title: The phylogenesis of palaeoarts, and their coevolution in relation to artification

authors: Allegretti, Pietro

abstract: In this thesis, I investigate the hypothesis of artification developed by Ellen Dissanayake and its relevance for developing an account of the evolutionary trajectory of art-making in humans and hominins. 
The debate about the evolution of art-making has produced many theories of how arts evolved in humans’ deep past. One of the most promising views is the hypothesis of artification, that suggests that artworks evolved in ritual ceremonies as an enactment of the hominin predisposition to make bodies, objects, and vocalisations perceptually striking. I suggest that artification’s antecedents can be traced back to Australopithecines’ mother-infant interaction. I provide an argument in support of characterising artification as a cognitive toolkit that first evolved as an attention-getter mechanism, and art-making as a set of culturally accumulated practices exploiting this toolkit that evolved following coevolutionary trajectories with socio-cognitive niches in later hominins. I conclude that artification has a mosaic evolution, and that the first instances of art-making can be tracked back to the Early-Acheulean ≈ 1.7 mya.

text: The phylogenesis of palaeoarts, and their coevolution in relation to artification In this thesis, I investigate the hypothesis of artification developed by Ellen Dissanayake and its relevance for developing an account of the evolutionary trajectory of art-making in humans and hominins. 
The debate about the evolution of art-making has produced many theories of how arts evolved in humans’ deep past. One of the most promising views is the hypothesis of artification, that suggests that artworks evolved in ritual ceremonies as an enactment of the hominin predisposition to make bodies, objects, and vocalisations perceptually striking. I suggest that artification’s antecedents can be traced back to Australopithecines’ mother-infant interaction. I provide an argument in support of characterising artification as a cognitive toolkit that first evolved as an attention-getter mechanism, and art-making as a set of culturally accumulated practices exploiting this toolkit that evolved following coevolutionary trajectories with socio-cognitive niches in later hominins. I conclude that artification has a mosaic evolution, and that the first instances of art-making can be tracked back to the Early-Acheulean ≈ 1.7 mya.

year: 2026

title: Developing the Te Aroha district until c.1910

authors: Hart, Philip

abstract: When the Aroha Block was opened to Pakeha settlers, they found what to them was a wilderness with a great potential. Some of those seeking farms were miners, and as mining faded they encouraged the government to establish special farm settlements for them. But before the land’s potential could be tapped, it had to be surveyed, purchased from the Crown (often using the deferred payment scheme, as at Te Aroha West), and drained, a process fraught with difficulties and, it was charged, incompetence. Some land speculators were attracted to the district because the new goldfield provided a market for produce. As it took years to construct good roads, the Waihou River was the main means of moving people and produce. Once the river was snagged and the swamps were drained, a new problem arose: silting, solved for a time by planting willows along its banks. Over time, bridges replaced punts, and in 1886 the railway arrived.
After surviving harsh conditions when developing their land, farmers were able to provide a wide range of agricultural produce to local and regional markets. Kauri gum was dug, fleetingly, and the flax industry waxed and waned, but the arrival of dairying in the 1890s was an important step forward in the successful development of the district. In time, the first settlers could look back on their achievements and rejoice in the myth (and the reality) of the hardy pioneer.

text: Developing the Te Aroha district until c.1910 When the Aroha Block was opened to Pakeha settlers, they found what to them was a wilderness with a great potential. Some of those seeking farms were miners, and as mining faded they encouraged the government to establish special farm settlements for them. But before the land’s potential could be tapped, it had to be surveyed, purchased from the Crown (often using the deferred payment scheme, as at Te Aroha West), and drained, a process fraught with difficulties and, it was charged, incompetence. Some land speculators were attracted to the district because the new goldfield provided a market for produce. As it took years to construct good roads, the Waihou River was the main means of moving people and produce. Once the river was snagged and the swamps were drained, a new problem arose: silting, solved for a time by planting willows along its banks. Over time, bridges replaced punts, and in 1886 the railway arrived.
After surviving harsh conditions when developing their land, farmers were able to provide a wide range of agricultural produce to local and regional markets. Kauri gum was dug, fleetingly, and the flax industry waxed and waned, but the arrival of dairying in the 1890s was an important step forward in the successful development of the district. In time, the first settlers could look back on their achievements and rejoice in the myth (and the reality) of the hardy pioneer.

year: 2016

title: Book review:  Ikawai: freshwater fishes in Māori culture and economy

authors: Hicks, Brendan J.

abstract: This article reviews the book : “Ikawai: freshwater fishes in Māori culture and economy”, by RM McDowall.

text: Book review:  Ikawai: freshwater fishes in Māori culture and economy This article reviews the book : “Ikawai: freshwater fishes in Māori culture and economy”, by RM McDowall.

year: 2012