THE TRICKSTER AND ARTIST
Natalie Robertson is the Programme Co-coordinator for Maori Art and Design in the Faculty of Maori Development at A.U.T. She is an artist and art commentator.
Maui is a mythical Maori character. He is a demi-god, very cheeky and devious. He is able to move between the earthly and celestial realms. Maui is able to transform into animals. Journeys are central to stories involving Maui. Maui is probably most famous for fishing up the North Island with his Grandmothers jawbone.
The Trickster appears in most cultures across the world. Maui is a well known across the Pacific. The predicaments of the Trickster are surprisingly familiar. He is always moving the goal –posts and boundary markers.
Robertson is interested in the relationship between the Trickster and art, “These Tricksters demonstrate a kind of attitude that I think contemporary artists can learn from”, (Robertson p20). The Trickster is an observer and draws our attention to things we haven’t noticed. This is a role that art can play. Art is able to de-familiarize us, to draw us in with something that we feel comfortable with. Then pose questions through the unexpected. An example of this is Magic Realism, “a form founded on the juxtaposition of two forms of representation which normally exist in opposition”, (1). The term was originally “used to describe art that portrayed scenes of fantasy and imagination through the use of clear-cut ‘documentary’ painting techniques”, (2).”
Roberson draws our attention to “the Trickster escapades that ‘mock foolish obsessive behavior’”, (Robertson 26). In this role the Trickster is like the Jester or Clown. He is to be laughed at through satire, pointing out flaws and absurdities. This is a useful position for the artist to take. The artist can then break down barriers between the viewer and the work. Rather than assume authority the artist can allow the work to raise questions for the viewer.
Robertson, “The 10 predicaments of Maui: Notes on Tricksters”, Brian Butler ed., Volume 1, Auckland: Artspace and Clouds, 2008, pp. 16-28.
1. The Routledge Companion to Postmodernism, ed. Stuart Sim, London, Routledge, 1999, pp. 310-311
2. The Routledge Companion to Postmodernism, ed. Stuart Sim, London, Routledge, 1999, pp. 310-311
Sunday, September 20, 2009
MORALS AND ETHICS IN ART
Thomas Hirschhorn is a Swiss artist based in France. He creates site specific temporary installations. Hirschhorn makes his work out of everyday materials.
He sees himself as a no-conformist and describes himself as having no respect for culture. He feels that art is able to break down cultural walls. “Art is a tool to learn about the world, a tool to engage with reality” (Hirschhorn 397).
He works outside of the system; he wants his work to come from a position of equality. The artist and the viewer are on a level playing field. This idea is presented when he talks about catalogues.
“The problem with catalogues is that they often want to assume authority” (Hirschhorn 396). I agree with this statement. Catalogues often create a dialogue between the viewer and the artwork and the writers don’t want to destabilise their argument. To resolve this Hirschhorn photocopied self-made catalogues. “Quality no! Energy yes!” (Hirschhorn 396) Hirschhorn says when speaking of his catalogues. They can then be produced and sold cheaply. This is a strategy more commonly seen by anarchists rather than in the art world.
His work deals with issues to do with morals, ethics, politics and culture. He is attempting to break down structures. The work exists outside of conventional art spaces. Hirschhorn is interested in promoting the energy of the artist not the institute. The Kiosk project did this. Over a period of four years kiosks were erected dedicated to an artist or writer. Its primary function was to inform about the artist or writers work.
For Hirschhorn everything is equal and non hierarchical. This is a Marxist view. Before making art Hirschhorn was part of a group of Communist Graphic designers. The problem that I find with this idea is that it is an unrealistic expectation to expect people not to be judgemental. Society predisposes us to make moral judgments. It becomes challenging not to judge when reading the last paragraph of Brainpark by Anna Snderson. “Lastly, I did sex-work”, (1), she states. It is written in the first person so we assume she is talking about herself. Morally it seems to be wrong.
Thomas Hischhorn interview with Hans Ulrich Orbist, Thomas Boutoux ed. , Hans Ulrich Orbist: interviews volume 1, Milan;: Charta, 2003, pp.393-400.
1. Sanderson, “Brainpark” and Haesje van Cleyburgh” from Brain park, Wellington: Victoria University Press, 2006, pp16
Thomas Hirschhorn is a Swiss artist based in France. He creates site specific temporary installations. Hirschhorn makes his work out of everyday materials.
