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Week Nine: My Example of Visual Representation

Mask of Tutankhamen, Ancient Egypt.

The purpose of this representation was to create a tribute to Tutankhamen, the youngest Pharaoh in Ancient Egypt. It exists to display the qualities and attributes of the Pharaoh after they have passed away. Egyptians used these death masks to explain the status of a person, their wealth and their societal ranking. The mask is a close depiction of the young man according to historians. The Egyptians believed in life after death, and were famous for making artefacts such as mummies, masks and protective statues. However, this mask may not be very accurate representation of Tutankhamen, rather an idealised version - how he "should" be remembered. It suppresses the fact that he was not a notable Pharaoh during his time, barely being nine years old when the position fell to him. This representation was meant to hold Tutankhamen in dignity, using gold as they believed it was the "skin of the gods" as well as valuable jewels in the creation of this famous piece. This representation allows for a clear understanding of how ancient Egypt was run, how their Pharaohs were the highest in society and of the ultimate importance. I believe some explanation is needed for this representation to work, as the concept of death is vastly different between different cultures around the world. However, it is easy to understand due to the luxurious visual qualities of this piece that it has great importance in the Ancient Egyptian world.

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Week Nine: Example of Representation

Maureen Lander Kit-Set Whanaungatanga 2017, harakeke, teri dyes. Collection of the artist. Image: Mark Tantrum. Source: https://govettbrewster.com/exhibitions/maureen-lander-flat-pack- whakapapa.

The purpose of this representation is to show Harakeke, an important cultural plant to the Maori people through an abstract art piece. It is there to take a modernised spin on the ancient weaving techniques used throughout Maori history. It is there to turn it into something new, and offer a different perspective. Lander has weaved them together to represent "Whanaungatanga" as per the installations name. Whanaungatanga means kinship, togetherness and family which is throughly effective in relation to this piece. Each Harakeke being completely unique may be a representation of different iwi, tribes, or places. The use of different colours, shapes and patterns for each piece gives them a distinctive uniqueness from one another. The fact that all of these iwi are bonded together with the flax shows that there is great unity within the community. I believe the title of the work is very useful but not necessary for this representation to work as the visual cues are strong. However, this may not be the same for everyone, as the concepts of Maori principles in design is not necessarily a widely known sentiment. This representation is very close to the "real thing" (Whanaungatanga), through the elements of the Harakeke use, weaving, colour, and shape. The way this work has many visual similarities to a quilt is also an interesting thing to note. That these small woven squares have been "sown" (weaved) together to create one object. This is a clear representation of Whanaungatanga, connection.

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Week Eight: Example of Work

Taiaha

The Taiaha is one of the most well known Maori weapons. They are usually crafted with either wood or whalebone, featuring a long, tapered body. The "arero" or tongue is used for stabbing, and the "tinana" or body is used for parrying. This weapon originated from Tu, the god of war reaching out to Rūrūtangiākau, the god of weapon crafting, and requested an unmatched weapon to be crafted for him. The students who practice taiaha must learn balance, timing and co-ordination to successfully wield with weapon with grace. Taiaha are also commonly used in "wero" (challenging ceremonies) during Pōwhiri - welcoming ceremonies. When Pakeha made their way to Aotearoa, the use of taiaha dwindled due to the introduction of firearms such as muskets. Teachings of the use of this weapon in Maori schools was diminished. However, since the 1980s cultural renaissance of Maori, there has been a renewed interest of traditional weapons. The taiaha is now still a trademark of Maori culture today.

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Week Eight: Kaupapa Maori & Ethics

https://whatworks.org.nz/kaupapa-maori/

https://stream.massey.ac.nz/pluginfile.php/5774604/mod_label/intro/MU%20Universal%20Principles.pdf

Aroha: Aroha means love but it also means respect. Treating people with respect means allowing them control: where to meet and on their own terms, and when to meet. Aroha also relates to the information collected. You should let the participant decide what information will become public and what will stay confidential. They can also choose whether to participate anonymously.

Whanaungatanga: Whanaungatanga refers to the building and maintenance of relationships. It’s the process of establishing meaningful, reciprocal and whānau or family-like relationships through cultural respect, connectedness and engagement.

