title: Characterizing an image intensifier in an full-field range image system

authors: Payne, Andrew D.

subjects: image intensifier

abstract: We are developing a high precision full-field range imaging system. An integral component in this system is an image intensifier, which is modulated at frequencies up to 100 MHz. The range measurement precision is dictated by the image intensifier performance, in particular, the achievable modulation frequency, modulation depth, and waveform shape. By characterizing the image intensifier response, undesirable effects can be observed and quantified with regards to the consequence on the resulting range measurements, and the optimal operating conditions can be selected to minimize these disturbances. The characterization process utilizes a pulsed laser source to temporally probe the gain of the image intensifier. The laser is pulsed at a repetition rate slightly different to the image intensifier modulation frequency, producing a continuous phase shift between the two signals. A charge coupled device samples the image intensifier output, capturing the response over a complete modulation period. Deficiencies in our measured response are clearly identifiable and simple modifications to the configuration of our electrical driver circuit improve the modulation performance.

text: Characterizing an image intensifier in an full-field range image system We are developing a high precision full-field range imaging system. An integral component in this system is an image intensifier, which is modulated at frequencies up to 100 MHz. The range measurement precision is dictated by the image intensifier performance, in particular, the achievable modulation frequency, modulation depth, and waveform shape. By characterizing the image intensifier response, undesirable effects can be observed and quantified with regards to the consequence on the resulting range measurements, and the optimal operating conditions can be selected to minimize these disturbances. The characterization process utilizes a pulsed laser source to temporally probe the gain of the image intensifier. The laser is pulsed at a repetition rate slightly different to the image intensifier modulation frequency, producing a continuous phase shift between the two signals. A charge coupled device samples the image intensifier output, capturing the response over a complete modulation period. Deficiencies in our measured response are clearly identifiable and simple modifications to the configuration of our electrical driver circuit improve the modulation performance.

year: 2008

title: Shakespeare/Nation/NZ - Paper for: SAA 2021: Henry V Seminar

authors: Houlahan, Mark

abstract: Theatre/Nation/NZ Mark Houlahan University of Waikato SAA 2021: Henry V Seminar Since its first performances at the Globe in Southwark in 1559, audiences have been drawn to Henry V’s irresistible use of tropes of theatre and nation. Those tropes have been used at times not just as generic meta-theatre but also to celebrate the specific theatre in which the play was staged. That was clearly the case in 1599. In 1997, when Shakespeare’s Globe premiered with its own, much discussed version of Henry V, those tropes came to life again. Again this was London come to life on stage. Again the stage was shiny with wood, from the Thane of Cawdor’s estate. Yet, as the play travels the Globe (as when for example Propeller Theatre took their all-male Henry V around the globe nearly ten year ago) what sense can we make of these English theatre/nation tropes? Can the play speak as far from London as Aotearoa/New Zealand? The prime objective of my paper is to answer this question by describing a specific production in 1972, which launched the James Hay Theatre in the Christchurch Town Hall a noted postmodern, world class performance venue. This was directed by Ngaio Marsh, famous as one of the Queens of Crime fiction and who in New Zealand directed high quality Shakespeares for several decades. The production, using 60 actors and featuring professional actors Marsh had trained who returned from England to perform , was a pinnacle of her production style . Marsh’s meticulously prepared promptbooks, housed in the National Library of New Zealand, show every cut and in some scenes, every move sketched by Marsh in advance. The Marsh archives also document reviewers reactions and recollections from the company. None of these have been digitised, though Marsh’s script for her 1943 modern dress Hamlet (the first such performance in New Zealand) has recently been published. My paper will show how useful these materials might be to calibrate the resonance of theatre and nation in the play. Reading List: Agee, James. “Laurence Olivier’s Henry V.” Shakespeare in America: An Anthology from the Revolution to Now, edited by James Shapiro, Library of America, 2014, pp. 459-474. [wonderful analysis of the film, and really attentive to culture/nation contexts.] Flaherty, Kate. “Lest We Remember: Henry V and the Play of Commemorative Rhetoric on the Australian Stage.” Antipodal Shakespeare:Remembering and Forgetting in Britain, Australia and New Zealand, 1916-2016, edited by Gordon McMullan and Philip Mead, Bloomsbury, 2018, pp. 145–73.

