title: High diversity of lichens at 84°S, Queen Maud Mountains, suggests preglacial survival of species in the Ross Sea region, Antarctica

authors: Green, T.G. Allan

subjects: relict

abstract: Investigations of lichens collected in 1959/1960, 1963/1964 and 2003 from near the Beardmore  Glacier in the southern Ross Sea region (84 S) have more than doubled the number of known lichen species in the area to around 30. The ranges of 15 species have been extended to 84° S. A lichen diversity hotspot has also been found along Ebony Ridge and its associated peaks where 28 of the species occur, a number equivalent to more northerly sites in the Ross Sea (e.g. Botany Bay 77° S). Furthermore, 6 species had been previously recorded only from the Antarctic Peninsula region. In agreement with previous studies on mites and springtails from the same area, we suggest that these populations represent relicts that predate the present Ross Ice Shelf extension, with a possible age of 2,000,000 years or older.

text: High diversity of lichens at 84°S, Queen Maud Mountains, suggests preglacial survival of species in the Ross Sea region, Antarctica Investigations of lichens collected in 1959/1960, 1963/1964 and 2003 from near the Beardmore  Glacier in the southern Ross Sea region (84 S) have more than doubled the number of known lichen species in the area to around 30. The ranges of 15 species have been extended to 84° S. A lichen diversity hotspot has also been found along Ebony Ridge and its associated peaks where 28 of the species occur, a number equivalent to more northerly sites in the Ross Sea (e.g. Botany Bay 77° S). Furthermore, 6 species had been previously recorded only from the Antarctic Peninsula region. In agreement with previous studies on mites and springtails from the same area, we suggest that these populations represent relicts that predate the present Ross Ice Shelf extension, with a possible age of 2,000,000 years or older.

year: 2011

title: An interview: Making art as a dialogue with materials, moments and motivations

authors: Price, Graham

abstract: Graham Price has worked extensively in primary, secondary and tertiary art education in Otago (1976–1997) and since 2000 in pre-service secondary and primary art education within the University of Waikato arts education team. He has experience in developing art education resources, Waikato professional development programmes, and the development of visual art assessment in primary schools through the National Education Monitoring Project 1995–2008. His research interests include arts integration, the history of art education in New Zealand and how students talk about art. His own artwork spans painting, jewellery and sculptural responses to calligraphy. He actively participates in a cappella choral performance.
In this piece Graham shares his views and his approach to art making.

text: An interview: Making art as a dialogue with materials, moments and motivations Graham Price has worked extensively in primary, secondary and tertiary art education in Otago (1976–1997) and since 2000 in pre-service secondary and primary art education within the University of Waikato arts education team. He has experience in developing art education resources, Waikato professional development programmes, and the development of visual art assessment in primary schools through the National Education Monitoring Project 1995–2008. His research interests include arts integration, the history of art education in New Zealand and how students talk about art. His own artwork spans painting, jewellery and sculptural responses to calligraphy. He actively participates in a cappella choral performance.
In this piece Graham shares his views and his approach to art making.

year: 2017

title: Typographic design in Māori-English bilingual picturebooks: some educational implications

authors: Vanderschantz, Nicholas

subjects: Te Reo Māori

abstract: The role of bilingual picturebooks in language learning has been explored recently by a number of authors who show their potential in normalising multilingualism (Naqvi, Thorne, Pfitscher, Nordstokke & McKeough, 2013; Zaidi, 2020), raising metalinguistic awareness and engaging parents (Sneddon, 2009), as well as raising language awareness (Kleker, Short & Daly, 2021). Hadaway and Young (2013) suggest bilingual picturebooks have a particular role to play in supporting the revitalisation of Indigenous languages. In New Zealand, the number of MāoriEnglish bilingual picturebooks is increasing, but there is very little, if any, research concerning their design or their use in educational settings. The design of bilingual picturebooks, as reflected in their linguistic landscape, has an important role to play in their pedagogical use (Daly, 2016; 2017), and in this article, we explore the typographic design of five bilingual Māori-English picturebooks with respect to the elements of typeface, type size, type colour and page layout. We discuss the design and audience implications of these factors for educational settings.

text: Typographic design in Māori-English bilingual picturebooks: some educational implications The role of bilingual picturebooks in language learning has been explored recently by a number of authors who show their potential in normalising multilingualism (Naqvi, Thorne, Pfitscher, Nordstokke & McKeough, 2013; Zaidi, 2020), raising metalinguistic awareness and engaging parents (Sneddon, 2009), as well as raising language awareness (Kleker, Short & Daly, 2021). Hadaway and Young (2013) suggest bilingual picturebooks have a particular role to play in supporting the revitalisation of Indigenous languages. In New Zealand, the number of MāoriEnglish bilingual picturebooks is increasing, but there is very little, if any, research concerning their design or their use in educational settings. The design of bilingual picturebooks, as reflected in their linguistic landscape, has an important role to play in their pedagogical use (Daly, 2016; 2017), and in this article, we explore the typographic design of five bilingual Māori-English picturebooks with respect to the elements of typeface, type size, type colour and page layout. We discuss the design and audience implications of these factors for educational settings.

year: 2022