title: Linking proximal ignimbrites and coeval distal tephra deposits to establish a record of voluminous Early Quaternary (2.4–1.9 Ma) volcanism of the Tauranga Volcanic Centre, New Zealand

authors: Prentice, Marlena Lee

subjects: Taupō Volcanic Zone

abstract: The Tauranga Volcanic Centre (TgaVC) of the North Island, New Zealand, was active from 2.95 to 1.9 Ma. It lies temporally and spatially between the currently active Taupō Volcanic Zone, one of the most productive regions of Quaternary silicic volcanism globally, and its predecessor, the Coromandel Volcanic Zone. This study provides an enhanced chronology for pyroclastic volcanism of the TgaVC with four locally widespread units named and defined as follows: Welcome Bay and Wharo ignimbrites (together formerly known as Lower Pāpāmoa Ignimbrite); Otawera Ignimbrite; and Arateka Ignimbrite (formerly known as Upper Pāpāmoa Ignimbrite). These eruptives were followed by the eruption of the large-volume Waiteariki Ignimbrite at 2.1 Ma. In northern Hawke’s Bay (150-170 km southeast of TgaVC), several distal tephra-fall horizons and an ignimbrite (Hikuroa Pumice Member) are preserved in marine-hosted sediments and are stratigraphically equivalent to the five ignimbrites of the TgaVC. Using new major- and trace-element data on glass in conjunction with new zircon-derived U-Pb ages, a correlation between the Hawke’s Bay tephras and the TgaVC ignimbrites is established and the Hikuroa Pumice Member is confirmed as the distal deposit of the Waiteariki Ignimbrite. The integrated proximal and distal records show that at least eight eruptions occurred in the TgaVC between 2.4 and 1.9 Ma and provide a maximum repose period between explosive eruptions of ca. 50 kyrs.

text: Linking proximal ignimbrites and coeval distal tephra deposits to establish a record of voluminous Early Quaternary (2.4–1.9 Ma) volcanism of the Tauranga Volcanic Centre, New Zealand The Tauranga Volcanic Centre (TgaVC) of the North Island, New Zealand, was active from 2.95 to 1.9 Ma. It lies temporally and spatially between the currently active Taupō Volcanic Zone, one of the most productive regions of Quaternary silicic volcanism globally, and its predecessor, the Coromandel Volcanic Zone. This study provides an enhanced chronology for pyroclastic volcanism of the TgaVC with four locally widespread units named and defined as follows: Welcome Bay and Wharo ignimbrites (together formerly known as Lower Pāpāmoa Ignimbrite); Otawera Ignimbrite; and Arateka Ignimbrite (formerly known as Upper Pāpāmoa Ignimbrite). These eruptives were followed by the eruption of the large-volume Waiteariki Ignimbrite at 2.1 Ma. In northern Hawke’s Bay (150-170 km southeast of TgaVC), several distal tephra-fall horizons and an ignimbrite (Hikuroa Pumice Member) are preserved in marine-hosted sediments and are stratigraphically equivalent to the five ignimbrites of the TgaVC. Using new major- and trace-element data on glass in conjunction with new zircon-derived U-Pb ages, a correlation between the Hawke’s Bay tephras and the TgaVC ignimbrites is established and the Hikuroa Pumice Member is confirmed as the distal deposit of the Waiteariki Ignimbrite. The integrated proximal and distal records show that at least eight eruptions occurred in the TgaVC between 2.4 and 1.9 Ma and provide a maximum repose period between explosive eruptions of ca. 50 kyrs.

year: 2022-09

title: How to survive a plague of flesh-eating rats: An introductory guide to studying remediated ‎gameplay imaginations of medieval folklore and beliefs in A Plague Tale: Innocence

authors: Schott, Gareth R.