text: Shakespeare/Nation/NZ - Paper for: SAA 2021: Henry V Seminar Theatre/Nation/NZ Mark Houlahan University of Waikato SAA 2021: Henry V Seminar Since its first performances at the Globe in Southwark in 1559, audiences have been drawn to Henry V’s irresistible use of tropes of theatre and nation. Those tropes have been used at times not just as generic meta-theatre but also to celebrate the specific theatre in which the play was staged. That was clearly the case in 1599. In 1997, when Shakespeare’s Globe premiered with its own, much discussed version of Henry V, those tropes came to life again. Again this was London come to life on stage. Again the stage was shiny with wood, from the Thane of Cawdor’s estate. Yet, as the play travels the Globe (as when for example Propeller Theatre took their all-male Henry V around the globe nearly ten year ago) what sense can we make of these English theatre/nation tropes? Can the play speak as far from London as Aotearoa/New Zealand? The prime objective of my paper is to answer this question by describing a specific production in 1972, which launched the James Hay Theatre in the Christchurch Town Hall a noted postmodern, world class performance venue. This was directed by Ngaio Marsh, famous as one of the Queens of Crime fiction and who in New Zealand directed high quality Shakespeares for several decades. The production, using 60 actors and featuring professional actors Marsh had trained who returned from England to perform , was a pinnacle of her production style . Marsh’s meticulously prepared promptbooks, housed in the National Library of New Zealand, show every cut and in some scenes, every move sketched by Marsh in advance. The Marsh archives also document reviewers reactions and recollections from the company. None of these have been digitised, though Marsh’s script for her 1943 modern dress Hamlet (the first such performance in New Zealand) has recently been published. My paper will show how useful these materials might be to calibrate the resonance of theatre and nation in the play. Reading List: Agee, James. “Laurence Olivier’s Henry V.” Shakespeare in America: An Anthology from the Revolution to Now, edited by James Shapiro, Library of America, 2014, pp. 459-474. [wonderful analysis of the film, and really attentive to culture/nation contexts.] Flaherty, Kate. “Lest We Remember: Henry V and the Play of Commemorative Rhetoric on the Australian Stage.” Antipodal Shakespeare:Remembering and Forgetting in Britain, Australia and New Zealand, 1916-2016, edited by Gordon McMullan and Philip Mead, Bloomsbury, 2018, pp. 145–73.

year: 2021-04-02

title: Developing an effective education reform model for indigenous and other minoritized students

authors: Bishop, Russell

subjects: indigenous

abstract: Educational disparities between indigenous Maori students and those of the majority continue to be a major issue in New Zealand. Te Kotahitanga, an iterative research and development programme, which commenced in 2001, supports teachers to implement a relationship-based pedagogy in their classrooms in order to improve Maori students' achievement in mainstream secondary schools. This article addresses the question of how gains in Maori students' achievement can be sustained and expanded. Schools, from an earlier phase of the project, in their 6th and 7th year of the programme were examined, using a theory-based model designed to evaluate and promote dimensions necessary for effective institutional support of the teaching innovation. This article demonstrates that schools that have been the most effective implementers of the intervention have seen the greatest gains made by Maori students in the 1st year of national assessments. This article then discusses effective leadership for addressing problems schools encountered while implementing the pedagogic reform.

text: Developing an effective education reform model for indigenous and other minoritized students Educational disparities between indigenous Maori students and those of the majority continue to be a major issue in New Zealand. Te Kotahitanga, an iterative research and development programme, which commenced in 2001, supports teachers to implement a relationship-based pedagogy in their classrooms in order to improve Maori students' achievement in mainstream secondary schools. This article addresses the question of how gains in Maori students' achievement can be sustained and expanded. Schools, from an earlier phase of the project, in their 6th and 7th year of the programme were examined, using a theory-based model designed to evaluate and promote dimensions necessary for effective institutional support of the teaching innovation. This article demonstrates that schools that have been the most effective implementers of the intervention have seen the greatest gains made by Maori students in the 1st year of national assessments. This article then discusses effective leadership for addressing problems schools encountered while implementing the pedagogic reform.

year: 2012