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What structural factors will the proposed colorectal cancer screening programme need to consider to ensure equity of update for Maori?
Get PDFNew Zealand is currently piloting the feasibility of a national population-based screening programme for colorectal cancer. Colorectal cancer is one of the most common forms of cancer worldwide, with New Zealand having one of the highest colorectal death rates in the world (Blakely et al., 2010; Shah, Sarfati, Blakely, Atkinson & Dennet, 2012). Considered the most preventable form of cancer, lives can be spared through early diagnosis and intervention. However, evidence of disparities continue to exist in access to healthcare within some population groups, which has an influence on uptake rates in screening programmes (Pitama et al., 2012). Despite improvement in decreased mortality rates in New Zealand’s breast and cervical screening, there continues to be a gap in New Zealand’s uptake in health screening initiatives, especially within the Māori population. In view of the proposed colorectal cancer screening programme, there is a need for specific guidelines that will guide healthcare services in providing robust strategies that will effectively contribute to equity of uptake for Māori. A critical literature review on the equity of uptake in population-based screening for New Zealand’s Māori population was undertaken using a critical social theory lens. The aim was to identify factors that influence equity in uptake of screening in order to recommend robust guidelines in assuring equity of uptake for Māori in the proposed colorectal cancer screening programme.
Sixteen articles from a large body of knowledge were selected and supporting articles and government publications were also used to enhance the review. A thematic analysis of the selected articles identified access to healthcare/screening as the main theme, with structural issues of socioeconomics, health literacy, structural racism, acceptability of service, appropriate services and geographical structures being sub-themes. Recommendations include on-going education to providers, healthcare professionals and the general public, on-going research into equitable access to screening and follow-up treatment, and consideration of Marae-based clinics and/or mobile endoscopy screening units
How students rate their learning in simulation
No full textThis article reports the development and results of a simulation programme adopted in order to prepare students for clinical practice. The programme was developed specifically for first year nursing students. It was designed to contextualise learning and reinforce and facilitate the integration of new skills and knowledge. Students in this programme completed a practice
workshop followed by a simulated clinical duty. Students worked in groups of three rotating through the roles of patient, nurse and observer. Over a four day period, students admitted patients, planned and provided nursing care, collaborated with members of a multidisciplinary team and planned safe patient discharges.
Anecdotal evidence from students suggested that significant learning occurred over the four day period. In order to confirm and capture the nature of the learning, research was conducted over an 18 month period. Student participants completed questionnaires providing feedback about their learning experiences. In total 158 students provided feedback. Results showed that: practical skills, documentation, interdisciplinary collaboration, realism, patient experience, clinical judgement and therapeutic skills were areas in which their learning was enhanced (McNamara, 2014).
The overall aim of this study was to explore the role of simulation in nursing students’ learning, specifically in the areas that students identified
Under the covers: Copyright, cover versions and the Internet
No full textThis paper proposes that in relation to the current digital and economic environments and how they intersect with popular music practices (especially via the issue of copyright), it is important to avoid binary oppositions such as intellectual property vs. creativity, corporate capitalism vs. democratic user communities (Stahl and Homan 2012, Zeilinger, 2012). What is more interesting is to look at specific cases of how music producers/consumers are negotiating this new environment without idealizing them as noble artists, and also to draw careful distinctions between different copyright regimes and regulations without reducing them to a corporate or legal monolith. The case study is the cover version in the internet age and its associated regime - the compulsory mechanical license.
The cover version is a form of sampling that long predates the rise of digital reproduction. Analysis of the cover version and its associated legal history may reveal a complex interplay of forces between musicians and audiences that long predates the digital revolution and is not reducible to it. Warning: the author may draw upon his personal experience - creating and publishing a "cover version” of the Beatles’ album Revolver and obtaining the appropriate licenses (Bannister 2013)
Perspectivas ambientales kiwis y cubanas: proyecto de eco-carteles
Get PDFThe intent of this international poster project revolves around global concerns. The urgent need to protect our environment, as a way to preserve the human species, is fundamental to the way we educate and engage present and
future generations.
Visual Communication Design students of the Instituto Superior de Diseño in Havana, Cuba and students of the Bachelor of Mediarts of the Waikato Institute of Technology in Hamilton, and contexts, but they have in common the sensitivity to care for the environment and the certainty that something can be done to contribute to eco-educational awareness. It is for this reason that students and tutors from both institutes have joined communication space for academic and cultural exchange on this topic.
This project was made possible within existing courses in the two institutions; where students environs, researched the issues and conceptualised and developed the poster designs.
