title: The ColorDex DJ system: a new interface for live music mixing

authors: Villar, Nicolas

subjects: computer science

abstract: This paper describes the design and implementation of a new interface prototype for live music mixing. The ColorDex system employs a completely new operational metaphor which allows the mix DJ to prepare up to six tracks at once, and perform mixes between up to three of those at a time. The basic premises of the design are: 1) Build a performance tool that multiplies the possible choices a DJ has in respect in how and when tracks are prepared and mixed; 2) Design the system in such a way that the tool does not overload the performer with unnecessary complexity, and 3) Make use of novel technology to make the performance of live music mixing more engaging for both the performer and the audience. The core components of the system are: A software program to load, visualize and playback digitally encoded tracks; the HDDJ device (built chiefly out of a repurposed hard disk drive), which provides tactile manipulation of the playback speed and position of tracks; and the Cubic Crossfader, a wireless sensor cube that controls of the volume of individual tracks, and allows the DJ to mix these in interesting ways.

text: The ColorDex DJ system: a new interface for live music mixing This paper describes the design and implementation of a new interface prototype for live music mixing. The ColorDex system employs a completely new operational metaphor which allows the mix DJ to prepare up to six tracks at once, and perform mixes between up to three of those at a time. The basic premises of the design are: 1) Build a performance tool that multiplies the possible choices a DJ has in respect in how and when tracks are prepared and mixed; 2) Design the system in such a way that the tool does not overload the performer with unnecessary complexity, and 3) Make use of novel technology to make the performance of live music mixing more engaging for both the performer and the audience. The core components of the system are: A software program to load, visualize and playback digitally encoded tracks; the HDDJ device (built chiefly out of a repurposed hard disk drive), which provides tactile manipulation of the playback speed and position of tracks; and the Cubic Crossfader, a wireless sensor cube that controls of the volume of individual tracks, and allows the DJ to mix these in interesting ways.

year: 2007

title: Swimming capabilities of stoats and the threat to inshore sanctuaries

authors: King, Carolyn M.

subjects: stoat

abstract: Stoats (Mustela erminea) are small carnivorous mammals which were introduced into New Zealand in the late 19th century, and have now become widespread invasive pests. Stoats have long been known to be capable of swimming to islands 1-1.5 km offshore. Islands further out have usually been assumed to be safe from invasion, therefore routine stoat monitoring on them has been considered un-necessary. Recent incursions, including a stoat found on Rangitoto Island (3 km offshore) in 2010, and another which was deduced to have reached Kapiti (5 km offshore) in 2009, along with distribution modelling and genetic studies, strongly support the proposition that stoats can swim much further than 1.5 km. Acceptance of this hypothesis depends on estimating the probability that such small animals could indeed swim so far unaided. This paper reports the results of a project designed to assist this debate by recording the paddling action, speed and minimal endurance of nine stoats observed (once each) swimming against an endless current in a flume at the Aquatic Research Centre, University of Waikato. Four of the five males and two of the four females could hold a position for at least five minutes against the maximum current available, averaging 1.36 ± 0.336 km/h. In steady swimming against a current of c. 1 km/hr, they all used a rapid quadripedal paddling action (averaging 250 strokes/min, stronger with the spread forepaws). Four of the nine swam strongly for >1 h, including one female who covered 1.8 km in nearly 2 h non- stop. Results from such artificial conditions cannot be conclusive, but support suggestions that wild stoats could indeed swim much further than 1.5 km, hence we conclude that the “risk zone” for  stoat reinvasions of inshore islands has been seriously under-estimated.

text: Swimming capabilities of stoats and the threat to inshore sanctuaries Stoats (Mustela erminea) are small carnivorous mammals which were introduced into New Zealand in the late 19th century, and have now become widespread invasive pests. Stoats have long been known to be capable of swimming to islands 1-1.5 km offshore. Islands further out have usually been assumed to be safe from invasion, therefore routine stoat monitoring on them has been considered un-necessary. Recent incursions, including a stoat found on Rangitoto Island (3 km offshore) in 2010, and another which was deduced to have reached Kapiti (5 km offshore) in 2009, along with distribution modelling and genetic studies, strongly support the proposition that stoats can swim much further than 1.5 km. Acceptance of this hypothesis depends on estimating the probability that such small animals could indeed swim so far unaided. This paper reports the results of a project designed to assist this debate by recording the paddling action, speed and minimal endurance of nine stoats observed (once each) swimming against an endless current in a flume at the Aquatic Research Centre, University of Waikato. Four of the five males and two of the four females could hold a position for at least five minutes against the maximum current available, averaging 1.36 ± 0.336 km/h. In steady swimming against a current of c. 1 km/hr, they all used a rapid quadripedal paddling action (averaging 250 strokes/min, stronger with the spread forepaws). Four of the nine swam strongly for >1 h, including one female who covered 1.8 km in nearly 2 h non- stop. Results from such artificial conditions cannot be conclusive, but support suggestions that wild stoats could indeed swim much further than 1.5 km, hence we conclude that the “risk zone” for  stoat reinvasions of inshore islands has been seriously under-estimated.