He sees himself as a no-conformist and describes himself as having no respect for culture. He feels that art is able to break down cultural walls. “Art is a tool to learn about the world, a tool to engage with reality” (Hirschhorn 397).
He works outside of the system; he wants his work to come from a position of equality. The artist and the viewer are on a level playing field. This idea is presented when he talks about catalogues.
“The problem with catalogues is that they often want to assume authority” (Hirschhorn 396). I agree with this statement. Catalogues often create a dialogue between the viewer and the artwork and the writers don’t want to destabilise their argument. To resolve this Hirschhorn photocopied self-made catalogues. “Quality no! Energy yes!” (Hirschhorn 396) Hirschhorn says when speaking of his catalogues. They can then be produced and sold cheaply. This is a strategy more commonly seen by anarchists rather than in the art world.
His work deals with issues to do with morals, ethics, politics and culture. He is attempting to break down structures. The work exists outside of conventional art spaces. Hirschhorn is interested in promoting the energy of the artist not the institute. The Kiosk project did this. Over a period of four years kiosks were erected dedicated to an artist or writer. Its primary function was to inform about the artist or writers work.
For Hirschhorn everything is equal and non hierarchical. This is a Marxist view. Before making art Hirschhorn was part of a group of Communist Graphic designers. The problem that I find with this idea is that it is an unrealistic expectation to expect people not to be judgemental. Society predisposes us to make moral judgments. It becomes challenging not to judge when reading the last paragraph of Brainpark by Anna Snderson. “Lastly, I did sex-work”, (1), she states. It is written in the first person so we assume she is talking about herself. Morally it seems to be wrong.
Thomas Hischhorn interview with Hans Ulrich Orbist, Thomas Boutoux ed. , Hans Ulrich Orbist: interviews volume 1, Milan;: Charta, 2003, pp.393-400.
1. Sanderson, “Brainpark” and Haesje van Cleyburgh” from Brain park, Wellington: Victoria University Press, 2006, pp16
HOW CAN CREATIVE PRACTICE BE RELEVANT POLITICALLY
Walter Benjamin was born in Germany in 1892. He was Jewish and while fleeing the Nazis, committed suicide in 1940, before the Second World War. Although he wrote extensively much of his work was never finished. During his lifetime only two of his books were published. ‘The work of Art in the Age of Mechanical Reproduction’ is an essay that was written in 1936.
Benjamin presents the argument that because of Mechanical Reproduction, especially photography and cinema, art has lost its aura. He talks about art as being an object of ritual or cult value. A value gained by context, time and space. On the other hand mechanically reproduced work has no such value.
Benjamin appears to sit on the fence when presenting this argument and this is what I found most frustrating about this reading. Benjamin was a Marxist. Marx believed in a classless and stateless society, in bringing power to the people. Benjamin is heralding the photography and film as the new art of the people. At the same time he also appears to be mourning the loss of the aura of art, the loss of distance providing a unique experience. “The painting invites the spectator to contemplation; before it the spectator can abandon himself to contemplation “(Benjamin 62).
Benjamin appears to be ambivalent towards the consequences of the new technologies for propaganda purposes; the function of art is reversed. “Instead of being based on ritual, it begins to be based on another practice-politics’” (Benjamin 53). Photographs are constantly used in the political arena, a famous image is Huyn Cong Ut’s photo of the Vietnamese girl fleeing a napalm attack. “Since the Vietnam War, governments have gone to considerable lengths to make such images, and the reactions they may provoke, difficult to come by”, (1).
The work is endlessly reproducible therefore “to ask for the “authentic” print makes no sense” (Benjamin 53).
Benjamin, ‘The work of Art in the Age of Mechanical Reproduction’ reprinted in Meenakshi Gigi Durham and Douglas Kellner ed.s, Media and Cultural Studies: Keyworks, Oxford: Blackwell, 2001
1. Campbell, “Horrific Blindness: images of death in contemporary media”, Jounal for Cultural research, Vol.8, No.1, Routledge, 2004
Walter Benjamin was born in Germany in 1892. He was Jewish and while fleeing the Nazis, committed suicide in 1940, before the Second World War. Although he wrote extensively much of his work was never finished. During his lifetime only two of his books were published. ‘The work of Art in the Age of Mechanical Reproduction’ is an essay that was written in 1936.
