title: Temperate skeletal carbonate sediments on Scott shelf, northwestren Vancouver Island, Canada

authors: Nelson, Campbell S.

subjects: Scott shelf

abstract: Scott shelf (∼2000 km2), centred at Scott Islands, northwestern Vancouver Island, is mainly shallower than 150 m, topographically diversified, and floored by bedrock outcrops and terrigenous lithic gravels and sands left stranded following the post-glacial rise in sea level (13,000 yrs B.P.). It lies in a zone of vigorous wind-wave currents and strong tidal flows, but is largely starved of modern terrigenous sediment. As a consequence it is slowly accumulating a thin, discontinuous blanket of clean, skeletal carbonate sands and gravels, admixed to varying degrees with the underlying terrigenous deposits. Principal skeletal contributors are infaunal bivalves (on coarse sandy and gravelly substrates), barnacles (on low-amplitude gravelly ridges), bryozoans (on bedrock outcrops and boulders) and benthic foraminifera (on fine sands in deep (> 100 m) waters south of the Scott Islands). Living carbonate benthos are scattered and generally sparse, occupying specific ecologic niches, and the shelf-wide rate of carbonate production is low. Skeletons are fragmented, transported and mixed during storms and are concentrated within bedrock hollows and crevices, and shallow depressions between gravel ridges. Where infaunal bivalves are abundant the carbonates are dominated by aragonite, but otherwise the skeletal hashes are predominantly calcitic. Many grains, and especially aragonitic ones, are corroded and weakened by epilithic and endolithic bioerosion, and probably also by marine and dissolution. The most corroded shells have ages of only about 1000 yrs so that their preservation potential is low. The character of Scott shelf skeletal carbonate deposits reflects their temperate latitude, cold-water heritage. © 1983.

text: Temperate skeletal carbonate sediments on Scott shelf, northwestren Vancouver Island, Canada Scott shelf (∼2000 km2), centred at Scott Islands, northwestern Vancouver Island, is mainly shallower than 150 m, topographically diversified, and floored by bedrock outcrops and terrigenous lithic gravels and sands left stranded following the post-glacial rise in sea level (13,000 yrs B.P.). It lies in a zone of vigorous wind-wave currents and strong tidal flows, but is largely starved of modern terrigenous sediment. As a consequence it is slowly accumulating a thin, discontinuous blanket of clean, skeletal carbonate sands and gravels, admixed to varying degrees with the underlying terrigenous deposits. Principal skeletal contributors are infaunal bivalves (on coarse sandy and gravelly substrates), barnacles (on low-amplitude gravelly ridges), bryozoans (on bedrock outcrops and boulders) and benthic foraminifera (on fine sands in deep (> 100 m) waters south of the Scott Islands). Living carbonate benthos are scattered and generally sparse, occupying specific ecologic niches, and the shelf-wide rate of carbonate production is low. Skeletons are fragmented, transported and mixed during storms and are concentrated within bedrock hollows and crevices, and shallow depressions between gravel ridges. Where infaunal bivalves are abundant the carbonates are dominated by aragonite, but otherwise the skeletal hashes are predominantly calcitic. Many grains, and especially aragonitic ones, are corroded and weakened by epilithic and endolithic bioerosion, and probably also by marine and dissolution. The most corroded shells have ages of only about 1000 yrs so that their preservation potential is low. The character of Scott shelf skeletal carbonate deposits reflects their temperate latitude, cold-water heritage. © 1983.

year: 1983-01-01

title: Transformations: Anthropology, Art and the Quilt

authors: Wanigasekera, Gwenda Dorothy

subjects: Anthropology

abstract: Drawing on both anthropological and quilt literature, this thesis shows the many different ways that made objects are thought about by different groups of people.  Awareness of these differences permits a new perspective of 'Western' art and object making.  This awareness allows a space in which to consider the importance of the process of making.