year: 2014

title: Colonial versus ancestral legacy: The assertion of culture and identity through public arts in Kirikiriroa/Hamilton

authors: Kiff, Shirin

subjects: Ethnography

abstract: This thesis is an ethnography of Hamilton. It focuses on the role of public arts as a cultural regeneration tool and their function in shaping the community(s) in Kirikiriroa/Hamilton through building a sense of place and identity. As a qualitative study, I conducted nine semi- structured interviews with public art artists, art advocates and residents to explore the relational context within which the development and transmission of meaning takes place, a process which is central to culture and identity. The primary purpose of the research interviews was to gain insight into the factors that motivate arts organisers and planners to direct valuable limited resources into public art projects and its observable outcomes. The second purpose of the interviews, conducted while walking to public artworks in the city centre with six participants, was to examine the effect of public art on the public.
My methods also include tracking press reviews, monitoring comments and posts on social media and institutional debates involving residents, artists, and public authorities concerning public arts. I also recorded data by taking photographs and recording field notes of my observations during and after the fieldwork process. Data gathering was also enhanced by the large-scale collection of written materials and resources, including public art publications and HCC policy documents. Taken together, these research methods allowed me to investigate whether Hamilton had achieved its goals in its cultural regeneration efforts. In my analysis, I discuss the role of public art and its association with place and consider how artworks may antagonise Māori-Pākehā relationships or otherwise emphasis residents’ sense of place.
Biculturalism and monoculturalism narratives appear to dominate public arts with the purpose of invoking either a colonial legacy or ancestral legacy while the politics of multiculturalism continue to jockey for place. Colonial legacy refers to the glorifying of colonial achievements while ancestral legacy in this context refers to Māori assertion of history, culture and identity. Particularly, in this research, ancestral legacy belonging to local hapū, Ngāti Wairere. Participants’ narratives reveal four overarching themes, 1) the publics’ resistance to the making of colonial places through public art, 2) Ngāti Wairere struggles to assert ancestral legacy through public arts, 3) the need for ethnically diverse artworks to create and maintain ethnically diverse places, and 4) a yearning for a collective identity represented through public arts. Hamilton’s public artworks are variously perceived as a superficial representation of Māori culture, identity and history, a reminder of a colonial binary discourse, the colonised versus the coloniser, an assertion of either a Māori ancestral legacy or a colonial legacy or, minimally, a nod to multiculturalism. Nevertheless, my research shows that participants engagement with these artworks reveal a yearning for a local collective identity that is still a work in progress.

text: Colonial versus ancestral legacy: The assertion of culture and identity through public arts in Kirikiriroa/Hamilton This thesis is an ethnography of Hamilton. It focuses on the role of public arts as a cultural regeneration tool and their function in shaping the community(s) in Kirikiriroa/Hamilton through building a sense of place and identity. As a qualitative study, I conducted nine semi- structured interviews with public art artists, art advocates and residents to explore the relational context within which the development and transmission of meaning takes place, a process which is central to culture and identity. The primary purpose of the research interviews was to gain insight into the factors that motivate arts organisers and planners to direct valuable limited resources into public art projects and its observable outcomes. The second purpose of the interviews, conducted while walking to public artworks in the city centre with six participants, was to examine the effect of public art on the public.
My methods also include tracking press reviews, monitoring comments and posts on social media and institutional debates involving residents, artists, and public authorities concerning public arts. I also recorded data by taking photographs and recording field notes of my observations during and after the fieldwork process. Data gathering was also enhanced by the large-scale collection of written materials and resources, including public art publications and HCC policy documents. Taken together, these research methods allowed me to investigate whether Hamilton had achieved its goals in its cultural regeneration efforts. In my analysis, I discuss the role of public art and its association with place and consider how artworks may antagonise Māori-Pākehā relationships or otherwise emphasis residents’ sense of place.
Biculturalism and monoculturalism narratives appear to dominate public arts with the purpose of invoking either a colonial legacy or ancestral legacy while the politics of multiculturalism continue to jockey for place. Colonial legacy refers to the glorifying of colonial achievements while ancestral legacy in this context refers to Māori assertion of history, culture and identity. Particularly, in this research, ancestral legacy belonging to local hapū, Ngāti Wairere. Participants’ narratives reveal four overarching themes, 1) the publics’ resistance to the making of colonial places through public art, 2) Ngāti Wairere struggles to assert ancestral legacy through public arts, 3) the need for ethnically diverse artworks to create and maintain ethnically diverse places, and 4) a yearning for a collective identity represented through public arts. Hamilton’s public artworks are variously perceived as a superficial representation of Māori culture, identity and history, a reminder of a colonial binary discourse, the colonised versus the coloniser, an assertion of either a Māori ancestral legacy or a colonial legacy or, minimally, a nod to multiculturalism. Nevertheless, my research shows that participants engagement with these artworks reveal a yearning for a local collective identity that is still a work in progress.

year: 2021