The principles in universal ethical principles are matters of judgement that researchers and decision makers choose, whereas Kaupapa Maori stems from close relationships with the people around them. Built from things including trust, respect and whanaungatanga. The difference between these is an innate understanding of the human experience and compassion in the Kaupapa Maori, and facts and rules in the Universal Ethical Principles. The Massey version offers a solution to a problem, while the Maori never had the problem from the start. E.g the Massey versions "Avoidance of Harm" section. Both frameworks have positive intentions and agreeable guidelines, their overall structure and approach is vastly different. If we conduct our making with the Maori framework in mind from the start, we won't run into any issues or have the need to go back and decipher if we have caused any harm. Massey's offers a generalised take on universal ethical principles in a worldwide sense - something that is expected over the whole globe. Kaupapa Maori is made by, with, and for Maori. It is known as the "code of conduct" for tangata whenua. I think I will take influence from both of these principles, being particularly conscious of the ways of our people here in Aotearoa but also having a broadened understanding of the world beyond NZ as well.

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Formative Assessment

Topic: Systems of Knowledge - the way different cultures recorded and pass down knowledge.

Key Words: Customs, language, rituals, ancestors, communication

Customs: "a traditional and widely accepted way of behaving or doing something that is specific to a particular society, place, or time." This is the traditions that are unique to a particular place or culture. They define who they are and what their key principles of life are.

Language: "the principal method of human communication, consisting of words used in a structured and conventional way and conveyed by speech, writing, or gesture." How people talk to each other whether it be oral language, drawings, or spoken.

Rituals: "a religious or solemn ceremony consisting of a series of actions performed according to a prescribed order." Different cultures have rituals for all different kinds of things - reaching a certain age, marriage, death etc. These are the important milestones in someone's life and are celebrated in different ways in different peoples.

Ancestors: "a person, typically one more remote than a grandparent, from whom one is descended." These are the people who came before you in your line of lineage. Those who paved the way into today's world. They were the ones who created tradition, rituals and customs that are upheld through time.

Communication: "the imparting or exchanging of information by speaking, writing, or using some other medium." How people spread information and inform others.

This topic was particularly interesting to me as I appreciate learning about how different people live their lives and what their "norms" are. I learnt about "memory spaces" - how the aboriginal people used landmarks and navigation as a way to communicate through purely oral traditions like music. In my making I would like to create things that are special to a time in my life in the same way these people have. Intertwining functionality and aesthetics with nostalgia and memories. This is one of the purest forms of communication - associating a feeling or story with an object or place. It creates a sense of belonging when making, and it becomes such a special thing that you are able to show to the world.

"Norval (Copper Thunderbird) Morrisseau, Ontario / Canada (1932-2007), Snake, Acrylic On Brown Paper".

Copper Thunderbird is a Native American painter taking inspiration from the ancient painting techniques of his ancestors. He likes to create from his own experiences in life and express his culture and story through images. "Morrisseau’s attempts to capture his culture’s myths and stories was met by many in his community with a mixture of disapproval and anger; and yet Morrisseau persevered, determined to visually record the stories he had absorbed as a child as a means of keeping them, and thus the history of his people, alive for future generations." https://www.researchgate.net/publication/342449705_Contemporary_Art_Practice_and_Indigenous_Knowledge

Useful Stream Links:

To work towards final assessment:

Search for new sources of information

Research different cultures customs and rituals

Broaden knowledge on the types of communication

[katescomsformakers]

Week Seven: Gender in Society

Notes:

No british women signatories - women in British society were ever seen as entities that could possibly hold any power or initiative

13 maori women signatories

Gender binary/roles - drastic differences between the two cultures.

' Blue stocking women' - these were women in European countries who were seekers of knowledge. More knowledge was seen as more masculine. During this time, "smart" was not something that was desirable for men - in fact they feared it. Intelligence to them meant power, and it was unfathomable that a women could possibly know more than they did, that they would have just as much ability. They were scared of "blue stocking women" imp roaching on their position of power.

