title: Ruthenium and osmium carbonyl clusters incorporating stannylene and stannyl ligands

authors: Kabir, Shariff E.

abstract: The reaction of [Ru₃ (CO)₁₂] with Ph₃SnSPh in refluxing benzene furnished the bimetallic Ru-Sn compound [Ru₃(CO)₈(μ-SPh)₂(μ3-SnPh₂)(SnPh₃)₂] 1 which consists of a SnPh₂ stannylene bonded to three Ru atoms to give a planar tetra-metal core, with two peripheral SnPh₃ ligands. The stannylene ligand forms a very short bond to one Ru atom [Sn-Ru 2.538(1) Å] and very long bonds to the other two [Sn-Ru 3.074(1) Å]. The germanium compound [Ru₃(CO)₈(μ-SPh)₂(μ₃-GePh₂)(GePh₃)₂] 2 was obtained from the reaction of [Ru₃ (CO)₁₂] with Ph₃GeSPh and has a similar structure to that of 1 as evidenced by spectroscopic data. Treatment of [Os₃(CO)₁₀(MeCN)₂] with Ph₃SnSPh in refluxing benzene yielded the bimetallic Os-Sn compound [Os₃(CO)₉(μ-SPh)(μ₃-SnPh₂)(MeCN)(ƞ¹-C₆H₅)] 3. Cluster 3 has a superficially similar planar metal core, but with a different bonding mode with respect to that of 1. The Ph₂Sn group is bonded most closely to Os(2) and Os(3) [2.7862(3) and 2.7476(3) Å respectively] with a significantly longer bond to Os(1), 2.9981(3) Å indicating a weak back-donation to the Sn. The reaction of the bridging dppm compound [Ru₃(CO)₁₀(μ-dppm)] with Ph₃SnSPh afforded [Ru₃(CO)₆(μ-dppm)(μ₃-S)(μ₃-SPh)(SnPh₃)] 5. Compound 5 contains an open triangle of Ru atoms simultaneously capped by a sulfido and a PhS ligand on opposite sides of the cluster with a dppm ligand bridging one of the Ru-Ru edges and a Ph₃Sn group occupying an axial position on the Ru atom not bridged by the dppm ligand.

text: Ruthenium and osmium carbonyl clusters incorporating stannylene and stannyl ligands The reaction of [Ru₃ (CO)₁₂] with Ph₃SnSPh in refluxing benzene furnished the bimetallic Ru-Sn compound [Ru₃(CO)₈(μ-SPh)₂(μ3-SnPh₂)(SnPh₃)₂] 1 which consists of a SnPh₂ stannylene bonded to three Ru atoms to give a planar tetra-metal core, with two peripheral SnPh₃ ligands. The stannylene ligand forms a very short bond to one Ru atom [Sn-Ru 2.538(1) Å] and very long bonds to the other two [Sn-Ru 3.074(1) Å]. The germanium compound [Ru₃(CO)₈(μ-SPh)₂(μ₃-GePh₂)(GePh₃)₂] 2 was obtained from the reaction of [Ru₃ (CO)₁₂] with Ph₃GeSPh and has a similar structure to that of 1 as evidenced by spectroscopic data. Treatment of [Os₃(CO)₁₀(MeCN)₂] with Ph₃SnSPh in refluxing benzene yielded the bimetallic Os-Sn compound [Os₃(CO)₉(μ-SPh)(μ₃-SnPh₂)(MeCN)(ƞ¹-C₆H₅)] 3. Cluster 3 has a superficially similar planar metal core, but with a different bonding mode with respect to that of 1. The Ph₂Sn group is bonded most closely to Os(2) and Os(3) [2.7862(3) and 2.7476(3) Å respectively] with a significantly longer bond to Os(1), 2.9981(3) Å indicating a weak back-donation to the Sn. The reaction of the bridging dppm compound [Ru₃(CO)₁₀(μ-dppm)] with Ph₃SnSPh afforded [Ru₃(CO)₆(μ-dppm)(μ₃-S)(μ₃-SPh)(SnPh₃)] 5. Compound 5 contains an open triangle of Ru atoms simultaneously capped by a sulfido and a PhS ligand on opposite sides of the cluster with a dppm ligand bridging one of the Ru-Ru edges and a Ph₃Sn group occupying an axial position on the Ru atom not bridged by the dppm ligand.

year: 2008

title: Assembling and enriching digital library collections

authors: Bainbridge, David

subjects: computer science

abstract: People who create digital libraries need to gather together the raw material, add metadata as necessary, and design and build new collections. This paper sets out the requirements for these tasks and describes a new tool that supports them interactively, making it easy for users to create their own collections from electronic files of all types. The process involves selecting documents for inclusion, coming up with a suitable metadata set, assigning metadata to each document or group of documents, designing the form of the collection in terms of document formats, searchable indexes, and browsing facilities, building the necessary indexes and data structures, and putting the collection in place for others to use. Moreover, different situations require different workflows, and the system must be flexible enough to cope with these demands. Although the tool is specific to the Greenstone digital library software, the underlying ideas should prove useful in more general contexts.

text: Assembling and enriching digital library collections People who create digital libraries need to gather together the raw material, add metadata as necessary, and design and build new collections. This paper sets out the requirements for these tasks and describes a new tool that supports them interactively, making it easy for users to create their own collections from electronic files of all types. The process involves selecting documents for inclusion, coming up with a suitable metadata set, assigning metadata to each document or group of documents, designing the form of the collection in terms of document formats, searchable indexes, and browsing facilities, building the necessary indexes and data structures, and putting the collection in place for others to use. Moreover, different situations require different workflows, and the system must be flexible enough to cope with these demands. Although the tool is specific to the Greenstone digital library software, the underlying ideas should prove useful in more general contexts.

year: 2003

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