Benjamin presents the argument that because of Mechanical Reproduction, especially photography and cinema, art has lost its aura. He talks about art as being an object of ritual or cult value. A value gained by context, time and space. On the other hand mechanically reproduced work has no such value.
Benjamin appears to sit on the fence when presenting this argument and this is what I found most frustrating about this reading. Benjamin was a Marxist. Marx believed in a classless and stateless society, in bringing power to the people. Benjamin is heralding the photography and film as the new art of the people. At the same time he also appears to be mourning the loss of the aura of art, the loss of distance providing a unique experience. “The painting invites the spectator to contemplation; before it the spectator can abandon himself to contemplation “(Benjamin 62).
Benjamin appears to be ambivalent towards the consequences of the new technologies for propaganda purposes; the function of art is reversed. “Instead of being based on ritual, it begins to be based on another practice-politics’” (Benjamin 53). Photographs are constantly used in the political arena, a famous image is Huyn Cong Ut’s photo of the Vietnamese girl fleeing a napalm attack. “Since the Vietnam War, governments have gone to considerable lengths to make such images, and the reactions they may provoke, difficult to come by”, (1).
The work is endlessly reproducible therefore “to ask for the “authentic” print makes no sense” (Benjamin 53).
Benjamin, ‘The work of Art in the Age of Mechanical Reproduction’ reprinted in Meenakshi Gigi Durham and Douglas Kellner ed.s, Media and Cultural Studies: Keyworks, Oxford: Blackwell, 2001
1. Campbell, “Horrific Blindness: images of death in contemporary media”, Jounal for Cultural research, Vol.8, No.1, Routledge, 2004
Wednesday, September 16, 2009
HOW CAN ART BE RELEVANT POLITICALLY?
Jean Fisher, ‘Toward a Metaphysics of Shit’ from Documenta 11 Platform 5 The Catalog, Ostfildern-Ruit: Hatje Cantz, 2002
Jean Fisher was born in America and studied Fine Art. She has written extensively about art. She currently lectures in Art and Art Theory at Middlesex University and the Royal College of Art, London.
This writing is from the Documenta 11 catalogue. A contemporary art event in Kassel, Germany held every five years since 1955.
Fisher points out that the arts are part of the capitalist global economy. She asks how the artist can operate within this economy and continue to be creative. What can art change?
Is it possible to capitalize on globalization? Through biennials and other art events can artists present new and unconventional ideas?
Again we are introduced to the trickster. The trickster appears in most culture of the world. Maui is the trickster from New Zealand and the Pacific. Fisher refers to him through Native American stories. The trickster in these stories ‘usually fails to achieve his aim, but gains insight (68).’ The stories do not offer an answer but instead give the reader something to ponder. The trickster is a lie that leads to truth.
The problem for art is how to present new ideas in such a way that the meaning is not lost on the viewer, to be critical and playful at the same time.
The aim with art is to be shocking but present the shocking aspect as comfortably familiar. De-familiarization can be called the tricksters’ magic. We recall the trickster Maui who ‘was given special gifts from the ocean and sea, gifts of shape-shifting and transformation,’1. The trickster also acts as a mediator and translator.
De-familiarization can be seen repeatedly in contemporary art. Often an artist will combine ideas, materials and techniques in new ways. The trick is to present the viewer with questions rather than assume authority and provide answers.
1. Natalie Robertson, ‘The 10 predicaments of Maui: notes on tricksters’, Brian Butler ed., Volume 1, Auckland: Artspace& Clouds, 2008, pp 18
Jean Fisher, ‘Toward a Metaphysics of Shit’ from Documenta 11 Platform 5 The Catalog, Ostfildern-Ruit: Hatje Cantz, 2002
Jean Fisher was born in America and studied Fine Art. She has written extensively about art. She currently lectures in Art and Art Theory at Middlesex University and the Royal College of Art, London.
This writing is from the Documenta 11 catalogue. A contemporary art event in Kassel, Germany held every five years since 1955.
Fisher points out that the arts are part of the capitalist global economy. She asks how the artist can operate within this economy and continue to be creative. What can art change?
Is it possible to capitalize on globalization? Through biennials and other art events can artists present new and unconventional ideas?
