title: Design study of a thermocouple power sensor as a monolithic fin-line

authors: Jones, Mark Hedley

subjects: electronics

abstract: Making traceable power measurements above 110 GHz using current measurement technologies is challenging. We investigate a design of power sensor consisting of a thermocouple-based integrated circuit (IC) mounted as a finline component in WR-6 waveguide. The design is original in that it contains an antenna, terminating resistor and thermocouples on-chip. We detail the design and report results from simulations and measurements made on a two-port 16:1 scale model. Our design of scale model provides both insertion and reflection loss measurements. Electromagnetic simulation and easily-calibrated model measurements confirm that the short antenna fins feasible on a monolithic microwave integrated circuit (MMIC) can achieve acceptable specifications. The design proves to be relatively insensitive to the value of the terminating resistance or the size of the antenna fins.

text: Design study of a thermocouple power sensor as a monolithic fin-line Making traceable power measurements above 110 GHz using current measurement technologies is challenging. We investigate a design of power sensor consisting of a thermocouple-based integrated circuit (IC) mounted as a finline component in WR-6 waveguide. The design is original in that it contains an antenna, terminating resistor and thermocouples on-chip. We detail the design and report results from simulations and measurements made on a two-port 16:1 scale model. Our design of scale model provides both insertion and reflection loss measurements. Electromagnetic simulation and easily-calibrated model measurements confirm that the short antenna fins feasible on a monolithic microwave integrated circuit (MMIC) can achieve acceptable specifications. The design proves to be relatively insensitive to the value of the terminating resistance or the size of the antenna fins.

year: 2011

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: Ngā Hua a Tāne Rore: The Benefits of Kapa Haka.

authors: Pihama, Leonie

abstract: This report presentsthe findings of scoping research that is focused on developing a research agenda that will enable a greater understanding of the value and contribution of kapa haka to Aotearoa New Zealand society, and which explores the multiple ways in which we may view the value and contribution of kapa haka within cultural, social and economic contexts.
• There was a unanimous and resounding view that kapa haka does indeed make a valuable contribution to Aotearoa New Zealand society, but that its value is not fully understood or acknowledged within Aotearoa New Zealand.
• The most important components of kapa haka are its intrinsic link to culture and Māori identity, and the essential element of whanaungatanga, the importance of people and connectedness.
• Kapa haka has a dynamic role as a vehicle for the revitalisation and retention of te reo, tikanga, ritual processes and histories.
• It is perceived as a gateway into the culture for Māori who are disengaged from their marae/hapū/iwi, as well as as a safe, inclusive activity through which all New Zealanders can engage with Māori culture.
• Kapa haka is seen as a medium for fostering a richer, more cohesive and inclusive society in Aotearoa New Zealand. As such, it makes a major contribution to building and strengthening New Zealand’s nationhood.
• Kapa haka makes a significant contribution to New Zealand’s national identity and how we are represented and viewed internationally. It provides an effective platform for creating meaningful connections with other nations and peoples.
• Māori culture/kapa haka is increasingly utilised to add value to many forums, both formal and informal, within the public and government sectors. This was seen by some to reflect a more embracing attitude toward Māori cultural protocols as a normal part of New Zealand’s social fabric.
• Kapa haka is not, however, being given the status or respect it deserves as a cultural icon. Because its significance is not well understood by non-Māori, particularly at the level of government, it is often treated in a tokenistic way.
• A major component of kapa haka is its power to effect wellbeing, and to positively transform the lives of individuals and communities. A strength of the movement towards increased health and fitness within kapa haka is that it is achieved collectively.
• An important social benefit of kapa haka is that it provides a positive, disciplined, strength-based environment for rangatahi.
• Kapa haka is having a powerful, transformative impact on social outcomes through the BMPA (Māori performing arts degree), which enables people involved in kapa haka who would otherwise never have considered tertiary education as an option, to embark on that journey and exceed their
own expectations.
• An overall feeling of optimism about the future of kapa haka was tempered by the conviction that there was much more potential to be explored within the realm of kapa haka, particularly in terms of its social benefits.
• The myriad benefits of kapa haka within school environments, including improved learning outcomes, were clearly attested to. However, some barriers to realising those improved outcomes were also identified.
• Some participants were very sure ofthe economic value of kapa haka to Aotearoa. Whilemost of them were less able to articulate specific economic outcomes, they nonetheless had a definite sense of the link between the cultural, social and economic, and that that was ofsignificant value.
• The immense value of ‘culture-to-culture’ relationships was identified, with Maōri culture, including kapa haka, playing a significant role in laying the foundations for lasting trade relationships with other nations, and other cultures.
• Two significant and largely unacknowledged areas of economic contribution were identified: the ‘silent’ economy generated by kapa haka activities; and the extensive ‘productivity’ activity around voluntary workers involved in kapa haka.
• There was an overall view that the economic potential of kapa haka is underestimated and needs to be explored more fully, including the potential for engagement with New Zealand’s private sector.
• A recurrent theme that emerged around the value of kapa haka was to do with how we should go about measuring the value of culture, knowledge and art, and how ‘value’ itselfshould be defined and measured.
• Economic challenges were identified, especially in terms of financial hardship for those involved in kapa haka at the competitive level. It was also noted, however, that kapa haka communities are naturally adept and endlessly resourceful at generating funds.
• The issue of sustainability was raised by some participants who were concerned that kapa haka should be supported at every level into the future, and not just at the high-end competitive level.
• Of fundamental importance was that the growth and development of kapa haka should take place within the context of the acceptance and embracing of Māori culture as an integral component of New Zealand identity and nationhood.