Often when we are enforcing something on someone else, we are trying to maintain something for ourselves

Past & Present: Women's Fashion

Throughout history and still today, women's fashion has many impracticalities. During the 19th century, it was common practice for middle-class women to wear crinolines. These were large steel hoop cage skirts that stuck out several feet all the way around. The underlying connotation of these impractical skirts was a sense of control of these women. Wearing such a garment rendered them unable to do strenuous or useful tasks, such as work or any profitable labour. Wearing these crinoline was desirable to men, as they enjoyed the idea that their partner would be nothing but a housewife as they were easily controlled. It was a mechanism for keeping women in their place - unable to travel due to the sheer size of their garments. The flaws in the women's fashion industry is still evident today. Female school uniforms have a more restricting cut and design. Shirts are often tailored to be tighter and shorter whereas the boys shirts are more loose and flowing allowing more movement and the ability to play sports etc with ease. Skirts are also often mandatory in NZ schools instead of shorts or pants, again the impractical option. Traces of these old norms can been seen in many parts of our society today. The theme of restricting women through their clothing is still apparent. Shirts these days are often cropped or tight fitting with little modest options, shorts and skirts are shorter etc. These designs are often tailored to men rather than the women who wear them - attraction over functionality. It's also interesting to note that women's clothing in general often offers smaller or no pockets altogether - this is to forgo the extra fabric it requires and create a smoother and "skin tight" effect. The fashion industry has been built in favour of men since the beginning, to make men appear distinguished and high class and for women to appear provocative and attractive.

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Week Seven: Mana Wahine (Te Tiriti)

The way Maori viewed gender in the 1800s was vasty different of that of the British. European culture at the time has a deeply sexist nature. All positions of power were automatically given to men without any hesitation, women reduced to looking after children, cooking, cleaning and staying in the house. Maori culture was different all together. In Maori history, women were just as powerful - leading in men into battle and trusted with decision making and strategising. These were rangatira women, strong willed, independent and comprehensive thinkers. The failure to uphold Te Tiriti has left wahine Maori in low paying jobs, poverty and led them to face discrimination at work and school. These women facing such hardships are the descendants of the female signatories who came before them, the great grandchildren of the "the founding mothers". The arrival of Pakeha settlers in the 1830s disrupted the balance between Maori men and women, before colonisation they saw each other as equals. When the Pakeha came, their ideologies and practices came with them - they brought in the idea that women are lesser, and it is still being practiced today. “We are not saying we don’t have mana... we are saying we have 200 years of evidence of an intentional, deliberate, degrading marginalisation and denial of mana because we are wāhine." Stuff. https://www.stuff.co.nz/pou-tiaki/300223598/the-founding-mothers-how-maori-women-are-reclaiming-their-birthright-this-waitangi. Accessed 23 Apr. 2024. Institutionalised racism and sexism has left Maori women oppressed from all angles. Their mana has been stripped away by the state over the course of history and still now today. Wahine Maori still pushing for change at The Waitangi Tribunal, fighting for the principle of Tino rangatiratanga, or self - governance to be implemented across all aspects of their lives including health, education, welfare, justice etc.

Do the marks on Te Tiriti hold the same mana, authority and meaning across all cultures involved?

I don't think so. Maori and Pakeha both had different motives for the treaty - Maori wished for peace, the protection of the Crown and acknowledgement that they were here first - rights to land etc. Settlers were more interested in making agreements only if it benefitted themselves - to have sovereignty and control. This is evident in the mistranslation of The Treaty of Waitingi and Te Tiriti - both having different meanings.

Is the relatively small number of female signatures on the Treaty a reflection of the esteem that Māori women held in their own society? 

Cook first arrived in 1869, and Te Tiriti was not created until 1840. There were over ten years for the settlers to influence tangata whenua with their sexist ideologies. I believe this a possible reason only 13 out of 500 signatories of Te Tiriti are female.

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Week Six: "Removing the Shackles of Colonisation" Notes

Northland (Ngapuhi) did not cece sovereignty to the Crown, however it was said that they had. Te Tiriti and The treaty of Waitangi had severe differences, many chiefs didn't realise that what they were signing had a botched English translation that overruled it.

What really happened throughout the early 1800s has been passed down through generations orally through kaumātua - this is "History as Maori know it". Most written literature and documents recording this time have little resemblance to the knowledge of the elders.

