title: Edward Quinn: a notable Hauraki mine manager

authors: Hart, Philip

abstract: The son of a miner, Edward Quinn joined his father on the new Thames field when aged 17. As well as acquiring interests in several claims there and at Ohinemuri, his increasing skills meant he soon became a manager. Involved in the Te Aroha rush and then in the Waiorongomai and Tui portions of that field, he managed several mines there. At Tui, despite not working his own ground he would try to obtain others’ unworked ground, but failed. At Karangahake he again attempted to exploit the system of holding ground for his own benefit, unsuccessfully. 
Quinn mined on almost every Hauraki field, prospected briefly in the King Country, and even became a mine manager at Reefton. In addition, for a while he ran several hotels and also took up contracts to construct roads and drain swamps. He also acquired farmland, and may have farmed it.
Notable for his involvement in the local community, he was a member of two licensing committees, the Hot Springs Domain Board at Te Aroha, the Te Aroha Town Board, and the Ohinemuri County Council. Relations with his colleagues were often fraught, as he never failed to speak his mind about others’ defects. He suffered from miners’ complaint for many years, possibly increasing his irascibility.

text: Edward Quinn: a notable Hauraki mine manager The son of a miner, Edward Quinn joined his father on the new Thames field when aged 17. As well as acquiring interests in several claims there and at Ohinemuri, his increasing skills meant he soon became a manager. Involved in the Te Aroha rush and then in the Waiorongomai and Tui portions of that field, he managed several mines there. At Tui, despite not working his own ground he would try to obtain others’ unworked ground, but failed. At Karangahake he again attempted to exploit the system of holding ground for his own benefit, unsuccessfully. 
Quinn mined on almost every Hauraki field, prospected briefly in the King Country, and even became a mine manager at Reefton. In addition, for a while he ran several hotels and also took up contracts to construct roads and drain swamps. He also acquired farmland, and may have farmed it.
Notable for his involvement in the local community, he was a member of two licensing committees, the Hot Springs Domain Board at Te Aroha, the Te Aroha Town Board, and the Ohinemuri County Council. Relations with his colleagues were often fraught, as he never failed to speak his mind about others’ defects. He suffered from miners’ complaint for many years, possibly increasing his irascibility.

year: 2016

title: Effect of the time characteristics of the Compton camera on its performance

authors: Uche, Chibueze Zimuzo

abstract: Purpose: The effect of the time characteristics of the Compton camera data acquisition (DAQ) system on the camera’s performance has been studied. 
Methods: The GEANT4 simulation software was used to simulate radiation transport and interactions with matter. Further investigations were carried out by utilizing straightforward approximations to estimate the charge collection times and their relationship to finding coincident events, setting thresholds to reject noise, and the resultant impacts on the Compton camera performance. 
Results: The results show that the time characteristics of the Compton camera DAQ account for about 17% and 13% reduction in detection efficiency at 140.5 keV and 511 keV, respectively, but made no significant difference on the Compton camera resolution.
Conclusions: Findings suggest that the detection efficiency of the Compton camera has been overestimated by previous investigators who did not predict count rate losses under clinical conditions.

text: Effect of the time characteristics of the Compton camera on its performance Purpose: The effect of the time characteristics of the Compton camera data acquisition (DAQ) system on the camera’s performance has been studied. 
Methods: The GEANT4 simulation software was used to simulate radiation transport and interactions with matter. Further investigations were carried out by utilizing straightforward approximations to estimate the charge collection times and their relationship to finding coincident events, setting thresholds to reject noise, and the resultant impacts on the Compton camera performance. 
Results: The results show that the time characteristics of the Compton camera DAQ account for about 17% and 13% reduction in detection efficiency at 140.5 keV and 511 keV, respectively, but made no significant difference on the Compton camera resolution.
Conclusions: Findings suggest that the detection efficiency of the Compton camera has been overestimated by previous investigators who did not predict count rate losses under clinical conditions.

year: 2011

title: Ngā kura a Hineteiwaiwa: The embodiment of Mana Wahine in Māori fibre Arts

authors: Campbell, Donna

subjects: Mana Wahine

abstract: Imagine you are on a continuum of past present and future, in the present while connected to the past and creating for the future. Kairaranga  are constantly in this experience through engaging with the materiality of the practices of raranga and raranga whatu.  
The key focus of this thesis is to provide theoretical discussion of the raranga and whatu practices that are the creative component of this doctoral research.  The theories that inform the analysis are Kaupapa Māori and Mana Wahine both of which, like raranga, are organic to this place, Aotearoa , and have grown as descendants of Papatūānuku  and Ranginui . The connection between these theories and the creative practices of raranga and whatu form a cultural praxis through which I argue enables the transformative power of raranga and whatu practices.  This too is the essence of Te Whare Pora, a weaving house that embraces kairaranga both conceptually and materially and which provides the approach to the project. Te Whare Pora is a place of knowledge and a place of practice. Like Kaupapa Māori and Mana Wahine theories it is a cultural form and expression of praxis. As kairaranga we create taonga  informed by the creative genius of our tūpuna  from the native plants of the land. These ageless practices and the taonga we create are permeated with our own present realities. The taonga then carry this tūpuna knowledge into the future in multiple forms. To highlight this, I explore a range of practices that exemplify raranga and raranga whatu as cultural embodiment.  This is articulated through notions of raranga as an expression of cultural bodies of knowledge, creative practice and regenerative praxis that span the past, present and future.  As such, this thesis is an expression of the creative journey of theory and practice inspired by tūpuna knowledge in the art forms of raranga and raranga whatu. The practices of raranga and raranga whatu not only transform the materials the kairaranga is using, but also the kairaranga themselves. These practices become self-affirming, culturally affirming and ultimately decolonizing.

text: Ngā kura a Hineteiwaiwa: The embodiment of Mana Wahine in Māori fibre Arts Imagine you are on a continuum of past present and future, in the present while connected to the past and creating for the future. Kairaranga  are constantly in this experience through engaging with the materiality of the practices of raranga and raranga whatu.  
The key focus of this thesis is to provide theoretical discussion of the raranga and whatu practices that are the creative component of this doctoral research.  The theories that inform the analysis are Kaupapa Māori and Mana Wahine both of which, like raranga, are organic to this place, Aotearoa , and have grown as descendants of Papatūānuku  and Ranginui . The connection between these theories and the creative practices of raranga and whatu form a cultural praxis through which I argue enables the transformative power of raranga and whatu practices.  This too is the essence of Te Whare Pora, a weaving house that embraces kairaranga both conceptually and materially and which provides the approach to the project. Te Whare Pora is a place of knowledge and a place of practice. Like Kaupapa Māori and Mana Wahine theories it is a cultural form and expression of praxis. As kairaranga we create taonga  informed by the creative genius of our tūpuna  from the native plants of the land. These ageless practices and the taonga we create are permeated with our own present realities. The taonga then carry this tūpuna knowledge into the future in multiple forms. To highlight this, I explore a range of practices that exemplify raranga and raranga whatu as cultural embodiment.  This is articulated through notions of raranga as an expression of cultural bodies of knowledge, creative practice and regenerative praxis that span the past, present and future.  As such, this thesis is an expression of the creative journey of theory and practice inspired by tūpuna knowledge in the art forms of raranga and raranga whatu. The practices of raranga and raranga whatu not only transform the materials the kairaranga is using, but also the kairaranga themselves. These practices become self-affirming, culturally affirming and ultimately decolonizing.

year: 2019