Again we are introduced to the trickster. The trickster appears in most culture of the world. Maui is the trickster from New Zealand and the Pacific. Fisher refers to him through Native American stories. The trickster in these stories ‘usually fails to achieve his aim, but gains insight (68).’ The stories do not offer an answer but instead give the reader something to ponder. The trickster is a lie that leads to truth.
The problem for art is how to present new ideas in such a way that the meaning is not lost on the viewer, to be critical and playful at the same time.
The aim with art is to be shocking but present the shocking aspect as comfortably familiar. De-familiarization can be called the tricksters’ magic. We recall the trickster Maui who ‘was given special gifts from the ocean and sea, gifts of shape-shifting and transformation,’1. The trickster also acts as a mediator and translator.
De-familiarization can be seen repeatedly in contemporary art. Often an artist will combine ideas, materials and techniques in new ways. The trick is to present the viewer with questions rather than assume authority and provide answers.
1. Natalie Robertson, ‘The 10 predicaments of Maui: notes on tricksters’, Brian Butler ed., Volume 1, Auckland: Artspace& Clouds, 2008, pp 18
Thursday, July 16, 2009
FUNCTION OF THE AUTHOR
Celia Lury, “Contemplating a self-portrait as a pharmacist, a trade mark style of doing art and science”, Theory culture and society 2005
Celia Lury works in the department of sociology at the University of London. She regularly writes articles and has written a number of books.
“Becoming a brand name is an important part of life. It’s the world we live in.” This is the quote by Damien Hirst that introduces the essay by Celia Lury. She discusses how the, function of the author has changed today. Where is the author?
“Death of the author”, the author no longer has authority over the work. Intervention no longer matters. In other words, the creator has no control over how the work is read. This is a “response to the world we live in (94)”, says Hirst.
The author function has been replaced by the brand as in the case of Damien Hirst. A brand name now helps our understanding of art, “creativity invention and discovery” (106).
Damien Hirst is a self branding exercise.
The author now sits outside of his work. Hirst's spot paintings are made by assistants. The dots are all the same size, so are the gaps. The paint is the same. He is not concerned with originality; he is concerned with the use of his name as a brand or trademark. He is a director, a scientist, “a pharmacist” (100).
Although it could be said that nothing is new, we still strive for originality. Art seems to now be original in its placement (conceptually), not so much in its form. An artist now is creating a new way of looking at an old idea. Similarities here can be drawn with the pharmaceutical industry. When marketing a new heartburn medicine, Gaviscon, the market was saturated. The solution was by “inventing a new problem and offering a new solution (100)”.
“In physics, you know, if they can’t find the answer they want, they change the question. As long as you’re prepared to do that … there’s nothing you can’t do.’ (107)
Author function is being replaced by brand loyalty as Lury points out regarding the practice of Damien Hirst. This is an interesting point and one that we as artists should take note of. “Consumption of creative goods, like all goods, depends on ‘tastes’”1, and in the twenty first century those tastes are influenced by brand loyalty.
1. Elizabeth Currid, ‘The economics of a good party: social mechanics and the legitimization of art/culture, journal of economics and finance.vol 31.no 3 fall 2007
Celia Lury, “Contemplating a self-portrait as a pharmacist, a trade mark style of doing art and science”, Theory culture and society 2005
Celia Lury works in the department of sociology at the University of London. She regularly writes articles and has written a number of books.
“Becoming a brand name is an important part of life. It’s the world we live in.” This is the quote by Damien Hirst that introduces the essay by Celia Lury. She discusses how the, function of the author has changed today. Where is the author?
“Death of the author”, the author no longer has authority over the work. Intervention no longer matters. In other words, the creator has no control over how the work is read. This is a “response to the world we live in (94)”, says Hirst.
The author function has been replaced by the brand as in the case of Damien Hirst. A brand name now helps our understanding of art, “creativity invention and discovery” (106).
Damien Hirst is a self branding exercise.
The author now sits outside of his work. Hirst's spot paintings are made by assistants. The dots are all the same size, so are the gaps. The paint is the same. He is not concerned with originality; he is concerned with the use of his name as a brand or trademark. He is a director, a scientist, “a pharmacist” (100).
Although it could be said that nothing is new, we still strive for originality. Art seems to now be original in its placement (conceptually), not so much in its form. An artist now is creating a new way of looking at an old idea. Similarities here can be drawn with the pharmaceutical industry. When marketing a new heartburn medicine, Gaviscon, the market was saturated. The solution was by “inventing a new problem and offering a new solution (100)”.