The attitudes of the British in the early 1800s lead them to believe they could do whatever they wanted, they had wrongly assumed that out country was theirs for the taking. They felt it was okay to do this as they thought of the Maori and other indigenous peoples as "inferior".

This colonisation was driven by racism, British seeing Maori as "Un-Christian, uncivilised and un-White". There was no interest in developing relations with the people of the land and work towards a synchronised and civil society, only to take.

Types of Racism. Institutionalised - where the system is set up to disadvantage a minority, making healthcare, education, housing etc less accessible. Interpersonal - physical or verbal abuse towards someone because of their ethnicity. Internalised - in where the oppressed internalises the racism of their oppressor. In doing so, they begin to develop the belief that they are inferior.

How as Pakeha, although we cannot undo the actions of the past, we can learn to let go of the power we hold still to this day in our society and consciously make an effort to not exercise it.

The office of Treaty settlements claiming the following: Maori have to pay for their own settlements, the Crown acting illegally will not be admitted, historical claims will be ruled as inaccurate etc. An unfair system that leaves Maori at the disadvantage when attempting to regain their rightful land and taonga.

The brand of racism that lashes out and repels Maori success. For example, when Ngai Tahu were to oversee the success of Whale Watching Kaikoura, and Pakeha on the board decided to deliberately employ a well known racist as a way of sabotaging the project. This shows such deep rooted insecurity that some Pakeha hold that they may be outdone by the indigenous people of the land. They find it unfathomable Maori are able to do a job just as well if not better than they could, displaying a high degree of interpersonal racism.

How the New Zealand school system has been set up to purposefully leave of gaps of our history. Te Tiriti often being played off as a peaceful and successful endeavour, when this couldn't be further from the truth. These systems were set up by Pakeha leaders of this country wanting to save their images rather than admitting the mistakes and crimes of their ancestors.

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Week Six: Written Response

In her book The Treaty of Waitangi (1987), Dame Claudia Orange says of the history leading up to the signing of the Treaty, 1830-1840: “No longer were they [British government] considering a Māori New Zealand in which a place had to be found for British intruders, but a settler New Zealand in which a place had to be found for the Māori.”

As makers, can we assume to be working in a negotiated cultural space? Will this notion of 'negotiation' be viewed the same for Māori and non-Māori?

This excerpt expresses that Māori people were made to accomodate the Pākeha in favour of the other way around when they arrived in Aotearoa in the early 19th century. Without negotiating with rangatira, the English set up their lives in what they called "New Zealand". Little consideration was made, and the British disregarded the fact that this was not their land, that they were not here first. "...some settlers acted as if they had an absolute right to the land and showed disregard for the hapū who gave the grant in the first place." Network Waitangi. https://nwo.org.nz/resources/questions-and-answers-booklet/. This communicates that this was not completely their home anymore, rather a forcefully shared space. This idea stripped Maori of being the owners of their sacred land, being the only inhabitants meant that this country was unequivocally theirs, their ways of life and systems being disrupted by the abrupt and ungracious arrival of British immigrants. Wilful ignorance and disregard of the early settlers is what lead to Te Tiriti being put in place. As makers, we cannot assume that we are working in negotiated cultural spaces. Discussions and cultural considerations must be had and connections must be made if we are to take rangatira into account when making. Honouring Te Tiriti and using it as a framework is vital for design and creating spaces that are accessible and open to all. To have a conscious approach is to ask the questions - "who am I making this for?", "can everyone use this?". The effects of colonisation are deeply engrained into our society and the way we think, often leading to conflict in many cases when local iwi are not consulted when changes are made to spaces. "For years Maori have struggles to secure public recognition of rights based on their understanding of the treaty - rights to land, fisheries, and taonga or prized possessions - as well as a degree of genuine autonomy within the mainstream of New Zealand life" Orange, Claudia. The Demise of Maori Sovereignty. The Treaty of Waitangi. Allen & Unwin N.Z, 1987 pp 19-31. The theme of holding up Te Tiriti is still prevalent in our society today, an ongoing issue where these things are taken from tangata whenua which results in protests and urged changes. For a brighter future, we must take responsibility when designing and hold ourselves accountable when we do things wrong. Learning and evolving from our errors, past and present, unlocks fresh perspectives on comprehending our surroundings and heightens our awareness of the outcomes of our actions.