abstract: Popular digital games such as Assassin’s Creed: Origins (2017), Total War: Three Kingdoms (2019), and Red: Dead Redemption (2010) possess merit for their faithful and authentic interactive representations of elements of the past that furnish games with pedagogical value. Both digital game studies and historical game studies have contributed research furthering understanding of the pedagogical value and applications of historical games for students’ learning of history in school education, particularly secondary schools and universities (Kee, 2014, McCall, 2013, &amp; Schrier, 2014). Despite the growing interest in the new forms of knowledge contained within games, and gameplay, the educational application of historical digital games can be limited to supplementary visual aids that do not fully account for the range and forms of historical investigation associated with the game development process. We forward a multi-modal perspective on the varied ways in which historical knowledge is present in both game design and the gameplay experience. Our approach is demonstrated with one of several under-investigated (yet valuable) modes of historical exploration, namely ‘Imaginative History.’ This is achieved using images from several sequences of recorded game footage in the Medieval historical fantasy game A Plague Tale: Innocence as a case example alongside supporting historical literature. This Medieval game is suitable for addressing this conference’s theme of crises or disasters as it is set in a re-imagination of the Black Death plague roughly within the south-western region of fourteenth century France, but one that personifies the real Black Death with a plague of supernatural flesh-eating rats and places players into the role of two fictional orphan children. This presentation seeks to demonstrate historical games’ value for teaching and learning by discussing A Plague Tale: Innocence’s fantastical adaptation of the plague as a model for exploring the role of re-mediation, and subversion, of past pre-modern folklore imaginations and beliefs. Fantasy or folkloric treatment of historical events or periods can provide insight into the experiential dimensions of a period in history re-told as an interactive folktale.

text: How to survive a plague of flesh-eating rats: An introductory guide to studying remediated ‎gameplay imaginations of medieval folklore and beliefs in A Plague Tale: Innocence Popular digital games such as Assassin’s Creed: Origins (2017), Total War: Three Kingdoms (2019), and Red: Dead Redemption (2010) possess merit for their faithful and authentic interactive representations of elements of the past that furnish games with pedagogical value. Both digital game studies and historical game studies have contributed research furthering understanding of the pedagogical value and applications of historical games for students’ learning of history in school education, particularly secondary schools and universities (Kee, 2014, McCall, 2013, &amp; Schrier, 2014). Despite the growing interest in the new forms of knowledge contained within games, and gameplay, the educational application of historical digital games can be limited to supplementary visual aids that do not fully account for the range and forms of historical investigation associated with the game development process. We forward a multi-modal perspective on the varied ways in which historical knowledge is present in both game design and the gameplay experience. Our approach is demonstrated with one of several under-investigated (yet valuable) modes of historical exploration, namely ‘Imaginative History.’ This is achieved using images from several sequences of recorded game footage in the Medieval historical fantasy game A Plague Tale: Innocence as a case example alongside supporting historical literature. This Medieval game is suitable for addressing this conference’s theme of crises or disasters as it is set in a re-imagination of the Black Death plague roughly within the south-western region of fourteenth century France, but one that personifies the real Black Death with a plague of supernatural flesh-eating rats and places players into the role of two fictional orphan children. This presentation seeks to demonstrate historical games’ value for teaching and learning by discussing A Plague Tale: Innocence’s fantastical adaptation of the plague as a model for exploring the role of re-mediation, and subversion, of past pre-modern folklore imaginations and beliefs. Fantasy or folkloric treatment of historical events or periods can provide insight into the experiential dimensions of a period in history re-told as an interactive folktale.

year: 2021

title: In your face: wearing Moko - Maori facial marking in today's world

authors: Nikora, Linda Waimarie

subjects: Moko

abstract: The early voyagers, missionaries, settlers all reacted to the pukanohi, to the marked
faces of the Maori people during the period of first contact, and the century following
it. Their accounts are vivid, judgemental, revealing, telling us as much about them, as
it does about the people they described. Curiosity and horror are mixed with a
genuine fascination; where sternly evangelizing words failed, armed confrontation
occurred; and we now live with the results, te ao hou, a new world.
In this world, today, wahine mau kauae, tangata mau moko, pukanohi - wearers - are
speaking for themselves, about themselves, and commenting on how others view
them. Unanimously, they insist the decision to take the marking is about continuity,
affirmation, identity, and commitment. It is also about wearing those ancestors,
carrying them into the future; as their moko become a companion, a salient being with
its own life force, its own integrity and power, beyond the face.

text: In your face: wearing Moko - Maori facial marking in today's world The early voyagers, missionaries, settlers all reacted to the pukanohi, to the marked
faces of the Maori people during the period of first contact, and the century following
it. Their accounts are vivid, judgemental, revealing, telling us as much about them, as
it does about the people they described. Curiosity and horror are mixed with a
genuine fascination; where sternly evangelizing words failed, armed confrontation
occurred; and we now live with the results, te ao hou, a new world.
In this world, today, wahine mau kauae, tangata mau moko, pukanohi - wearers - are
speaking for themselves, about themselves, and commenting on how others view
them. Unanimously, they insist the decision to take the marking is about continuity,
affirmation, identity, and commitment. It is also about wearing those ancestors,
carrying them into the future; as their moko become a companion, a salient being with
its own life force, its own integrity and power, beyond the face.

year: 2003-08-01