“In physics, you know, if they can’t find the answer they want, they change the question. As long as you’re prepared to do that … there’s nothing you can’t do.’ (107)
Author function is being replaced by brand loyalty as Lury points out regarding the practice of Damien Hirst. This is an interesting point and one that we as artists should take note of. “Consumption of creative goods, like all goods, depends on ‘tastes’”1, and in the twenty first century those tastes are influenced by brand loyalty.
1. Elizabeth Currid, ‘The economics of a good party: social mechanics and the legitimization of art/culture, journal of economics and finance.vol 31.no 3 fall 2007
ART PRACTISE IN AOTEAROA
Tze Ming Mok, ‘Race You There’ Landfall 208, Dunedin: Otago University Press, 2004 (November)
Tze Ming Mok is a New Zealand political writer of Chinese decent. Her articles and blogs provide thought provoking comment on minority cultures and racial attitudes of mainstream middle New Zealand. In this article written for Landfall in 2004 she draws on personal experience of being an Asian non-Maori in Aotearoa. Mok provides personal anecdotes, relates experiences and incidents that resonated with her. Racial Marches, marriages of convince for politicians, Hikois, National Front protests are used as background. Where are you from? She’s asked time and time again.
Does the bystander effect highlight group prejudice or is it generalising the actions of a few individuals. A National Front member attacks Chi Pung in a violent race motivated attack. Bystanders ignored the Christchurch student for twenty minutes.
An anti-race march is organised as a result. Chi Pung “boycotted the very march she took the fall for (23)”. Pung believed that the root of white aggression was the failure for white s to see themselves as migrants. It seems “anti-racism is not as black and white (23)” as one might expect. “Fake visas are being sold by the leader of a Maori sovereignty group. What do they entitle? The ability to stay in New Zealand because of tribal affiliations. It’s a rip off of course, but the idea is not new. “The key for asserting migrant rights to belong in New Zealand is for all newcomers to see their presence as an entry by treaty”(23). This is why Pung boycotted the march; it seems “Pung had placed her finger on the trigger point (23)”.
New Zealand is ever changing. Whether acknowledged or not these changing elements work to inform the practice in which an artist engages, shaping their concerns in a direct or indirect manner. Mok writes with a certain biased, but she is able to expose larger under laying questions and issues. We are still working within a colonial mindset within middle New Zealand. But as Mok points out this is changing as the country responds to time and place. When something will “rise from the ashes of majorities and minorities (18)” and there will no longer be a dominant white population.
Tze Ming Mok, ‘Race You There’ Landfall 208, Dunedin: Otago University Press, 2004 (November)
Tze Ming Mok is a New Zealand political writer of Chinese decent. Her articles and blogs provide thought provoking comment on minority cultures and racial attitudes of mainstream middle New Zealand. In this article written for Landfall in 2004 she draws on personal experience of being an Asian non-Maori in Aotearoa. Mok provides personal anecdotes, relates experiences and incidents that resonated with her. Racial Marches, marriages of convince for politicians, Hikois, National Front protests are used as background. Where are you from? She’s asked time and time again.
Does the bystander effect highlight group prejudice or is it generalising the actions of a few individuals. A National Front member attacks Chi Pung in a violent race motivated attack. Bystanders ignored the Christchurch student for twenty minutes.
An anti-race march is organised as a result. Chi Pung “boycotted the very march she took the fall for (23)”. Pung believed that the root of white aggression was the failure for white s to see themselves as migrants. It seems “anti-racism is not as black and white (23)” as one might expect. “Fake visas are being sold by the leader of a Maori sovereignty group. What do they entitle? The ability to stay in New Zealand because of tribal affiliations. It’s a rip off of course, but the idea is not new. “The key for asserting migrant rights to belong in New Zealand is for all newcomers to see their presence as an entry by treaty”(23). This is why Pung boycotted the march; it seems “Pung had placed her finger on the trigger point (23)”.
New Zealand is ever changing. Whether acknowledged or not these changing elements work to inform the practice in which an artist engages, shaping their concerns in a direct or indirect manner. Mok writes with a certain biased, but she is able to expose larger under laying questions and issues. We are still working within a colonial mindset within middle New Zealand. But as Mok points out this is changing as the country responds to time and place. When something will “rise from the ashes of majorities and minorities (18)” and there will no longer be a dominant white population.
