title: Investigation into building large scale wireless networks with ubiquitous access

authors: Yearbury, Scott

abstract: This thesis presents a design and implementation of a novel method of device authentication in Institute of Electrical and Electronics Engineers (IEEE) 802.11 Wi-Fi networks and a method of access point configuration and management. The novel method of authentication provides a mix of properties from both Wi-Fi protected access (WPA) - Personal and WPA-Enterprise. It allows for per user authentication and allows for device ownership to be tracked like WPA-Enterprise while providing the ease of use of and ubiquitous support of WPA-Personal. It also allows for a network covering a wide area to use a single Service Set Identifier (SSID) and for seamless authentication and roaming between access points. This project also provides a highly scalable method of centralised access point configuration and management based upon the OpenSync access point management software and a custom OpenSync controller. The access point configuration and management and Wi-Fi authentication methods provided are designed so that it supports this project being extended to provide user based network segmentation such that each user appears to have their own virtual layer 2 network as they roam between access points.

text: Investigation into building large scale wireless networks with ubiquitous access This thesis presents a design and implementation of a novel method of device authentication in Institute of Electrical and Electronics Engineers (IEEE) 802.11 Wi-Fi networks and a method of access point configuration and management. The novel method of authentication provides a mix of properties from both Wi-Fi protected access (WPA) - Personal and WPA-Enterprise. It allows for per user authentication and allows for device ownership to be tracked like WPA-Enterprise while providing the ease of use of and ubiquitous support of WPA-Personal. It also allows for a network covering a wide area to use a single Service Set Identifier (SSID) and for seamless authentication and roaming between access points. This project also provides a highly scalable method of centralised access point configuration and management based upon the OpenSync access point management software and a custom OpenSync controller. The access point configuration and management and Wi-Fi authentication methods provided are designed so that it supports this project being extended to provide user based network segmentation such that each user appears to have their own virtual layer 2 network as they roam between access points.

year: 2020

title: Making history beyond neoliberalism: Response to Roper

authors: Neilson, David

subjects: New Zealand

abstract: Roper (2011a, p. 39) sums up his account of neoliberalism in New Zealand with the following conclusion: “In the absence of a major upsurge in working class and social movement struggle, the neoliberal policy regime is likely to remain firmly in place.” The bulk of his article lends weight to this conclusion in the course of offering a detailed analysis of National’s neoliberalism and New Zealand’s social inequality. In his final assessment Roper turns to list mid-range factors that underpin his conclusion. In particular, he refers to structural constraints resulting from the neoliberalisation of New Zealand’s financial regime; neoliberalisation of the outlooks of successive New Zealand Governments since 1984; and the balance of class forces in favour of capital (pp.37-8). This response focuses, first, on building a sympathetic analysis of these mid-range factors which are linked here with the form and dynamic of the ‘neoliberal model of development’ (Neilson, 2011). In his conclusion Roper also states that if there is an upsurge in social movement and working class politics ‘then the question of alternatives to neoliberalism will come to the forefront of New Zealand politics’ (Roper, 2011a, p. 39). The second theme of this essay is linked to an exploratory discussion of why this might or might not happen and how more specifically a ‘counter-hegemonic project’ could be more consciously constructed and actively pursued.

text: Making history beyond neoliberalism: Response to Roper Roper (2011a, p. 39) sums up his account of neoliberalism in New Zealand with the following conclusion: “In the absence of a major upsurge in working class and social movement struggle, the neoliberal policy regime is likely to remain firmly in place.” The bulk of his article lends weight to this conclusion in the course of offering a detailed analysis of National’s neoliberalism and New Zealand’s social inequality. In his final assessment Roper turns to list mid-range factors that underpin his conclusion. In particular, he refers to structural constraints resulting from the neoliberalisation of New Zealand’s financial regime; neoliberalisation of the outlooks of successive New Zealand Governments since 1984; and the balance of class forces in favour of capital (pp.37-8). This response focuses, first, on building a sympathetic analysis of these mid-range factors which are linked here with the form and dynamic of the ‘neoliberal model of development’ (Neilson, 2011). In his conclusion Roper also states that if there is an upsurge in social movement and working class politics ‘then the question of alternatives to neoliberalism will come to the forefront of New Zealand politics’ (Roper, 2011a, p. 39). The second theme of this essay is linked to an exploratory discussion of why this might or might not happen and how more specifically a ‘counter-hegemonic project’ could be more consciously constructed and actively pursued.

