title: The use of cellulose in bio-derived formulations for 3D/4D printing: A review

authors: Gauss, Christian

abstract: Cellulose is one of the most versatile biopolymers found in nature. Its use is now transitioning from sustainability-focused development to provide technical solutions across a wide range of applications. This review paper describes the use of cellulose as reinforcement in biocomposites and recent related advances in 3D printing technologies, including 4D (responsive/smart) printing and current/future applications. Relevant aspects such as the origin and intrinsic/structural properties of cellulose and cellulose/matrix interaction during processing are discussed. A particular focus is directed to identify opportunities for the development of new cellulose-based composites, formulation requirements for 3D/4D printing, and comprehension of the interplay between rheology, chemistry, and processing. Overall, new materials and technologies based on cellulose have shown promising results for real-life applications, opening new scientific development opportunities and a new generation of sustainable and advanced materials.

text: The use of cellulose in bio-derived formulations for 3D/4D printing: A review Cellulose is one of the most versatile biopolymers found in nature. Its use is now transitioning from sustainability-focused development to provide technical solutions across a wide range of applications. This review paper describes the use of cellulose as reinforcement in biocomposites and recent related advances in 3D printing technologies, including 4D (responsive/smart) printing and current/future applications. Relevant aspects such as the origin and intrinsic/structural properties of cellulose and cellulose/matrix interaction during processing are discussed. A particular focus is directed to identify opportunities for the development of new cellulose-based composites, formulation requirements for 3D/4D printing, and comprehension of the interplay between rheology, chemistry, and processing. Overall, new materials and technologies based on cellulose have shown promising results for real-life applications, opening new scientific development opportunities and a new generation of sustainable and advanced materials.

year: 2021

title: Decolonising Fiji: Reclaiming indigenous Fijian psychologies

authors: Tarabe, Akanisi

subjects: Maori

abstract: Creating meaningfulness in an unstable, confusing environment can redirect one to sift through the chaos for the very basic, forgotten things in order to make sense of the world one lives in. This paper represents a process of searching for these simple things to make sense of the indigenous Fijian world, with particular reference to the people of the yavusa o Cu’u (Cu’u tribe). For more than a century, indigenous Fijians have struggled to live in dual worlds torn between the pull of modernization and traditionalism. Modernisation represents the new foreign life that leads many Fijians to view their traditional ways skeptically and question whether traditions are worth hanging on to. With decades of these struggles, very little makes sense anymore. The more we are pumped with foreign aid to make us modern, the more we are lost in new types of psycho- social challenges that baffle everyone, young and old alike.

text: Decolonising Fiji: Reclaiming indigenous Fijian psychologies Creating meaningfulness in an unstable, confusing environment can redirect one to sift through the chaos for the very basic, forgotten things in order to make sense of the world one lives in. This paper represents a process of searching for these simple things to make sense of the indigenous Fijian world, with particular reference to the people of the yavusa o Cu’u (Cu’u tribe). For more than a century, indigenous Fijians have struggled to live in dual worlds torn between the pull of modernization and traditionalism. Modernisation represents the new foreign life that leads many Fijians to view their traditional ways skeptically and question whether traditions are worth hanging on to. With decades of these struggles, very little makes sense anymore. The more we are pumped with foreign aid to make us modern, the more we are lost in new types of psycho- social challenges that baffle everyone, young and old alike.

year: 2008

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