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Week Six Notes & Comic

Treaty of Waitangi pages:

Each page is a different colour of ink and is faded to different degrees. Handwriting styles differ - Maori use images as signatures. This is because the treaty had travelled around the country and signed on different days and in different places. Maori chiefs using a symbol for a signature could mean that that symbol represented where they were from or part of who they are - their ID. The pages were also damaged, with burns, water stains and rips. There were also things written in the margins, as though they had been added at a later date.

What did He Whakaputanga - The Declaration of Independence provide for Māori?

The declaration asked for the King of England to protect New Zealand from other countries. It offered them peace of mind and protection from wars and violence against them.

When we consider both Te Tiriti and The Treaty, what are the different understandings held by peoples about what these two artefacts stand for?

The two have distinct differences in phrasing. The English version uses words such as "sovereignty" - total control, whereas in the Maori version Henry Williams chose the word "Kawanatanga" meaning "governorship. These subtle changes were conscious, purposeful as to sway Maori chiefs into signing Te Tiriti. 

How has what we've learnt today broadened your understanding of Te Tiriti?

I have gained knowledge about the "declaration of independence" that came before Te Tiriti. I was unaware there were previous agreements to the Treaty.

 There where many who signed Te Tiriti and there were many who didn’t - some holding the standpoint that as they were here first, this is our land, we don’t seem to gain anything from this.

How the treaty was translated in just one night - why wasn't there enough time to verify it through multiple bilingual to ensure a translation which matches the english as accurately as possible to avoid misinformation.

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Week Five: Article Reflections

Article One; https://theconversation.com/the-memory-code-how-oral-cultures-memorise-so-much-information-65649?utm_source=facebook&fbclid=IwAR3QCLAmBpW4EP5jCj6apQ2Wf9sLwTv1yxW4wT7QEBL1SUObjCybVRRo_Kw

This article explores how Aboriginal Australians stored knowledge thousands of years ago and how it was passed down from generation to generation. The researcher Lynne Kelly discovered that this knowledge was passed down through song, dance, story and place. The Aboriginal people would hold ceremonies in sacred places in which important things were discussed. I found it interesting how they used star patterns and songs to navigate while travelling long distances for these ceremonies. The Euahlayi people memorised star maps and created songs for each part of the land they walked across - each star being associated with a certain landmark of their place. I find it so inspiring that these people used purely oral communication rather than drawings or marks to store such large quantities of rich information over such a long period of time. This way of remembering information can be used today as well - associating some words or a story with objects to create a memory space is such an effective way to store knowledge without the use of technology.

Article Two; "Richard Sennett on Making"

Key Ideas:

How our focus shifts from when we are making something vs when around other people. The change from being self absorbed and only focusing on what we are doing to being aware of others presence and focusing on interacting with others. I relate this idea to when you're designing something for an intended purpose. Most of the time, when designing we are focused purely on how we'll make it, what it will look like etc. However, we should also think about what the implications are and consequences of our design are. Integrating that idea of "how will this been seen by others" is an important question to ask while designing. "Who is the target audience?" "Is it accessible" etc. Balancing both our own wishes for the design and also the needs of others is a key mindset to learn in this field.

My Own Experience;

"People who are competent in verbal symbols are thought to be more gifted than those whose development occurs through physical or manual experience. " This idea states that those who speak as a way of communicating are prioritised or "taken more seriously" than those who use art and non verbal forms of displaying ideas or knowledge. I agree with this idea as personally I am a hands on, visual learner, a lot of the time finding reading and listening as a less effective way of understanding a subject. Sennett then goes on to say that; "There is a terrible blindness in modern society to people who work with their hands, and this leads to class differentiation and even contempt for manual work." Which I relate to, as most schools from a primary to university use talking and note taking as their primary way of teaching, which provides little room for visual learners to flourish.

