title: Scott Base Redevelopment CEE environmental monitoring report: Year two (December 2019 - January 2020)

authors: O'Neill, Tanya Ann

abstract: An understanding of the soils and the underlying permafrost surrounding Scott Base is important to detect impacts of environmental change or human activities, such as the redevelopment of Scott Base, on the unique soil communities and on geomorphological processes. The Scott Base Redevelopment (SBR) is the largest project ever undertaken by New Zealand in Antarctica. It is a requirement of the Environmental Protocol to the Antarctic Treaty and New Zealand's Antarctica (Environmental Protection) Act (1994) that an environmental impact assessment be completed prior to any activity taking place in Antarctica. A Comprehensive Environmental Evaluation (CEE) of the project is being completed in order to support decision-making with an assessment of predicted environmental impacts linked with the redevelopment. A comprehensive monitoring programme was set up to verify the accuracy of the environmental impact assessment presented in the CEE and to detect unforeseen impacts or impacts that are more significant than expected.
In year one (January 2019) 25 monitoring sites were established around Scott Base to assess current levels of biodiversity and abundance of invertebrates and microbial communities, along with soil chemical characteristics, and visual characteristics within the wider redevelopment area. These monitoring plots established a baseline against which future changes can be detected. My role in year one of the project was to determine the chemical characteristics of soil from the monitoring plots, undertake visual site assessments around each monitoring plot, measure depth to ice-cement, and install 12 passive dust samplers adjacent to the monitoring plots.
In year two (December 2019 to January 2020) five control sites were established at Cape Evans, including installation of three passive dust samplers adjacent to the soil monitoring plots. Soil samples were taken and all the same parameters measured and defined in year one were replicated at the control sites.
This report is to be read in conjunction with the year one report (which gives background information on the general characteristics of Scott Base soils, including information on active layer, permafrost, soil moisture, soil organisms, and evidence of natural and human induced changes to the soil-permafrost environment; as well as sampling site selection criteria, and detailed methods). This report focusses on the results and discussion on my aspect of this multidisciplinary project, including, work undertaken at the newly established Cape Evans control sites: depth to ice-cement, visual site assessments, pXRF, and soil analysis; and new work at the Scott Base monitoring plots and environs: pXRF on surface soil at monitoring plots and target sites, melt water sampling, and particle size analysis of dust (from year 1).

text: Scott Base Redevelopment CEE environmental monitoring report: Year two (December 2019 - January 2020) An understanding of the soils and the underlying permafrost surrounding Scott Base is important to detect impacts of environmental change or human activities, such as the redevelopment of Scott Base, on the unique soil communities and on geomorphological processes. The Scott Base Redevelopment (SBR) is the largest project ever undertaken by New Zealand in Antarctica. It is a requirement of the Environmental Protocol to the Antarctic Treaty and New Zealand's Antarctica (Environmental Protection) Act (1994) that an environmental impact assessment be completed prior to any activity taking place in Antarctica. A Comprehensive Environmental Evaluation (CEE) of the project is being completed in order to support decision-making with an assessment of predicted environmental impacts linked with the redevelopment. A comprehensive monitoring programme was set up to verify the accuracy of the environmental impact assessment presented in the CEE and to detect unforeseen impacts or impacts that are more significant than expected.
In year one (January 2019) 25 monitoring sites were established around Scott Base to assess current levels of biodiversity and abundance of invertebrates and microbial communities, along with soil chemical characteristics, and visual characteristics within the wider redevelopment area. These monitoring plots established a baseline against which future changes can be detected. My role in year one of the project was to determine the chemical characteristics of soil from the monitoring plots, undertake visual site assessments around each monitoring plot, measure depth to ice-cement, and install 12 passive dust samplers adjacent to the monitoring plots.
In year two (December 2019 to January 2020) five control sites were established at Cape Evans, including installation of three passive dust samplers adjacent to the soil monitoring plots. Soil samples were taken and all the same parameters measured and defined in year one were replicated at the control sites.
This report is to be read in conjunction with the year one report (which gives background information on the general characteristics of Scott Base soils, including information on active layer, permafrost, soil moisture, soil organisms, and evidence of natural and human induced changes to the soil-permafrost environment; as well as sampling site selection criteria, and detailed methods). This report focusses on the results and discussion on my aspect of this multidisciplinary project, including, work undertaken at the newly established Cape Evans control sites: depth to ice-cement, visual site assessments, pXRF, and soil analysis; and new work at the Scott Base monitoring plots and environs: pXRF on surface soil at monitoring plots and target sites, melt water sampling, and particle size analysis of dust (from year 1).