year: 2011

title: Taonga tuku iho: Intergenerational transfer of raranga and whatu

authors: Te Kanawa, Kahutoi Mere

subjects: Intergenerational Knowledge Transfer through Raranga and Whatu

abstract: The intergenerational transfer of Māori weaving knowledge is based on the succession and continuum of raranga and whatu skills. This study will show how the genesis of inherent know-ledge and skills imbues the nature and continuity of our own cultural practice, especially specific to raranga, whatu and wider areas such as tukutuku. Kaupapa Māori research methodology u-sing the framework of Te Aho tapu provides the methodological approach for this research.  In particular I draw upon the experiences of our whānau and the pedagogical processes used by five generations to define the fundamental underpinnings of a Kaupapa Māori approach to knowledge transfer within, and between, generations of whānau and hapū. Another important driving force behind this work is a need to express the actual practice of intergenerational trans-mission as evidence of the centrality of ako or Māori pedagogy in terms of raranga.
The research questions I pose, are based around the difference between, mōhiotanga, mātauranga, māramatanga and mahi within in a raranga and whatu context.
What is the importance of indigenous intergenerational knowledge transmission through raranga/whatu?
Is it possible to understand the skills and intricacies of an artefact that gives us knew, yet old knowledge from the expertise left by our kairaranga?
The creative component of this research includes as a feature the reproduction of a kete pūkoro, also known as a pututu, especially in the northern tribal dialects (Williams, 2005). The pūkoro is held in the the Otago Museum and the kairaranga has not been identified. The Ngai Tahu dialect emphasise this kete is a pūkoro (Dr J.Williams, personal communication, 2015) which is the term I utilise throughout this research as an acknowledgement to the kairaranga from the southern region of Otakau. A kete pūkoro is a finely woven kete which was used to squeeze the juice from the tutu berries (Beever, 1991). The pūkoro is the only known such taonga that exists and is so fragile that it‘s no longer exhibited. The fragility of the piece is prone to damage through touch, movement and light exposure, so is kept in a temperature controlled draw in the Otago Museum, Dunedin. The uniqueness of this piece of work is the construction, form and the function. The pūkoro sits at the centre of the practice for this research as an example of intergenerational knowledge transfer of the taonga. The raranga technique will be analyzed and the function and form will be replicated to understand more about the kairaranga through the making of the pūkoro. The artefact will be researched and analyzed considering every detail possible, documenting, and reflecting on the processes. Whilst the pūkoro is the centre piece that shows the refinement of knowledge of the kairaranga, it demonstrated the skills and ability to produce a taonga that could be used as a practical kete for sieving out the poisonous kernels of the tutu, only allowing the juice to be strained through it.
Why the pūkoro?
When I first came upon the pūkoro, it was only by osmosis. The pūkoro was stored away in a dark area, and I was attracted to the space where it was stored while viewing kete whakairo that were put out for display for me. I was the kaiako at Otago University for the Toi Onamata classes within Te Tumu, the Māori and Pacific studies Faculty. I arranged with the museum curator to view the kete whakairo in their collection.
I felt drawn to that part of the museum after feeling a strong sense of needing to see what was kept in the dark. I had a strong feeling and attraction to viewing what was kept in the dark, so I asked the curator if I could see what was kept in that space. I was told it was a very fragile kete made of harakeke which they considered was an un-usual shape and it was noted that it was a very old piece. and that the shape of it was unusual, and it was a very old. This made me more curious, as there was something particularly that I was alluring about me to this taonga.
When closely analysing the piece, I realised I could not see the commencement or completion. With closer inspection of the construction, it became more obvious to me, as a kairaranga that the skills and technical detail of horizontal and vertical twills of overlaying patterns used, were woven that way for a purpose.
From that first viewing, I was able to tell the curator, exactly what this artefact was used for, what material it was made out of and that the technical construction of the kete pūkoro was different from others I had viewed before.
It was this moment in time, that I had an epiphany, that this piece of work could tell a story of the unknown kairaranga. I decided right from that point, that I would try my best to bring to light the technical ability of the raranga weave and why it was constructed in such a way.
Like anything, further research needed to be done on the pūkoro, to understand the purpose of this fine piece of work. This was the impetus of my study. The questions I asked myself were:
Why was I attracted to this dark space? For me it was my wairuatanga, alluring me to a space with a deep sense that there was a reason I needed to be there at that time. It was that strong spiritual belief that enabled me to listen to that and to go into the space the pūkoro was being held.
How did I know and understand the construction of the kete pūkoro?. This was about my Mōhiotanga, using my own tacit knowledge, years of observation and passion to engage with a taonga left from a kairaranga of the past century.
What was the purpose of reconstructing this taonga? – This is about the mātauranga imbued in the construction of the Kete Pūkoro. It was to engage in further research to find out more detail beyond what I already knew.
How can I best share this knowledge and practice? – This is about Māramatanga, as I have been always taught, there is no point knowing a skill, and information if it is not shared.