Wednesday, May 20, 2009
CROSS CULTURAL FANTASIES
James Meyer, “The Functional Site; or, The Transformation of Site-Specificity”. Space, Site, Intervention: Situation Installation Art, ed. Erika Suderberg, Minneapolis: University of Minnesota Press, 2000, pp. 23-37
In his essay, James Meyer refers to what he calls the “cross-cultural fantasy of the other”(35). A supposition based on a not so solid foundation, forming mental images of other places.
Guidebooks can help create these fantasies as they direct visitors or tourists to places of interest. They are a compilation of information in printed form and tourists find them invaluable. As they guide of strangers or visitors through a district giving them a description of the places or scenery of interest they tend to point out certain things and not others. In other words, guidebooks can give a somewhat biased view.
One of the initiators of what was to become tourism was Thomas West in his guide to the lakes for landscape lovers of landscape studies. This and books like it helped change the British mind and enabled it to view the landscape for visual pleasure. With the guidebook and Claude glass in hand the British of the 18th century ventured into the countryside. With the Claude glass one could view the land as scenery and compose the landscape. Throughout his essay Park refers to the landscape as theatre and us as the audience. In his essay the Claude glass is used as a metaphor to turn nature into scenery.
The idea of an illusion of a foreign place is highlighted by artist Jan Muller. In the exhibition, “ Inter-pellations” Muller looks at European -American cultural relations by using guidebooks to direct visitors around fashionable areas of SOHO in New York. They position the tourist within the space and swiftly guide them through upmarket restaurants, fancy boutiques, and swanky art galleries quenching a thirst for the fresh and new. A few years earlier Muller explored this idea in reverse with a work titled bookcase which explored the American thirst for European history.
The landscape in New Zealand was to become a commodity. “... its’ landscape had been constantly, the most beautiful scenery in the world”1. Colonial immigrants had a mental picture of New Zealand thanks to idealised images presented by writers and artists. This image was a cross-cultural fantasy
1. Geoff Park “Theatre Country”, Theatre Country: Essays on Landscape and whenua, Wellington: Victoria University Press, 2006, pp.113-127.
James Meyer, “The Functional Site; or, The Transformation of Site-Specificity”. Space, Site, Intervention: Situation Installation Art, ed. Erika Suderberg, Minneapolis: University of Minnesota Press, 2000, pp. 23-37
In his essay, James Meyer refers to what he calls the “cross-cultural fantasy of the other”(35). A supposition based on a not so solid foundation, forming mental images of other places.
Guidebooks can help create these fantasies as they direct visitors or tourists to places of interest. They are a compilation of information in printed form and tourists find them invaluable. As they guide of strangers or visitors through a district giving them a description of the places or scenery of interest they tend to point out certain things and not others. In other words, guidebooks can give a somewhat biased view.
One of the initiators of what was to become tourism was Thomas West in his guide to the lakes for landscape lovers of landscape studies. This and books like it helped change the British mind and enabled it to view the landscape for visual pleasure. With the guidebook and Claude glass in hand the British of the 18th century ventured into the countryside. With the Claude glass one could view the land as scenery and compose the landscape. Throughout his essay Park refers to the landscape as theatre and us as the audience. In his essay the Claude glass is used as a metaphor to turn nature into scenery.
The idea of an illusion of a foreign place is highlighted by artist Jan Muller. In the exhibition, “ Inter-pellations” Muller looks at European -American cultural relations by using guidebooks to direct visitors around fashionable areas of SOHO in New York. They position the tourist within the space and swiftly guide them through upmarket restaurants, fancy boutiques, and swanky art galleries quenching a thirst for the fresh and new. A few years earlier Muller explored this idea in reverse with a work titled bookcase which explored the American thirst for European history.
The landscape in New Zealand was to become a commodity. “... its’ landscape had been constantly, the most beautiful scenery in the world”1. Colonial immigrants had a mental picture of New Zealand thanks to idealised images presented by writers and artists. This image was a cross-cultural fantasy
1. Geoff Park “Theatre Country”, Theatre Country: Essays on Landscape and whenua, Wellington: Victoria University Press, 2006, pp.113-127.
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