title: Pyrite geochemistry and textures in the epithermal Au-Ag mineralisation at Waihi

authors: Eames, Anna G.

abstract: The Waihi epithermal system is a low sulphidation epithermal system that hosts one of the largest high grade ore deposits in the Southern Hemisphere. The use of petrographic and EPMA analyses demonstrate there are distinctive textural zones within pyrite grains that vary in chemistry and appearance. Some of these zones contain elevated concentrations of Au and Te, and varying concentrations of Fe, S, Cu, Pb or Zn. The textural observations indicate that in some samples, pyrite growth was interrupted by periods of dissolution. Grains begin growth with overall low trace element concentrations, with the highest concentrations of trace elements occurring in the middle phase of the grain’s growth. Inclusions are rich in Pb, Ca, Se, Zn and Ni, and are attributed to the ‘dirty’ texture of some samples. Inclusion-rich areas are also high in Au. The nature of the presence of Te suggests either a single source of magmatic fluid, released in pulses, or periodical dilution of the magmatic fluid by meteoric waters.

text: Pyrite geochemistry and textures in the epithermal Au-Ag mineralisation at Waihi The Waihi epithermal system is a low sulphidation epithermal system that hosts one of the largest high grade ore deposits in the Southern Hemisphere. The use of petrographic and EPMA analyses demonstrate there are distinctive textural zones within pyrite grains that vary in chemistry and appearance. Some of these zones contain elevated concentrations of Au and Te, and varying concentrations of Fe, S, Cu, Pb or Zn. The textural observations indicate that in some samples, pyrite growth was interrupted by periods of dissolution. Grains begin growth with overall low trace element concentrations, with the highest concentrations of trace elements occurring in the middle phase of the grain’s growth. Inclusions are rich in Pb, Ca, Se, Zn and Ni, and are attributed to the ‘dirty’ texture of some samples. Inclusion-rich areas are also high in Au. The nature of the presence of Te suggests either a single source of magmatic fluid, released in pulses, or periodical dilution of the magmatic fluid by meteoric waters.

year: 2016

title: The effect of SDS and TEG on chain mobility and secondary structure of decolored bloodmeal

authors: Hicks, Talia

subjects: IR spectroscopy

abstract: The effect of sodium dodecyl sulfate (SDS) and triethylene glycol (TEG) on secondary structure of decolored bloodmeal (DBM) during heating was examined via synchrotron-based Fourier transform infra-red spectroscopy (FT-IR) and wide angle X-ray scattering (WAXS). Both additives homogenize secondary structure distribution; SDS increases α-helices and decreases β-sheets and β-turns, while SDS–TEG reduces α-helices and β-sheets and increase random coils. Short heat cycles only change the composition of SDS-TEG treated DBM, implying TEG is responsible for chain mobility. Prolonged heating slowly increases β-sheets and suddenly increases α-helices at 55–75 °C in SDS-TEG treated DBM and 100 °C in SDS-treated DBM. Finally, WAXS shows that structural change due to heating is reversible for SDS-TEG treated DBM

text: The effect of SDS and TEG on chain mobility and secondary structure of decolored bloodmeal The effect of sodium dodecyl sulfate (SDS) and triethylene glycol (TEG) on secondary structure of decolored bloodmeal (DBM) during heating was examined via synchrotron-based Fourier transform infra-red spectroscopy (FT-IR) and wide angle X-ray scattering (WAXS). Both additives homogenize secondary structure distribution; SDS increases α-helices and decreases β-sheets and β-turns, while SDS–TEG reduces α-helices and β-sheets and increase random coils. Short heat cycles only change the composition of SDS-TEG treated DBM, implying TEG is responsible for chain mobility. Prolonged heating slowly increases β-sheets and suddenly increases α-helices at 55–75 °C in SDS-TEG treated DBM and 100 °C in SDS-treated DBM. Finally, WAXS shows that structural change due to heating is reversible for SDS-TEG treated DBM

year: 2014-11

title: Anhedonia: He kohinga whiti mai i te tirohanga o ngā wahanga e rima o te pōuri / A collection of poetry themed around loss presented through the lens of the five stages of grief

authors: Nicholls, Rawiri Rangihouhiri Terrence

subjects: Grief

abstract: Anhedonia is a collection of personal experiences centred around loss examined through the lens of the five stages of grief (denial, anger, bargaining, depression, and acceptance) and framed within a personal confessional postmodernism style. It was also influenced by the collected works of Federico Garcia Lorca, Sylvia Plath, Cassandra Barnett (Ngāti Huri, Raukawa), Kirsty Dunn (Te Aupōuri, Te Rarawa), and Ngahuia Te Awekotuku (Te Arawa, Tūhoe).

While loss and grief are intrinsically linked to death, within this collection, I further explore other forms of loss and grief. I touch on my loss of cultural identity, mind, and self. As a student, I have been diving deeper into my cultural identity of being Māori and what that means to me. I have lost many things throughout my life at the hands of abuse, depression, grief, and mental health. The poetry within this collection will continue to serve as a blunt reminder of the experiences (both positive and negative) that I have endured or witnessed over the last couple of decades.

I have seen a multitude of losses (in its many variations) as I continue the dance to discover what the mortality of not only myself but those around me means to me. While everyone will experience feelings of grief and loss, I have framed my own experiences in my interpretation of our collective mortality.

text: Anhedonia: He kohinga whiti mai i te tirohanga o ngā wahanga e rima o te pōuri / A collection of poetry themed around loss presented through the lens of the five stages of grief Anhedonia is a collection of personal experiences centred around loss examined through the lens of the five stages of grief (denial, anger, bargaining, depression, and acceptance) and framed within a personal confessional postmodernism style. It was also influenced by the collected works of Federico Garcia Lorca, Sylvia Plath, Cassandra Barnett (Ngāti Huri, Raukawa), Kirsty Dunn (Te Aupōuri, Te Rarawa), and Ngahuia Te Awekotuku (Te Arawa, Tūhoe).

While loss and grief are intrinsically linked to death, within this collection, I further explore other forms of loss and grief. I touch on my loss of cultural identity, mind, and self. As a student, I have been diving deeper into my cultural identity of being Māori and what that means to me. I have lost many things throughout my life at the hands of abuse, depression, grief, and mental health. The poetry within this collection will continue to serve as a blunt reminder of the experiences (both positive and negative) that I have endured or witnessed over the last couple of decades.

I have seen a multitude of losses (in its many variations) as I continue the dance to discover what the mortality of not only myself but those around me means to me. While everyone will experience feelings of grief and loss, I have framed my own experiences in my interpretation of our collective mortality.

year: 2024