title: Critical sets of 2-balanced Latin rectangles

authors: Cavenagh, Nicholas J.

subjects: Mathematics

abstract: An (m, n, 2)-balanced Latin rectangle is an (Formula presented.) array on symbols 0 and 1 such that each symbol occurs n times in each row and m times in each column, with each cell containing either two 0’s, two 1’s or both 0 and 1. We completely determine the structure of all critical sets of the full (m, n, 2)-balanced Latin rectangle (which contains 0 and 1 in each cell). If m, (Formula presented.), the minimum size for such a structure is shown to be (Formula presented.). Such critical sets in turn determine defining sets for (0, 1)-matrices.

text: Critical sets of 2-balanced Latin rectangles An (m, n, 2)-balanced Latin rectangle is an (Formula presented.) array on symbols 0 and 1 such that each symbol occurs n times in each row and m times in each column, with each cell containing either two 0’s, two 1’s or both 0 and 1. We completely determine the structure of all critical sets of the full (m, n, 2)-balanced Latin rectangle (which contains 0 and 1 in each cell). If m, (Formula presented.), the minimum size for such a structure is shown to be (Formula presented.). Such critical sets in turn determine defining sets for (0, 1)-matrices.

year: 2016

title: Place-responsive choreography and activism

authors: Barbour, Karen

abstract: Sensory encounters with place, site and landscape have the potential to stimulate new and deeply felt engagements with local places, and to prompt discussion about the relationships between place, culture and identity. Such sensory encounters may also offer opportunities for critical, reflexive theorising and practice (Pink, 2008, 2009; Stevenson, 2014; Warren, 2012). Within the myriad of potentialities offered in research, a focus on sensory and embodied encounters with local places prompts me to articulate intersections between local issues of social justice and environmental activism and feminist choreography. As a dance artist and researcher, ethnographic research has led me to autoethnographic performance as a specific means to articulate my encounters with place through embodied expression and textual representation.

text: Place-responsive choreography and activism Sensory encounters with place, site and landscape have the potential to stimulate new and deeply felt engagements with local places, and to prompt discussion about the relationships between place, culture and identity. Such sensory encounters may also offer opportunities for critical, reflexive theorising and practice (Pink, 2008, 2009; Stevenson, 2014; Warren, 2012). Within the myriad of potentialities offered in research, a focus on sensory and embodied encounters with local places prompts me to articulate intersections between local issues of social justice and environmental activism and feminist choreography. As a dance artist and researcher, ethnographic research has led me to autoethnographic performance as a specific means to articulate my encounters with place through embodied expression and textual representation.

year: 2016

title: The Te Aroha hot springs (mainly in the nineteenth century)

authors: Hart, Philip

abstract: Unique amongst New Zealand mining districts, the hot springs sited at the base of the mountain were popular with miners, residents, and an increasing number of visitors. Highly valued by Maori for their medicinal qualities, Pakeha visited them well before gold was discovered. Acquired by the Crown as part of the purchase of the Aroha Block, contention arose over whether the springs had been gifted to the Crown and whether Maori should be charged for using them. The provision of a small but free bath to Ngati Rahiri did not satisfy them.
 After Pakeha settled, the springs were developed and the surrounding domain was landscaped. Analysis of the water by experts produced claims about its curative qualities and many miracle cures were claimed, and the water was bottled until more recent analyses traced the existence of arsenic. Men reputedly skilled in hydropathy and similar ‘sciences’ were appointed to assist those suffering from rheumatism and the like. A local board beautified the area until the domain was taken over by the Tourist Department. Many tourists from throughout New Zealand and abroad were attracted by the facilities, which included a library, but some noticed a lack of cleanliness and were annoyed by larrikins. Despite such problems, as mining faded Te Aroha profited from becoming a tourist destination and sanatorium.

text: The Te Aroha hot springs (mainly in the nineteenth century) Unique amongst New Zealand mining districts, the hot springs sited at the base of the mountain were popular with miners, residents, and an increasing number of visitors. Highly valued by Maori for their medicinal qualities, Pakeha visited them well before gold was discovered. Acquired by the Crown as part of the purchase of the Aroha Block, contention arose over whether the springs had been gifted to the Crown and whether Maori should be charged for using them. The provision of a small but free bath to Ngati Rahiri did not satisfy them.
 After Pakeha settled, the springs were developed and the surrounding domain was landscaped. Analysis of the water by experts produced claims about its curative qualities and many miracle cures were claimed, and the water was bottled until more recent analyses traced the existence of arsenic. Men reputedly skilled in hydropathy and similar ‘sciences’ were appointed to assist those suffering from rheumatism and the like. A local board beautified the area until the domain was taken over by the Tourist Department. Many tourists from throughout New Zealand and abroad were attracted by the facilities, which included a library, but some noticed a lack of cleanliness and were annoyed by larrikins. Despite such problems, as mining faded Te Aroha profited from becoming a tourist destination and sanatorium.

year: 2016