title: The growth of patenting in New Zealand, 1860–99

authors: Gibbons, Matthew

abstract: Patent applications by male New Zealand inventors sharply increased in the early 1880s after initial official fees were reduced, and the requirement to advertise applications in newspapers abolished. Increasingly, however, applications lapsed, while applications by unskilled workers remained low. Non-fee costs were crucially important, with the 1870 reduction in fees failing to increase patenting, as hoped, because the doubling of mandatory advertising costs negated the fees reduction. Patenting by overseas inventors was less affected by fees, and steadily grew. Only one application was by an indigenous Māori person, while even in 1899 women made just 2.5% of applications.

text: The growth of patenting in New Zealand, 1860–99 Patent applications by male New Zealand inventors sharply increased in the early 1880s after initial official fees were reduced, and the requirement to advertise applications in newspapers abolished. Increasingly, however, applications lapsed, while applications by unskilled workers remained low. Non-fee costs were crucially important, with the 1870 reduction in fees failing to increase patenting, as hoped, because the doubling of mandatory advertising costs negated the fees reduction. Patenting by overseas inventors was less affected by fees, and steadily grew. Only one application was by an indigenous Māori person, while even in 1899 women made just 2.5% of applications.

year: 2023

title: 'Riot', 'Revolution' and 'Rape': The theatre relationship and performance breakdown

authors: Aitken, Vivienne Jane

subjects: Audience

abstract: This thesis considers theories about the relationship between theatre makers and audience members in theatre – how this relationship is established and how it can break down. The thesis posits that the breakdown of a theatre relationship is manifested in audience behaviour which, when it is severe enough, can lead to interventions in performance and, potentially, the breakdown of that performance. The thesis argues that audience intervention in a performance constitutes a seizure of ‘performance power’ from the theatre makers, which is sufficiently difficult to achieve that successful and sustained interventions can only be carried out by groups of audience members and, probably, organized in advance. Further, the thesis suggests that in its most extreme form, such interventions may bring about a transfer of roles and power between audience members and theatre makers such that a new quasi-theatrical ‘performance of protest’ is created.

The thesis surveys three historical cases in which theatre performances were disrupted by deliberate audience interventions. In each case the nature of the intervention was slightly different and the effect upon the performance was also different. In the first example, the Plough and the Stars riots (Dublin, 1926) a preplanned protest occurred in the playhouse and, despite interruption, the performance continued. In the second instance, the audience at Living Theatre’s Paradise Now (California 1969) erupted in spontaneous protest within the theatre and the performance was almost entirely subsumed. In the final study, the Mervyn Thompson case (Auckland 1984) the protest took two forms: first there was a vigilante-style attack on Thompson himself which took place well away from any theatre event but had strong theatrical references; then several of his performances were affected by organized lobbying, pickets and interruptions. The thesis asks why the rupture in the theatre relationship occurred in each case and considers what these instances have to tell us about the breakdown of theatre performance as a social phenomenon.
The thesis finds that in all three cases the audience members carrying out the interventions belonged to pre-existing groups with prior experience in protest action. The thesis also finds that the protesters had all had direct experience of some other ‘dramatic’ or ‘theatrical’ event in their own lives; experiences that made the performance seem less relevant. Given this, the thesis argues that, in these cases, the propensity to disrupt was brought to the theatre relationship by the audience members rather than being a direct response to the performance, even where that performance was confrontational.
These findings have implications for theatre study and practice: in particular, the thesis raises questions about how we look at performance breakdown. Rather than assuming audience protest is a simple response to the performance, the findings suggest that such events must be considered in the light of the wider social and political context of the performance, most particularly the audience members’ pre-occupations. Finally, the thesis asks whether audience protest, however theatrical it appears, can ever become substitute theatre in the true sense of that word.

text: 'Riot', 'Revolution' and 'Rape': The theatre relationship and performance breakdown This thesis considers theories about the relationship between theatre makers and audience members in theatre – how this relationship is established and how it can break down. The thesis posits that the breakdown of a theatre relationship is manifested in audience behaviour which, when it is severe enough, can lead to interventions in performance and, potentially, the breakdown of that performance. The thesis argues that audience intervention in a performance constitutes a seizure of ‘performance power’ from the theatre makers, which is sufficiently difficult to achieve that successful and sustained interventions can only be carried out by groups of audience members and, probably, organized in advance. Further, the thesis suggests that in its most extreme form, such interventions may bring about a transfer of roles and power between audience members and theatre makers such that a new quasi-theatrical ‘performance of protest’ is created.