text: Taonga tuku iho: Intergenerational transfer of raranga and whatu The intergenerational transfer of Māori weaving knowledge is based on the succession and continuum of raranga and whatu skills. This study will show how the genesis of inherent know-ledge and skills imbues the nature and continuity of our own cultural practice, especially specific to raranga, whatu and wider areas such as tukutuku. Kaupapa Māori research methodology u-sing the framework of Te Aho tapu provides the methodological approach for this research.  In particular I draw upon the experiences of our whānau and the pedagogical processes used by five generations to define the fundamental underpinnings of a Kaupapa Māori approach to knowledge transfer within, and between, generations of whānau and hapū. Another important driving force behind this work is a need to express the actual practice of intergenerational trans-mission as evidence of the centrality of ako or Māori pedagogy in terms of raranga.
The research questions I pose, are based around the difference between, mōhiotanga, mātauranga, māramatanga and mahi within in a raranga and whatu context.
What is the importance of indigenous intergenerational knowledge transmission through raranga/whatu?
Is it possible to understand the skills and intricacies of an artefact that gives us knew, yet old knowledge from the expertise left by our kairaranga?
The creative component of this research includes as a feature the reproduction of a kete pūkoro, also known as a pututu, especially in the northern tribal dialects (Williams, 2005). The pūkoro is held in the the Otago Museum and the kairaranga has not been identified. The Ngai Tahu dialect emphasise this kete is a pūkoro (Dr J.Williams, personal communication, 2015) which is the term I utilise throughout this research as an acknowledgement to the kairaranga from the southern region of Otakau. A kete pūkoro is a finely woven kete which was used to squeeze the juice from the tutu berries (Beever, 1991). The pūkoro is the only known such taonga that exists and is so fragile that it‘s no longer exhibited. The fragility of the piece is prone to damage through touch, movement and light exposure, so is kept in a temperature controlled draw in the Otago Museum, Dunedin. The uniqueness of this piece of work is the construction, form and the function. The pūkoro sits at the centre of the practice for this research as an example of intergenerational knowledge transfer of the taonga. The raranga technique will be analyzed and the function and form will be replicated to understand more about the kairaranga through the making of the pūkoro. The artefact will be researched and analyzed considering every detail possible, documenting, and reflecting on the processes. Whilst the pūkoro is the centre piece that shows the refinement of knowledge of the kairaranga, it demonstrated the skills and ability to produce a taonga that could be used as a practical kete for sieving out the poisonous kernels of the tutu, only allowing the juice to be strained through it.
Why the pūkoro?
When I first came upon the pūkoro, it was only by osmosis. The pūkoro was stored away in a dark area, and I was attracted to the space where it was stored while viewing kete whakairo that were put out for display for me. I was the kaiako at Otago University for the Toi Onamata classes within Te Tumu, the Māori and Pacific studies Faculty. I arranged with the museum curator to view the kete whakairo in their collection.
I felt drawn to that part of the museum after feeling a strong sense of needing to see what was kept in the dark. I had a strong feeling and attraction to viewing what was kept in the dark, so I asked the curator if I could see what was kept in that space. I was told it was a very fragile kete made of harakeke which they considered was an un-usual shape and it was noted that it was a very old piece. and that the shape of it was unusual, and it was a very old. This made me more curious, as there was something particularly that I was alluring about me to this taonga.
When closely analysing the piece, I realised I could not see the commencement or completion. With closer inspection of the construction, it became more obvious to me, as a kairaranga that the skills and technical detail of horizontal and vertical twills of overlaying patterns used, were woven that way for a purpose.
From that first viewing, I was able to tell the curator, exactly what this artefact was used for, what material it was made out of and that the technical construction of the kete pūkoro was different from others I had viewed before.
It was this moment in time, that I had an epiphany, that this piece of work could tell a story of the unknown kairaranga. I decided right from that point, that I would try my best to bring to light the technical ability of the raranga weave and why it was constructed in such a way.
Like anything, further research needed to be done on the pūkoro, to understand the purpose of this fine piece of work. This was the impetus of my study. The questions I asked myself were:
Why was I attracted to this dark space? For me it was my wairuatanga, alluring me to a space with a deep sense that there was a reason I needed to be there at that time. It was that strong spiritual belief that enabled me to listen to that and to go into the space the pūkoro was being held.
How did I know and understand the construction of the kete pūkoro?. This was about my Mōhiotanga, using my own tacit knowledge, years of observation and passion to engage with a taonga left from a kairaranga of the past century.
What was the purpose of reconstructing this taonga? – This is about the mātauranga imbued in the construction of the Kete Pūkoro. It was to engage in further research to find out more detail beyond what I already knew.
How can I best share this knowledge and practice? – This is about Māramatanga, as I have been always taught, there is no point knowing a skill, and information if it is not shared.

year: 2022