The outcome of this experience is the joint exhibition of twenty posters that will be part of the Forma 2015 VIII Congreso Internacional de Diseño “Diseño con Sentido” in Havana (16-18 June 2015) and at Wintec in Hamilton. El propósito de este proyecto internacional de carteles giró en torno a la preocupación mundial sobre la urgente ecesidad de proteger nuestro medio ambiente, como vía para preservar la especie humana, para lo cual es fundamental
educar e involucrar en el tema a las nuevas generaciones. Los estudiantes de Diseño de Comunicación Visual del Instituto Superior de Diseño en La Habana, Cuba y los estudiantes de la Facultad de Mediarts del Waikato Institute of Technology en Hamilton, Nueva Zelanda, aun
cuando viven en dos latitudes y contextos diferentes tienen en común la sensibilidad por el cuidado del medio ambiente y la certeza de que algo pueden hacer desde la comunicación para contribuir a la educación de las personas. Es por este motivo que estudiantes y profesores de ambas universidades han unido intereses y esfuerzos para concretar un espacio de intercambio académico y cultural sobre el tema. El proyecto se viabilizó dentro de cursos electivos en las dos
las zonas de interés a trabajar en cada país y se investigó sobre el asunto para posteriormente conceptualizar los mensajes y diseñar los carteles. De manera que los estudiantes pero particularmente diferente en Cuba y
Aotearoa. El resultado fundamental de la experiencia es una exposición conjunta de veinte carteles para exponer en Forma 2015 VIII Congreso Internacional de Diseño “Diseño con
Sentido” Habana (16-18 June 2015) y en la Universidad WINTEC en Nueva Zeland
Minding the gap: writing across thresholds and faultines
Get PDFJust as the guard’s voice enjoins us to “Mind the gap”, as we step from the train carriage to the station platform on the underground, this selection of papers attempts to ‘mind’ or address several gaps, which have emerged in recent years in the teaching of creative writing and the practice of writing as an academic discipline, in response to a call for papers for the 19th Annual Conference of the Australasian Association of Writing programmes, held, for the second time in the history of the organisation, in New Zealand
Ngaio Marsh's New Zealand Gothic
Get PDFWhile well established as a crime writer in her native country New Zealand and abroad, in the Golden Age of crime writing, between the two World Wars, Ngaio Marsh also explored more than the simple whodunit genre. Along with mysterious and sudden deaths and the investigations by her professional police investigator, Roderick Alleyn, whose intelligence is matched by his intuition, Marsh also revels in the uncanny and supernatural, several spectacular and innovative means of murder (involving wool presses in one and a boiling mud pool in another), the impact of locale, especially isolation, on the actions of criminals and victims, and the workings, in a couple of her New Zealand based stories, of Makutu or Maori magic.
In an attempt to further the debate concerning New Zealand writing and the nature of a New Zealand Gothic, first identified by William Shafer in his 1998 work Mapping the Godzone, this paper will consider the Gothic elements of Marsh’s four detective novels set in New Zealand, A Vintage Murder, 1937, Colour Scheme, 1943, Died in the Wool, 1945 and Photo Finish, 1980
Engaging with creativity in education through Bergson
Get PDFSubtitle - Duration, system theory and musical creativit
Conscious in the Machine: The Plight of the Animal in Industrial Culture
Get PDFA joint paper on a documentary film in progress by Paul Judge and Bridget Sutherland.
We are currently in the process of making a film on animals in relation to industrial culture. We propose to reflect
on some of the questions and content arising from this project. The film focuses on animals as sentient beings,
conscious of their suffering and loss of freedom within the machine of industrial capitalism. The paper discusses
the challenges we face as film-makers in attempting to portray the sheer size of this machine alongside inspiring
empathy for animals, respect for species integrity and recognition of their physical and emotional lives.
An examination of the nature of sentience will focus on the animal sanctuary as a site of resistance to the animal
industrial complex and the parallel attack on wildlife. The aim is not so much to show the visible horrors of techno-
industrial farming as to create empathy in the viewer for animals filmed in the process of being rescued or already
living out their lives in a sanctuary.
In confronting the problems in the representation of the animal, we also intend to explore the psychological
foundations of speciesism and the ways in which this ancient form of cultural self-deception is being played out in the mass media. Excerpts from the film will be screened, including interviews with Jeffrey Masson, Lynley Tulloch
and footage of rescued farm animals.
Paul Judge is a writer and filmmaker and tutors on the Moving Image program at the School of Media Arts,
Waikato Institute of Technology. His recent film, Don Driver Magician, screened in the New Zealand International
Film Festival in 2013.
Bridget Sutherland is a writer, painter and filmmaker and teaches on the arts program at Eastern Institute of
Technology, Napier. She has directed a film on NZ musician David Kilgour, Far Off Town: Dunedin to Nashville
(2006) and a film on internationally renowned sculptor Anish Kapoor, Infinity on Trial. (2012
He whare kōrero, he māramatanga
No full textHe whare kōrero, he māramatanga was a walk-in interactive installation that was less about what the art is, and more about how it's done. When visitors entered and experienced the whare, then they became co-creators of an original interactive artwork that aimed to explore Māori – Pākehā relationships, as embodied by Te Tiriti o Waitangi, in a contemporary art context.
Attempting to make work according to the principles of te tiriti o Waitangi means constantly working in good faith, and making adjustments for things we don’t necessarily understand but acknowledge as being important.
As local practitioners, our kaupapa was reflected in this work: We celebrate and affirm the principles of tū tangata, whakawhanaungatanga, ako, and the puna of our creativity.
As an interactive work, visitors walked into a light-tight darkened environment with pressure-pads hidden in the floor. Different amounts of weight and lengths of time triggered variable red, green, and blue amounts of lighting for each of the four sculptures - which were painted in strips of colour - so that the reflected light created different perceptions of these colours. Different types of instrumentalised sounds also played when these hidden pressure pads were stepped on.
The presence or absence of who else was in the space engendered different spatial relationships, which in turn created different effects for each visitor