The thesis surveys three historical cases in which theatre performances were disrupted by deliberate audience interventions. In each case the nature of the intervention was slightly different and the effect upon the performance was also different. In the first example, the Plough and the Stars riots (Dublin, 1926) a preplanned protest occurred in the playhouse and, despite interruption, the performance continued. In the second instance, the audience at Living Theatre’s Paradise Now (California 1969) erupted in spontaneous protest within the theatre and the performance was almost entirely subsumed. In the final study, the Mervyn Thompson case (Auckland 1984) the protest took two forms: first there was a vigilante-style attack on Thompson himself which took place well away from any theatre event but had strong theatrical references; then several of his performances were affected by organized lobbying, pickets and interruptions. The thesis asks why the rupture in the theatre relationship occurred in each case and considers what these instances have to tell us about the breakdown of theatre performance as a social phenomenon.
The thesis finds that in all three cases the audience members carrying out the interventions belonged to pre-existing groups with prior experience in protest action. The thesis also finds that the protesters had all had direct experience of some other ‘dramatic’ or ‘theatrical’ event in their own lives; experiences that made the performance seem less relevant. Given this, the thesis argues that, in these cases, the propensity to disrupt was brought to the theatre relationship by the audience members rather than being a direct response to the performance, even where that performance was confrontational.
These findings have implications for theatre study and practice: in particular, the thesis raises questions about how we look at performance breakdown. Rather than assuming audience protest is a simple response to the performance, the findings suggest that such events must be considered in the light of the wider social and political context of the performance, most particularly the audience members’ pre-occupations. Finally, the thesis asks whether audience protest, however theatrical it appears, can ever become substitute theatre in the true sense of that word.

year: 2005

title: Management of patients with early stage lung cancer - why do some patients not receive treatment with curative intent?

authors: Lawrenson, Ross

subjects: Lung cancer

abstract: BACKGROUNDS: This study aims to understand the factors that influence whether patients receive potentially curative treatment for early stage lung cancer. A key question was whether indigenous Māori patients were less likely to receive treatment. 
METHODS: Patients included those diagnosed with early stage lung cancer in 2011-2018 and resident in the New Zealand Midland Cancer Network region. Logistic regression model was used to estimate the odds ratios of having curative surgery/ treatment. The Kaplan Meier method was used to examine the all-cause survival and Cox proportional hazard model was used to estimate the hazard ratio of death. 
RESULTS: In total 419/583 (71.9%) of patients with Stage I and II disease were treated with curative intent - 272 (46.7%) patients had curative surgery. Patients not receiving potentially curative treatment were older, were less likely to have non-small cell lung cancer (NSCLC), had poorer lung function and were more likely to have an ECOG performance status of 2+. Current smokers were less likely to be treated with surgery and more likely to receive treatment with radiotherapy and chemotherapy. Those who were treated with surgery had a 2-year survival of 87.8% (95% CI: 83.8-91.8%) and 5-year survival of 69.6% (95% CI: 63.2-76.0%). Stereotactic ablative body radiotherapy (SABR) has equivalent effect on survival compared to curative surgery (hazard ratio: 0.77, 95% CI: 0.37-1.61). After adjustment we could find no difference in treatment and survival between Māori and non-Māori. 
CONCLUSIONS: The majority of patients with stage I and II lung cancer are managed with potentially curative treatment - mainly surgery and increasingly with SABR. The outcomes of those being diagnosed with stage I and II disease and receiving treatment is positive with 70% surviving 5 years.

text: Management of patients with early stage lung cancer - why do some patients not receive treatment with curative intent? BACKGROUNDS: This study aims to understand the factors that influence whether patients receive potentially curative treatment for early stage lung cancer. A key question was whether indigenous Māori patients were less likely to receive treatment. 
METHODS: Patients included those diagnosed with early stage lung cancer in 2011-2018 and resident in the New Zealand Midland Cancer Network region. Logistic regression model was used to estimate the odds ratios of having curative surgery/ treatment. The Kaplan Meier method was used to examine the all-cause survival and Cox proportional hazard model was used to estimate the hazard ratio of death. 
RESULTS: In total 419/583 (71.9%) of patients with Stage I and II disease were treated with curative intent - 272 (46.7%) patients had curative surgery. Patients not receiving potentially curative treatment were older, were less likely to have non-small cell lung cancer (NSCLC), had poorer lung function and were more likely to have an ECOG performance status of 2+. Current smokers were less likely to be treated with surgery and more likely to receive treatment with radiotherapy and chemotherapy. Those who were treated with surgery had a 2-year survival of 87.8% (95% CI: 83.8-91.8%) and 5-year survival of 69.6% (95% CI: 63.2-76.0%). Stereotactic ablative body radiotherapy (SABR) has equivalent effect on survival compared to curative surgery (hazard ratio: 0.77, 95% CI: 0.37-1.61). After adjustment we could find no difference in treatment and survival between Māori and non-Māori. 
CONCLUSIONS: The majority of patients with stage I and II lung cancer are managed with potentially curative treatment - mainly surgery and increasingly with SABR. The outcomes of those being diagnosed with stage I and II disease and receiving treatment is positive with 70% surviving 5 years.

year: 2020