Quiltmaking provides an interesting case study.  This thesis therefore describes the field of quiltmaking activity that exists in New Zealand at the present time.  This genre, as it is practised today, had its beginnings in the revival that began in this country during the 1970's.  This study will show that the main impetus of this revival did not draw on known traditions in New Zealand, but rather on a largely imported tradition that had developed in the United States of America.

Ideas about the status of quilts as art objects, comes from a mixture of influences.  The tradition of quiltmaking in the United States was already a strong one and had been through a number of revivals.  Aspects of this traditional culture influenced quiltmakers in New Zealand. Simultaneously, there was an equally strong sense of the quilt as an art object in New Zealand.  However, art entrepreneurs in the United States certainly were part of the transformation of the quilt into an art object in that country.  Their strategies of discourse and display drew on contemporary artworld ideologies and ultimately this valuation affected which quilts could be seen as 'art' in New Zealand.

Through the use of participant observation, interviews and a questionnaire, the content of this study will show the many different ways that New Zealand quiltmakers work, their aims and goals for the quilts they make, and the ways these quilts are perceived by other quilters and the wider public.  Some areas that have resulted in conflict and misunderstandings are discussed. As in any such group, conflicts and misunderstandings arise from the existence of different ways of valuing aspects of cultural activities.

NB Unlike the hard copy of this thesis the colour plates in this electronic version are placed together between the chapters and the appendices.

text: Transformations: Anthropology, Art and the Quilt Drawing on both anthropological and quilt literature, this thesis shows the many different ways that made objects are thought about by different groups of people.  Awareness of these differences permits a new perspective of 'Western' art and object making.  This awareness allows a space in which to consider the importance of the process of making.

Quiltmaking provides an interesting case study.  This thesis therefore describes the field of quiltmaking activity that exists in New Zealand at the present time.  This genre, as it is practised today, had its beginnings in the revival that began in this country during the 1970's.  This study will show that the main impetus of this revival did not draw on known traditions in New Zealand, but rather on a largely imported tradition that had developed in the United States of America.

Ideas about the status of quilts as art objects, comes from a mixture of influences.  The tradition of quiltmaking in the United States was already a strong one and had been through a number of revivals.  Aspects of this traditional culture influenced quiltmakers in New Zealand. Simultaneously, there was an equally strong sense of the quilt as an art object in New Zealand.  However, art entrepreneurs in the United States certainly were part of the transformation of the quilt into an art object in that country.  Their strategies of discourse and display drew on contemporary artworld ideologies and ultimately this valuation affected which quilts could be seen as 'art' in New Zealand.

Through the use of participant observation, interviews and a questionnaire, the content of this study will show the many different ways that New Zealand quiltmakers work, their aims and goals for the quilts they make, and the ways these quilts are perceived by other quilters and the wider public.  Some areas that have resulted in conflict and misunderstandings are discussed. As in any such group, conflicts and misunderstandings arise from the existence of different ways of valuing aspects of cultural activities.

NB Unlike the hard copy of this thesis the colour plates in this electronic version are placed together between the chapters and the appendices.

year: 2006

title: Ka pūhia te puna o te kauae runga, kia pūheke ai ngā wai ki te kauae raro: Investigating the inclusion of Māori in engineering - A Māori engineers’ journey