Another Idea:

The idea of having a sense of pride within yourself for your craftsmanship. In our society, craftsmanship is not seen as a "desirable" trade or career path, as a lot of the time it does not have great monetary rewards. Sennett discusses this idea; "The way the capitalist economy is designed sacrifices the logic of craft, which results in poorly made objects and a degraded physical environment." Many can become discouraged because of this system, resulting in lack of motivation and no advancement in skills. In some cases, the self fulfilment we gain when creating something we can be proud of is enough for us. When money is not available, we look for other available sources of self wealth. Today, a lot of young people seeking out a career in the creative arts or design space are told it's "useless", as "most people can't make a career out of it". However if we if we pursue what we love doing and apply all of our skills, learn, make connections and reach that self-fulfilment, I believe it is absolutely the career we should choose.

[katescomsformakers]

Week Four: "Artefact"

These are the three main points I took from this documentary.

Colonial vs Indigenous ways of thinking. At one point in this episode there is a discussion about how Captain Cook navigated his ships to NZ vs how the indigenous people from Hawaiki used the stars and the world around them. An intuitive way of understanding the world vs a rigid way of understanding the world. It shows you can use completely different sets of knowledge to end up in the same place. If we can remain open to other ways and systems of being in the world we would be in a better place.

The stealing of important Taonga. Museums all over the world holding objects of great significance to Maori and other indigenous peoples. Most of which, have been taken without permission or unethically, leaving descendants and iwi without important artefacts that represent their heritage and reminders of those who came before them. How they are still fighting for to regain what truly belongs to them.

How stories get changed and manipulated through the course of time. For example, how a painting depicted the "first New Zealanders" - a painting showing a waka full of emaciated people traveling from the homeland to Aotearoa. An expert said that this painting was far from correct, that during their trips across the pacific there was plenty of food, they were experienced voyagers and weren't in anguish or suffering like the artwork made them out to be.

[katescomsformakers]

Week Four Notes

Referencing.

Google:

Use OR for a way to get a more specific searth

Use NZ

Add Site:.org for non profits

Use Discover to see paywalled articles and info

To get to discovered google Massey library and click the link.

How to cite:

Massey Owl

Will show me what the perfect citation should look like. 

If need help doing citations use Zoterobib

ALWAYS USE MLA FOR THIS CLASS

Here’s the basic Information needed to reference your sources appropriately

Author (e.g. a person, people, an organisation or institution)

“Title of Source” (e.g. chapter title, article title, web page, song, TV episode)

Title of Container, (e.g. book title, journal title, website, album name, TV show)

Other Contributors (e.g. translated by, edited by, directed by, performance by) 

Version (e.g. edition)

Number (e.g. volume number, issue number)

Publisher

Publication date

Location (e.g. page number, section number, URL)

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Week Four: Referencing/Citations

Book: Aciman, André. Call Me by Your Name. 2007.

Academic Journal: Berger, Patricia. Archives of Asian Art. 1966. Duke University Press, 2018, https://www.jstor.org/journal/archasiaart.

Blog: ‘Tofu - Pixel Art’. Tumblr, https://tofupixel.tumblr.com/. Accessed 21 Mar. 2024.

TV Episode: The Office. Directed by Randall Einhorn, Ep 1, 2005.

Podcast: Goalhanger Podcasts. The Rest Is History. 432.

Instagram Post: Jenner, Kylie. @kyliejenner, 14 Mar. 2024, https://www.instagram.com/p/C4Q2EDOp0rN/.

To find my resources, I used mostly Google as it is what I'm familiar with, however in the future I will use Discover and Google Scholar as they have more resources that a regular google search doesn't get you. To find an academic journal as I didn't know any off the top of my head, I used a website; JSTOR Home. https://www.jstor.org/. Accessed 21 Mar. 2024. It has an extensive database and is a resource I will use in future assignments. As per recommendation on Stream, I downloaded Zotero as an easy way to generate citations. I found I had to manually entry all of the relevant information as pasting a URL didn't give as accurate of a reference. I filled in about 4-7 relevant information boxes to generate what I needed. ZoteroBib: Fast, Free Bibliography Generator - MLA, APA, Chicago, Harvard Citations. https://zbib.org/. Accessed 21 Mar. 2024. It was interesting to note that MLA formats change with every form of content; rearranging the order of author, title, etc and also what parts are italicised and what isn't. Massey OWLL was also a helpful resource during this. MLA Interactive - OWLL - Massey University. https://owll.massey.ac.nz/referencing/mla-interactive.php. Accessed 21 Mar. 2024.