year: 2020

title: Incorporating discontinuous preferences into the analysis of discrete choice experiments

authors: Campbell, Danny

subjects: discontinuous preferences

abstract: Data from a discrete choice experiment on improvements of rural landscape attributes are used to investigate the implications of discontinuous preferences on willingness to pay estimates. Using a multinomial error component logit model, we explore differences in scale and unexplained variance between respondents with discontinuous and continuous preferences and condition taste intensities on whether or not each attribute was considered by the respondent during the evaluation of alternatives. Results suggest that significant improvements in model performance can be achieved when discontinuous preferences are accommodated in the econometric specification, and that the magnitude and robustness of the willingness to pay estimates are sensitive to discontinuous preferences.

text: Incorporating discontinuous preferences into the analysis of discrete choice experiments Data from a discrete choice experiment on improvements of rural landscape attributes are used to investigate the implications of discontinuous preferences on willingness to pay estimates. Using a multinomial error component logit model, we explore differences in scale and unexplained variance between respondents with discontinuous and continuous preferences and condition taste intensities on whether or not each attribute was considered by the respondent during the evaluation of alternatives. Results suggest that significant improvements in model performance can be achieved when discontinuous preferences are accommodated in the econometric specification, and that the magnitude and robustness of the willingness to pay estimates are sensitive to discontinuous preferences.

year: 2007-09

title: Indigenising the screen: Screenplay and critical analysis for The Prophet

authors: Bristowe, Joseph Curtis

subjects: indiginization

abstract: This thesis tests the hypothesis that it is possible to both decolonise and indigenise the New Zealand cinema screen. Secondary research reveals how those discourses that promoted roles and expectations for Māori within the New Zealand film industry were based principally upon historical colonial ideologies imposed by various means upon the native populous, and subsequently reproduced. These discourses of race, gender and religion perpetuate negative belief systems about Māori and contribute to the reproduction of stereotypical images of Māori, such as the irrational, naive, simpleminded and warlike Māori man, or the domesticated, lustful and sexually available Māori woman. 

Research by creative practice advances the project of decolonising the New Zealand screen through the writing of a feature length screenplay based on careful research and intimate cultural knowledge, and by working according to an appropriate kaupapa Māori framework. The resulting screenplay, The Prophet, brings to life the multitude of forces that coalesced to shape the life of 19th century Māori warrior and prophet, Te Kooti Arikirangi Te Tūruki. In his death, as in his life, he remains an enigmatic figure. In written accounts and in Pākehā memories he appears as a violent rebel, mass murderer and religious fanatic. This epic re-telling focuses on the character of Te Kooti, showing him to be a man who accomplished great feats in the face of injustice, adversity and hardship. 
A critical analysis of the screenplay reveals how I adopted a unique cross cultural writing approach drawing upon both the 'classic' western narrative structure as well as kaupapa Māori pūrākau oral tradition. I argue that this approach combines effectively to materialise strong anti-colonial perspectives aimed specifically at subverting long-held and dominant colonial discourses. Such an approach to scriptwriting rejects the tradition of being defined, constructed and represented through discourses that serve to promote the interests of the Pākehā majority and, in doing so, urges the utilisation of Māori philosophies, concepts and practices in the scriptwriting/film production process.

text: Indigenising the screen: Screenplay and critical analysis for The Prophet This thesis tests the hypothesis that it is possible to both decolonise and indigenise the New Zealand cinema screen. Secondary research reveals how those discourses that promoted roles and expectations for Māori within the New Zealand film industry were based principally upon historical colonial ideologies imposed by various means upon the native populous, and subsequently reproduced. These discourses of race, gender and religion perpetuate negative belief systems about Māori and contribute to the reproduction of stereotypical images of Māori, such as the irrational, naive, simpleminded and warlike Māori man, or the domesticated, lustful and sexually available Māori woman. 

Research by creative practice advances the project of decolonising the New Zealand screen through the writing of a feature length screenplay based on careful research and intimate cultural knowledge, and by working according to an appropriate kaupapa Māori framework. The resulting screenplay, The Prophet, brings to life the multitude of forces that coalesced to shape the life of 19th century Māori warrior and prophet, Te Kooti Arikirangi Te Tūruki. In his death, as in his life, he remains an enigmatic figure. In written accounts and in Pākehā memories he appears as a violent rebel, mass murderer and religious fanatic. This epic re-telling focuses on the character of Te Kooti, showing him to be a man who accomplished great feats in the face of injustice, adversity and hardship. 
A critical analysis of the screenplay reveals how I adopted a unique cross cultural writing approach drawing upon both the 'classic' western narrative structure as well as kaupapa Māori pūrākau oral tradition. I argue that this approach combines effectively to materialise strong anti-colonial perspectives aimed specifically at subverting long-held and dominant colonial discourses. Such an approach to scriptwriting rejects the tradition of being defined, constructed and represented through discourses that serve to promote the interests of the Pākehā majority and, in doing so, urges the utilisation of Māori philosophies, concepts and practices in the scriptwriting/film production process.

year: 2009