There is an asymmetrical relationship between the images of 'Hawaiki:..', i.e. the images do not correspond with the temporal or spatial flow of the text. This asymmetry suggests the importance or primacy of the images for the producers of the book and this in turn indicates the importance given to land - or more precisely a view to the land - within the project of establishing points of origin and migration.
As Colin Richards points out in 'The Substance of Polynesian Voyaging', the essential element is the Pacific itself and that 'The journey of the canoe is clearly liminal in nature and through spatial metaphors effected a change in states'. The steamer as a stable platform, enables, via objectivity, a specific view. The objectivity of this view is as much as any other facet of the book, a cultural-historic construct that obscures its own liminal trajectories. If we recall the image of the castle set in a Pacific context, we see in the book itself a reification of the Aryan myth into the land. Contrast between the mythic image and the reduced topographic image suugests an unmooring of what Smith thought he was doing from what he was in reality doing.
In the images above we see technology and strategy deployed to capture topography. The image taker is able to build up composites that can be used at a later date to capture further images. The distortions of the photograph, filtered via hard-lined pen work to provide a planographic expression of topographic forms, are material ambiguities that reach into the 'land' of 'Hawaiki:The Whence of the Maori'. This reduction of the captured space also imparts a sense of dominion over that space and privileges one form of mapping over the multitude of potential maps projected by that space.
As Colin Richards points out in 'The Substance of Polynesian Voyaging', the essential element is the Pacific itself and that 'The journey of the canoe is clearly liminal in nature and through spatial metaphors effected a change in states'. The steamer as a stable platform, enables, via objectivity, a specific view. The objectivity of this view is as much as any other facet of the book, a cultural-historic construct that obscures its own liminal trajectories. If we recall the image of the castle set in a Pacific context, we see in the book itself a reification of the Aryan myth into the land. Contrast between the mythic image and the reduced topographic image suugests an unmooring of what Smith thought he was doing from what he was in reality doing.
In the images above we see technology and strategy deployed to capture topography. The image taker is able to build up composites that can be used at a later date to capture further images. The distortions of the photograph, filtered via hard-lined pen work to provide a planographic expression of topographic forms, are material ambiguities that reach into the 'land' of 'Hawaiki:The Whence of the Maori'. This reduction of the captured space also imparts a sense of dominion over that space and privileges one form of mapping over the multitude of potential maps projected by that space.