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Week Three: Sanaura Taylor & Enabling Spaces

"there is no such thing as disabled people, only disabling environments."

This lesson was focused around a video we watched about a wheelchair user, Sunaura Taylor, and her environment. We watched this and took notes of ideas we found interesting. Disabled people face struggles such as limited housing options, career opportunities and can become socially isolated. For example, Sunaura explained that she would have to mentally prepare before going anywhere like a coffee shop, as workers would have to make accomodations for her. This kind of anxiety is why many disabled people fear new environments and exclude themselves from public spaces. Sunaura also said that she would sometimes fear judgement due to her mobility and arm function, needing to use her mouth to open things etc, and explained how this was polarising to most people. I think that more accessible architecture and accomodations towards disabled people will over time create more acceptance in society and normalise these changes. A shift in the way we design to accomodate those who are not able will also create a shift in our minds, opening them to thinking about others more frequently and taking their needs into account other than just thinking about ourselves. Unpacking the way we are quick to judge is also important. Seeing someone do something a different way than we are used to, for example using a body part for its "not intended" use, can be strange to an able bodied person as it is not part of our personal "norms". However, it is important to understand that that is the way some people must live their lives due to the state of their mobility, and to be free of judgement as well as educate yourself.

[katescomsformakers]

Week Two Reflection & Video Analysis

Class Overview:

This lecture was mainly focused on the assumptions and stereotypes we internalise as people. The initial discussion was surrounding the "pink hammer", a tool that was marketed towards women due to its colour. We unpacked why this is so problematic - how it is degrading in the way it spreads the narrative that women only care about how "pretty" things are. That women need to have separate tools to men, and women using tools is seen as a novelty and out of the ordinary, therefore a separate set must be created "for them". The second half of this class was to watch "The danger of a single story", a Tedtalk done by a Nigerian woman about her experiences with assumptions and stereotypes.

Tedtalk - Key Points

As children, we are at our most vulnerable and impressionable. This is when stereotypes in our heads are created. Through the kids around us, media we consume and those we look up to (e.g parents, older siblings) sharing experiences or spreading rhetoric, we develop expectations for people. As a child, you are just beginning to shape your own understandings of the world around you, which is when the words of others have the most influence over you

Another idea was that stereotypes are not necessarily untrue, but incomplete. That only one side of the story is being told. This is the danger of a single story, that only the negative side is being told, leaving no room for the flip side - the reasoning, the cultural "norms" and that are behind it. If one narrative is shown over and over again, that is what people will become in your head, even if its only subconscious.

Power is the ability to tell a story about someone and make it definitive. This idea ties in with privilege. For example, someone with privilege can use their platform to spread negative rhetoric and have influence others because that person automatically has people who will listen to them. Meanwhile, POC and other minorities may not have as much opportunity to use their voices, share their culture and challenge these stereotypes in the same spaces due to marginalisation that is deeply engrained in western culture.

How Have I Made Assumptions?

Growing up and throughout high school I was surrounded by kids from all different backgrounds and cultures. I remember when first visiting my friends house I was nervous as they were from a different country, and I assumed they would have vastly different practices and rules from my household which made me apprehensive to even visit at all. The idea made me uncomfortable as I didn't know what to expect, I wasn't sure if I would be welcomed as I was not familiar with their "norms" and was in fear of offending or embarrassing my friend or their family. However, during my visit I came to realise that they weren't that different from my family at all, and I really appreciated the exposure to another culture and educating myself on their ways of life. I learnt as long as you are open minded and have good intentions, mistakes are okay, as they are how you learn and grow.

[katescomsformakers]

Going for a Walk

I documented my walk to the hall from school and assessed the accessibility of the route! I focused on the perspective of wheelchair users.

Most pedestrian/street crossings have small ramps built into the curb which makes for easy crossing.

The entrance to block 10/ to get up the hill to campus is very unaccessible for those who require ramps or large footpaths.

The only way around these stairs is a steep driveway which is primarily used for cars/motor vehicles, making it unsafe for those with accessibility needs such as wheelchairs to use.

I also noted that wellington high school has many stairs to access its higher levels. I'm unsure what the options are for moving up levels in the interior are.