authors: Poli, Teresa

subjects: Engineering

abstract: This thesis explored views held by Māori and non- Māori regarding te ao Māori across the engineering system of education, academia, and industry, in understanding what challenges and experiences Māori engineers may face. 
While there are incremental and progressive changes beginning to be seen in the engineering industry when working with iwi Māori, the history of engineering itself is intertwined with colonial contributions that have oppressed Māori. These historical influences continue to impact Māori today as they navigate educational pathways and enter the engineering profession. Colonisation, with its consequences such as stealing te reo, and various forms of cultural oppression, has led to Māori feeling disconnected from the engineering profession. It has also resulted in invisible cultural labour being placed on Māori, as we transition into a profession attempting to rectify the historic wrongs of the past. It was realised a gap existed in engineering education, failing to adequately equip graduates with the essential skills needed for success as engineers in Aotearoa. This gap was particularly evident in the cultural skills necessary for effective collaboration with clients, as well as for working harmoniously with Māori colleagues.
The research framework employed in this rangahau was He waka hourua, symbolising the journey towards a vision where Māori not only hold mana but also a sense of belonging in the field of engineering. This framework recognises the importance of both Māori and Pākehā voices, with a preference for Māori engineers taking a leading role in steering the direction towards the envisioned destination. The data collection process involved the use of Surveys and Whakawhiti kōrero methodologies, gathering both quantitative and qualitative information that played a crucial role in shaping the research findings.
Woven throughout this rangahau are the personal experiences shared by the author, and her journey as a wahine Māori engineer through the engineering system, anchored by her Māoritanga. Throughout, this rangahau analogies of waka are utilised as an acknowledgement of the great engineering feats developed by Māori, and paying homage to the idea that Māori have always been engineers, drawing from characteristics and traits passed down from atua and tīpuna.
The author highlights the scarcity of literature dedicated to supporting the kaupapa of enhancing the mana of Māori in engineering. Rather than providing definitive answers to address the challenges that diminish Māori mana in engineering, this thesis serves as a foundational point, anchored at the wharf, for future rangatira to continue the voyage. Enhancing the mana of Māori in engineering presents an enduring wero, but there is optimism for the future of Māori in engineering, as we carve out institutionalism, we begin to make space on our waka.

text: Ka pūhia te puna o te kauae runga, kia pūheke ai ngā wai ki te kauae raro: Investigating the inclusion of Māori in engineering - A Māori engineers’ journey This thesis explored views held by Māori and non- Māori regarding te ao Māori across the engineering system of education, academia, and industry, in understanding what challenges and experiences Māori engineers may face. 
While there are incremental and progressive changes beginning to be seen in the engineering industry when working with iwi Māori, the history of engineering itself is intertwined with colonial contributions that have oppressed Māori. These historical influences continue to impact Māori today as they navigate educational pathways and enter the engineering profession. Colonisation, with its consequences such as stealing te reo, and various forms of cultural oppression, has led to Māori feeling disconnected from the engineering profession. It has also resulted in invisible cultural labour being placed on Māori, as we transition into a profession attempting to rectify the historic wrongs of the past. It was realised a gap existed in engineering education, failing to adequately equip graduates with the essential skills needed for success as engineers in Aotearoa. This gap was particularly evident in the cultural skills necessary for effective collaboration with clients, as well as for working harmoniously with Māori colleagues.
The research framework employed in this rangahau was He waka hourua, symbolising the journey towards a vision where Māori not only hold mana but also a sense of belonging in the field of engineering. This framework recognises the importance of both Māori and Pākehā voices, with a preference for Māori engineers taking a leading role in steering the direction towards the envisioned destination. The data collection process involved the use of Surveys and Whakawhiti kōrero methodologies, gathering both quantitative and qualitative information that played a crucial role in shaping the research findings.
Woven throughout this rangahau are the personal experiences shared by the author, and her journey as a wahine Māori engineer through the engineering system, anchored by her Māoritanga. Throughout, this rangahau analogies of waka are utilised as an acknowledgement of the great engineering feats developed by Māori, and paying homage to the idea that Māori have always been engineers, drawing from characteristics and traits passed down from atua and tīpuna.
The author highlights the scarcity of literature dedicated to supporting the kaupapa of enhancing the mana of Māori in engineering. Rather than providing definitive answers to address the challenges that diminish Māori mana in engineering, this thesis serves as a foundational point, anchored at the wharf, for future rangatira to continue the voyage. Enhancing the mana of Māori in engineering presents an enduring wero, but there is optimism for the future of Māori in engineering, as we carve out institutionalism, we begin to make space on our waka.

year: 2024