title: Boat electrofishing of the Waikato River upstream and downstream of the Huntly Power Station: spring 2010

authors: Hicks, Brendan J.

subjects: New Zealand

abstract: The objective of this investigation was to evaluate fish abundance and community composition upstream and downstream of the Huntly Power Station discharge by boat electrofishing in order to contribute to effects assessment of the thermal discharge. This limited sampling suggests that koi carp had the greatest biomass of any fish species, and were aggregated immediately downstream of the Huntly Power Station. Previous work would suggest that a single electrofishing pass catches about half of the fish present. The method is known to under-sample eels and catfish, but is a robust semiquantitative tool to estimate relative fish abundance.

text: Boat electrofishing of the Waikato River upstream and downstream of the Huntly Power Station: spring 2010 The objective of this investigation was to evaluate fish abundance and community composition upstream and downstream of the Huntly Power Station discharge by boat electrofishing in order to contribute to effects assessment of the thermal discharge. This limited sampling suggests that koi carp had the greatest biomass of any fish species, and were aggregated immediately downstream of the Huntly Power Station. Previous work would suggest that a single electrofishing pass catches about half of the fish present. The method is known to under-sample eels and catfish, but is a robust semiquantitative tool to estimate relative fish abundance.

year: 2010-11

title: Creativity, dialogue, and place: Vitebsk, the early Bakhtin and the origins of the Russian avant-garde

authors: White, Elizabeth Jayne

abstract: This paper attempts to avoid both the ‘Bakhtinology’ that has become the basis of the ‘Bakhtin industry’ in Russia and the Americanization of his work as a “a sort of New Left celebrator of popular culture” (McLemee, 1997) to argue for a radical contextual understanding a set of relationships among Bakhtin, Malevich, Chagall and others. The appreciation of a Bakhtinian notion of the inherently creative use of language is used as a basis for the idea of the creative university as the ‘dialogical university’. The paper begins by exploring the connections between Bakhtin, Malevich and Chagall to explore the ontological sociality of artistic phenomena. A small town called Vitebsk in Belorussia experienced a flowering of creativity and artistic energy that led to significant modernist experimentation in the years 1917-1922 contribution to the birth of the Russian avant-garde. Marc Chagall, returning from the October Revolution took up the position of art commissioner and developed an academy of art that became the laboratory for Russian modernism. Chagall’s Academy, Bahktin’s Circle, Malevich’s experiments, artistic group UNOVIS, all in fierce dialogue with one another made the town of Vitebsk into an artistic crucible in the early twentieth century transforming creative energies of Russian drama, music, theatre, art, and philosophy in a distinctive contribution to modernism and also to a social understanding of creativity itself.

text: Creativity, dialogue, and place: Vitebsk, the early Bakhtin and the origins of the Russian avant-garde This paper attempts to avoid both the ‘Bakhtinology’ that has become the basis of the ‘Bakhtin industry’ in Russia and the Americanization of his work as a “a sort of New Left celebrator of popular culture” (McLemee, 1997) to argue for a radical contextual understanding a set of relationships among Bakhtin, Malevich, Chagall and others. The appreciation of a Bakhtinian notion of the inherently creative use of language is used as a basis for the idea of the creative university as the ‘dialogical university’. The paper begins by exploring the connections between Bakhtin, Malevich and Chagall to explore the ontological sociality of artistic phenomena. A small town called Vitebsk in Belorussia experienced a flowering of creativity and artistic energy that led to significant modernist experimentation in the years 1917-1922 contribution to the birth of the Russian avant-garde. Marc Chagall, returning from the October Revolution took up the position of art commissioner and developed an academy of art that became the laboratory for Russian modernism. Chagall’s Academy, Bahktin’s Circle, Malevich’s experiments, artistic group UNOVIS, all in fierce dialogue with one another made the town of Vitebsk into an artistic crucible in the early twentieth century transforming creative energies of Russian drama, music, theatre, art, and philosophy in a distinctive contribution to modernism and also to a social understanding of creativity itself.

year: 2014

title: The science and practice of Māori astronomy and Matariki

authors: Whaanga, Hēmi

subjects: Indigenous Knowledge

abstract: Ki te iwi Mäori me öna tüpuna, ko ngä hua o te noho tahi, o te äta pänui, o te körero anö hoki me ngä whetü, he mea äta tuitui ki te pütaiao, ki te ahureatanga, ki ngä tikanga aho atua, ki te taiao anö hoki. Ko ngä nekehanga o ngä kähui whetü he mea äta pänui, ka mutu he whakapono, he mätauranga atu anö hoki tö ia iwi, tö ia takiwä puta noa i a Aotearoa nei mö te ao tukupü. Ko te mätauranga whänui mö te kökörangi he mea äta whakatö ki ngä ähuatanga o te päpori Mäori o mua, he mea äta whakaora anö hoki ki ngä körero tuku iho, ki ngä tikanga hauhake whenua, ka mutu i äta whakaurua ki roto i ngä tikanga whakatü whare tupuna. Tau atu, tau mai, whakanuia ai te rewanga ake me te tönga iho o ngä whetü hiahira, ka mutu i kaha whakaatuahia ngä kaupapa katoa o te tuarangi ahakoa pëhea. Mä roto mai i tënei pepa ka körerohia te mätauranga me te pütaiao mätai arorangi e whai iho nei ki a Matariki, ka tahi, ka rua ka wänangahia te whakarauora haeretanga i ngä tikanga tuku iho e hängai nei ki taua kähui whetü me tana pänga nuitanga ki te ahurea o te whenua o näianei, o Aotearoa.

text: The science and practice of Māori astronomy and Matariki Ki te iwi Mäori me öna tüpuna, ko ngä hua o te noho tahi, o te äta pänui, o te körero anö hoki me ngä whetü, he mea äta tuitui ki te pütaiao, ki te ahureatanga, ki ngä tikanga aho atua, ki te taiao anö hoki. Ko ngä nekehanga o ngä kähui whetü he mea äta pänui, ka mutu he whakapono, he mätauranga atu anö hoki tö ia iwi, tö ia takiwä puta noa i a Aotearoa nei mö te ao tukupü. Ko te mätauranga whänui mö te kökörangi he mea äta whakatö ki ngä ähuatanga o te päpori Mäori o mua, he mea äta whakaora anö hoki ki ngä körero tuku iho, ki ngä tikanga hauhake whenua, ka mutu i äta whakaurua ki roto i ngä tikanga whakatü whare tupuna. Tau atu, tau mai, whakanuia ai te rewanga ake me te tönga iho o ngä whetü hiahira, ka mutu i kaha whakaatuahia ngä kaupapa katoa o te tuarangi ahakoa pëhea. Mä roto mai i tënei pepa ka körerohia te mätauranga me te pütaiao mätai arorangi e whai iho nei ki a Matariki, ka tahi, ka rua ka wänangahia te whakarauora haeretanga i ngä tikanga tuku iho e hängai nei ki taua kähui whetü me tana pänga nuitanga ki te ahurea o te whenua o näianei, o Aotearoa.

year: 2020