotoiti of partial (50%) or complete (100%) diversion of the Ohau Channel. A comprehensive bathymetric survey of Lake Rotoiti and the eastern end of Lake Rotorua was also carried out to provide information for the application of a three-dimensional model run by NIWA, so that different diversion wall positions and designs might be tested prior to possible implementation. Field measurements based on temperature, conductivity and chlorophyll fluorescence carried out from February to May 2004 captured instances when the Ohau Channel entered Lake Rotoiti as a buoyant overflow. These data and historical records suggest that approximately 20% of the buoyant surface inflow enters the main basin of Lake Rotoiti, while the remainder is short-circuited through the Kaituna arm to the outflow.

text: Lake Rotoiti fieldwork and modelling to support considerations of Ohau Channel diversion from Lake Rotoiti A detailed assessment of the water quality effects of the Ohau Channel inflow to Lake Rotoiti was carried out using field and computer modelling analyses. The modelling assessment evaluates the effects on Lake Rotoiti of partial (50%) or complete (100%) diversion of the Ohau Channel. A comprehensive bathymetric survey of Lake Rotoiti and the eastern end of Lake Rotorua was also carried out to provide information for the application of a three-dimensional model run by NIWA, so that different diversion wall positions and designs might be tested prior to possible implementation. Field measurements based on temperature, conductivity and chlorophyll fluorescence carried out from February to May 2004 captured instances when the Ohau Channel entered Lake Rotoiti as a buoyant overflow. These data and historical records suggest that approximately 20% of the buoyant surface inflow enters the main basin of Lake Rotoiti, while the remainder is short-circuited through the Kaituna arm to the outflow.

year: 2005-03

title: Anhedonia: He kohinga whiti mai i te tirohanga o ngā wahanga e rima o te pōuri / A collection of poetry themed around loss presented through the lens of the five stages of grief

authors: Nicholls, Rawiri Rangihouhiri Terrence

subjects: Grief

abstract: Anhedonia is a collection of personal experiences centred around loss examined through the lens of the five stages of grief (denial, anger, bargaining, depression, and acceptance) and framed within a personal confessional postmodernism style. It was also influenced by the collected works of Federico Garcia Lorca, Sylvia Plath, Cassandra Barnett (Ngāti Huri, Raukawa), Kirsty Dunn (Te Aupōuri, Te Rarawa), and Ngahuia Te Awekotuku (Te Arawa, Tūhoe).

While loss and grief are intrinsically linked to death, within this collection, I further explore other forms of loss and grief. I touch on my loss of cultural identity, mind, and self. As a student, I have been diving deeper into my cultural identity of being Māori and what that means to me. I have lost many things throughout my life at the hands of abuse, depression, grief, and mental health. The poetry within this collection will continue to serve as a blunt reminder of the experiences (both positive and negative) that I have endured or witnessed over the last couple of decades.

I have seen a multitude of losses (in its many variations) as I continue the dance to discover what the mortality of not only myself but those around me means to me. While everyone will experience feelings of grief and loss, I have framed my own experiences in my interpretation of our collective mortality.

text: Anhedonia: He kohinga whiti mai i te tirohanga o ngā wahanga e rima o te pōuri / A collection of poetry themed around loss presented through the lens of the five stages of grief Anhedonia is a collection of personal experiences centred around loss examined through the lens of the five stages of grief (denial, anger, bargaining, depression, and acceptance) and framed within a personal confessional postmodernism style. It was also influenced by the collected works of Federico Garcia Lorca, Sylvia Plath, Cassandra Barnett (Ngāti Huri, Raukawa), Kirsty Dunn (Te Aupōuri, Te Rarawa), and Ngahuia Te Awekotuku (Te Arawa, Tūhoe).

While loss and grief are intrinsically linked to death, within this collection, I further explore other forms of loss and grief. I touch on my loss of cultural identity, mind, and self. As a student, I have been diving deeper into my cultural identity of being Māori and what that means to me. I have lost many things throughout my life at the hands of abuse, depression, grief, and mental health. The poetry within this collection will continue to serve as a blunt reminder of the experiences (both positive and negative) that I have endured or witnessed over the last couple of decades.

I have seen a multitude of losses (in its many variations) as I continue the dance to discover what the mortality of not only myself but those around me means to me. While everyone will experience feelings of grief and loss, I have framed my own experiences in my interpretation of our collective mortality.

year: 2024