text: Ngā Hua a Tāne Rore: The Benefits of Kapa Haka. This report presentsthe findings of scoping research that is focused on developing a research agenda that will enable a greater understanding of the value and contribution of kapa haka to Aotearoa New Zealand society, and which explores the multiple ways in which we may view the value and contribution of kapa haka within cultural, social and economic contexts.
• There was a unanimous and resounding view that kapa haka does indeed make a valuable contribution to Aotearoa New Zealand society, but that its value is not fully understood or acknowledged within Aotearoa New Zealand.
• The most important components of kapa haka are its intrinsic link to culture and Māori identity, and the essential element of whanaungatanga, the importance of people and connectedness.
• Kapa haka has a dynamic role as a vehicle for the revitalisation and retention of te reo, tikanga, ritual processes and histories.
• It is perceived as a gateway into the culture for Māori who are disengaged from their marae/hapū/iwi, as well as as a safe, inclusive activity through which all New Zealanders can engage with Māori culture.
• Kapa haka is seen as a medium for fostering a richer, more cohesive and inclusive society in Aotearoa New Zealand. As such, it makes a major contribution to building and strengthening New Zealand’s nationhood.
• Kapa haka makes a significant contribution to New Zealand’s national identity and how we are represented and viewed internationally. It provides an effective platform for creating meaningful connections with other nations and peoples.
• Māori culture/kapa haka is increasingly utilised to add value to many forums, both formal and informal, within the public and government sectors. This was seen by some to reflect a more embracing attitude toward Māori cultural protocols as a normal part of New Zealand’s social fabric.
• Kapa haka is not, however, being given the status or respect it deserves as a cultural icon. Because its significance is not well understood by non-Māori, particularly at the level of government, it is often treated in a tokenistic way.
• A major component of kapa haka is its power to effect wellbeing, and to positively transform the lives of individuals and communities. A strength of the movement towards increased health and fitness within kapa haka is that it is achieved collectively.
• An important social benefit of kapa haka is that it provides a positive, disciplined, strength-based environment for rangatahi.
• Kapa haka is having a powerful, transformative impact on social outcomes through the BMPA (Māori performing arts degree), which enables people involved in kapa haka who would otherwise never have considered tertiary education as an option, to embark on that journey and exceed their
own expectations.
• An overall feeling of optimism about the future of kapa haka was tempered by the conviction that there was much more potential to be explored within the realm of kapa haka, particularly in terms of its social benefits.
• The myriad benefits of kapa haka within school environments, including improved learning outcomes, were clearly attested to. However, some barriers to realising those improved outcomes were also identified.
• Some participants were very sure ofthe economic value of kapa haka to Aotearoa. Whilemost of them were less able to articulate specific economic outcomes, they nonetheless had a definite sense of the link between the cultural, social and economic, and that that was ofsignificant value.
• The immense value of ‘culture-to-culture’ relationships was identified, with Maōri culture, including kapa haka, playing a significant role in laying the foundations for lasting trade relationships with other nations, and other cultures.
• Two significant and largely unacknowledged areas of economic contribution were identified: the ‘silent’ economy generated by kapa haka activities; and the extensive ‘productivity’ activity around voluntary workers involved in kapa haka.
• There was an overall view that the economic potential of kapa haka is underestimated and needs to be explored more fully, including the potential for engagement with New Zealand’s private sector.
• A recurrent theme that emerged around the value of kapa haka was to do with how we should go about measuring the value of culture, knowledge and art, and how ‘value’ itselfshould be defined and measured.
• Economic challenges were identified, especially in terms of financial hardship for those involved in kapa haka at the competitive level. It was also noted, however, that kapa haka communities are naturally adept and endlessly resourceful at generating funds.
• The issue of sustainability was raised by some participants who were concerned that kapa haka should be supported at every level into the future, and not just at the high-end competitive level.
• Of fundamental importance was that the growth and development of kapa haka should take place within the context of the acceptance and embracing of Māori culture as an integral component of New Zealand identity and nationhood.

year: 2014