title: “Who do you mean?” Investigating miscommunication in paired interactions

authors: Ryan, Jonathon

subjects: English

abstract: Professional experience, as well as a great deal of published research (e.g. Gass & Varonis, 1991; Varonis & Gass, 1985a), suggests that even successful users of English as a second language unwittingly give rise to communication problems when encoding and decoding certain features of language, both linguistic and pragmatic. Among the latter is the issue of referring (for example, by pronouns or lexical substitution) to people, places and objects not in the immediate context. This paper, based on a wider study, outlines a procedure in which teachers were asked, via stimulated recall sessions, to reflect on previously-recorded pair work interactions and to discuss occasions where problematic communication occurred, or did not occur. Close analysis of transcript data reveals that potentially significant misleading stimuli may not eventuate in any failure of communication, while apparently trivial slips could cause considerable misunderstanding. It is suggested that teacher-researchers might usefully adapt a procedure such as that used in the study jar their own professional development, for use in class, and as the basis jar action research projects.

text: “Who do you mean?” Investigating miscommunication in paired interactions Professional experience, as well as a great deal of published research (e.g. Gass & Varonis, 1991; Varonis & Gass, 1985a), suggests that even successful users of English as a second language unwittingly give rise to communication problems when encoding and decoding certain features of language, both linguistic and pragmatic. Among the latter is the issue of referring (for example, by pronouns or lexical substitution) to people, places and objects not in the immediate context. This paper, based on a wider study, outlines a procedure in which teachers were asked, via stimulated recall sessions, to reflect on previously-recorded pair work interactions and to discuss occasions where problematic communication occurred, or did not occur. Close analysis of transcript data reveals that potentially significant misleading stimuli may not eventuate in any failure of communication, while apparently trivial slips could cause considerable misunderstanding. It is suggested that teacher-researchers might usefully adapt a procedure such as that used in the study jar their own professional development, for use in class, and as the basis jar action research projects.

year: 2009

title: Is there a potassium-based solution to sensitive soil slipping within the Bay of Plenty?

authors: Robertson, Thomas Paul

subjects: halloysite

abstract: Landslides are common in sensitive, weathered pyroclastic soils in the Bay of Plenty (BOP). The clay mineralogy of these soils is dominated by halloysite, an inactive 1:1 clay mineral. Manipulation of cation content within the pore water of sensitive soils has been shown to improve in situ soil strength in illite-dominated soils in Norway. We present results of laboratory tests on the impact of altering cation status of a sensitive soil from the base of a large landslide at Omokoroa near Tauranga, BOP. Addition of KCl and KOH both reduced the liquid limit of the soil, a negative effect. In contrast, addition of K₂CO₃ caused an increase in the plasticity index of soil pastes. Soaking intact samples in K₂CO₃ for three weeks resulted in a considerable increase in peak stress in effective stress triaxial testing. These early results suggest that mitigation of sensitive soil landslides through increasing peak strength by addition of appropriate salts to the soil profile may be an option for mitigation of landslides in sensitive BOP soils.

text: Is there a potassium-based solution to sensitive soil slipping within the Bay of Plenty? Landslides are common in sensitive, weathered pyroclastic soils in the Bay of Plenty (BOP). The clay mineralogy of these soils is dominated by halloysite, an inactive 1:1 clay mineral. Manipulation of cation content within the pore water of sensitive soils has been shown to improve in situ soil strength in illite-dominated soils in Norway. We present results of laboratory tests on the impact of altering cation status of a sensitive soil from the base of a large landslide at Omokoroa near Tauranga, BOP. Addition of KCl and KOH both reduced the liquid limit of the soil, a negative effect. In contrast, addition of K₂CO₃ caused an increase in the plasticity index of soil pastes. Soaking intact samples in K₂CO₃ for three weeks resulted in a considerable increase in peak stress in effective stress triaxial testing. These early results suggest that mitigation of sensitive soil landslides through increasing peak strength by addition of appropriate salts to the soil profile may be an option for mitigation of landslides in sensitive BOP soils.

year: 2017

title: Portfolio of compositions

authors: Hoadley, Benjamin Russell

subjects: New Zealand composition

abstract: The music in this portfolio of original compositions is steeped in the Western tradition of tonal music. The pieces were written while also pursuing a professional career as a bassoonist touring internationally and performing a wide variety of western art music, from Renaissance to contemporary. I have responded to these influences consciously and unconsciously in my music. The overarching focus of this composition portfolio is to provide an answer to the question — to what extent do musical influences impact on the compositions of an international touring performer?

Underpinning the portfolio is the fact that the pieces were all written in New Zealand during periods of intense reflection and study. While I am constantly collecting ideas and inspiration for my music while travelling, I consolidate and realise these ideas only when I am home.

I identify with being a New Zealand composer, with cosmopolitan influences on my music reflecting the global influences on New Zealand’s culture and art. Working closely with composers performing their music has also informed my composition. I mention Gillian Whitehead in particular, whose music I have performed widely.

The two outer pieces in the portfolio, Huia and Manaia 4 are the most directly associated with New Zealand in their subject matter. Other pieces have foreign themes, from my nocturnal impressions of New York in Night Music to the Ancient Greece of Ostrakon to the West African poetry of Four Songs.

All of the pieces were written for professional musicians to perform, including the Auckland Philharmonia Orchestra and the Sydney Omega Ensemble. Having these outstanding performers in mind while writing, and interacting with these musicians during the composition process, has informed my writing.

text: Portfolio of compositions The music in this portfolio of original compositions is steeped in the Western tradition of tonal music. The pieces were written while also pursuing a professional career as a bassoonist touring internationally and performing a wide variety of western art music, from Renaissance to contemporary. I have responded to these influences consciously and unconsciously in my music. The overarching focus of this composition portfolio is to provide an answer to the question — to what extent do musical influences impact on the compositions of an international touring performer?

Underpinning the portfolio is the fact that the pieces were all written in New Zealand during periods of intense reflection and study. While I am constantly collecting ideas and inspiration for my music while travelling, I consolidate and realise these ideas only when I am home.

I identify with being a New Zealand composer, with cosmopolitan influences on my music reflecting the global influences on New Zealand’s culture and art. Working closely with composers performing their music has also informed my composition. I mention Gillian Whitehead in particular, whose music I have performed widely.

The two outer pieces in the portfolio, Huia and Manaia 4 are the most directly associated with New Zealand in their subject matter. Other pieces have foreign themes, from my nocturnal impressions of New York in Night Music to the Ancient Greece of Ostrakon to the West African poetry of Four Songs.

All of the pieces were written for professional musicians to perform, including the Auckland Philharmonia Orchestra and the Sydney Omega Ensemble. Having these outstanding performers in mind while writing, and interacting with these musicians during the composition process, has informed my writing.

year: 2016