title: Investigation of intermittency in magnetohydrodynamics and solar wind turbulence: scale-dependent kurtosis

authors: Wan, Minping

subjects: magnetohydrodynamics (MHD)

abstract: The behavior of scale-dependent (or filtered) kurtosis is studied in the solar wind using magnetic field measurements from the ACE and Cluster spacecraft at 1 AU. It is also analyzed numerically with high-resolution magnetohydrodynamic spectral simulations. In each case the filtered kurtosis increases with wavenumber, implying the presence of coherent structures at the smallest scales. This phase coupling is related to intermittency in solar wind turbulence and the emergence of non-Gaussian statistics. However, it is inhibited by the presence of upstream waves and other phase-randomizing structures, which act to reduce the growth of kurtosis.

text: Investigation of intermittency in magnetohydrodynamics and solar wind turbulence: scale-dependent kurtosis The behavior of scale-dependent (or filtered) kurtosis is studied in the solar wind using magnetic field measurements from the ACE and Cluster spacecraft at 1 AU. It is also analyzed numerically with high-resolution magnetohydrodynamic spectral simulations. In each case the filtered kurtosis increases with wavenumber, implying the presence of coherent structures at the smallest scales. This phase coupling is related to intermittency in solar wind turbulence and the emergence of non-Gaussian statistics. However, it is inhibited by the presence of upstream waves and other phase-randomizing structures, which act to reduce the growth of kurtosis.

year: 2012

title: Transformations: Anthropology, Art and the Quilt

authors: Wanigasekera, Gwenda Dorothy

subjects: Anthropology

abstract: Drawing on both anthropological and quilt literature, this thesis shows the many different ways that made objects are thought about by different groups of people.  Awareness of these differences permits a new perspective of 'Western' art and object making.  This awareness allows a space in which to consider the importance of the process of making.

Quiltmaking provides an interesting case study.  This thesis therefore describes the field of quiltmaking activity that exists in New Zealand at the present time.  This genre, as it is practised today, had its beginnings in the revival that began in this country during the 1970's.  This study will show that the main impetus of this revival did not draw on known traditions in New Zealand, but rather on a largely imported tradition that had developed in the United States of America.

Ideas about the status of quilts as art objects, comes from a mixture of influences.  The tradition of quiltmaking in the United States was already a strong one and had been through a number of revivals.  Aspects of this traditional culture influenced quiltmakers in New Zealand. Simultaneously, there was an equally strong sense of the quilt as an art object in New Zealand.  However, art entrepreneurs in the United States certainly were part of the transformation of the quilt into an art object in that country.  Their strategies of discourse and display drew on contemporary artworld ideologies and ultimately this valuation affected which quilts could be seen as 'art' in New Zealand.

Through the use of participant observation, interviews and a questionnaire, the content of this study will show the many different ways that New Zealand quiltmakers work, their aims and goals for the quilts they make, and the ways these quilts are perceived by other quilters and the wider public.  Some areas that have resulted in conflict and misunderstandings are discussed. As in any such group, conflicts and misunderstandings arise from the existence of different ways of valuing aspects of cultural activities.

NB Unlike the hard copy of this thesis the colour plates in this electronic version are placed together between the chapters and the appendices.

text: Transformations: Anthropology, Art and the Quilt Drawing on both anthropological and quilt literature, this thesis shows the many different ways that made objects are thought about by different groups of people.  Awareness of these differences permits a new perspective of 'Western' art and object making.  This awareness allows a space in which to consider the importance of the process of making.

Quiltmaking provides an interesting case study.  This thesis therefore describes the field of quiltmaking activity that exists in New Zealand at the present time.  This genre, as it is practised today, had its beginnings in the revival that began in this country during the 1970's.  This study will show that the main impetus of this revival did not draw on known traditions in New Zealand, but rather on a largely imported tradition that had developed in the United States of America.

Ideas about the status of quilts as art objects, comes from a mixture of influences.  The tradition of quiltmaking in the United States was already a strong one and had been through a number of revivals.  Aspects of this traditional culture influenced quiltmakers in New Zealand. Simultaneously, there was an equally strong sense of the quilt as an art object in New Zealand.  However, art entrepreneurs in the United States certainly were part of the transformation of the quilt into an art object in that country.  Their strategies of discourse and display drew on contemporary artworld ideologies and ultimately this valuation affected which quilts could be seen as 'art' in New Zealand.

Through the use of participant observation, interviews and a questionnaire, the content of this study will show the many different ways that New Zealand quiltmakers work, their aims and goals for the quilts they make, and the ways these quilts are perceived by other quilters and the wider public.  Some areas that have resulted in conflict and misunderstandings are discussed. As in any such group, conflicts and misunderstandings arise from the existence of different ways of valuing aspects of cultural activities.

NB Unlike the hard copy of this thesis the colour plates in this electronic version are placed together between the chapters and the appendices.

year: 2006

title: Hone Werahiko: the discoverer of gold at Te Aroha

authors: Hart, Philip

abstract: Originally Hone Kahukahu, when he was living at Ohinemutu in the 1860s he became known as Hone Werahiko, an Arawa name he retained for the rest of his life. His father, a member of Ngati Kahungungu, had been captured by Arawa; his mother was a Waikato. A widow living at Maketu chose him as her second husband because he was ‘a good looking fellow & understood English’. 
In the late 1860s and much of the 1870s, he prospected in Hauraki and even in the King Country, and worked underground in a Thames mine, the only Maori known to have done so. But in the early 1870s he gave up mining to be a pioneer publican and storekeeper at Ohinemutu, at Rotorua. He acquired land and property there, but after his wife died he returned to prospecting full-time. 
Werahiko’s first investigation of Te Aroha was in 1877, when he was ordered off by the local hapu. He returned in 1880 as the head of a prospecting party subsidized by the government. After finding gold, he was granted the Prospectors’ Claim and, in due course, a reward, and for a time supervised its development. Investing in other claims, he traded in shares. When his discovery turned out to be a duffer, he explored other parts of the mountain, first having high hopes for the Tui portion but then, after four months of exploring over winter with the support of three other Maori, he announced the discovery of his New Find at Waiorongomai. Once again he acquired partners, mostly Paheka, and traded in shares, and for some time supervised the opening up of his new find.
Later, he was invited to prospect the King Country, but this did not eventuate. His last involvement in mining was at Karangahake. Because of the hardships of his prospecting at Te Aroha, he died at an early age, leaving a young second wife. His memory lived on, amongst Pakeha miners in particular, because he had the rare distinction for a prospector of being regarded as totally honest, and he was admired for succeeding when so many others had failed.

[Note: Especially when he first came to public attention, many Pakeha struggled with Hone Werahiko’s name, which was recorded in a variety of incorrect forms, the worst example being Hoani Whaekareka.  Even the warden at first gave his name as Hone Wharekino.  Many Pakeha found it simpler to refer to him as ‘Johnny the Maori’.  In this paper, his name is given correctly throughout.]

text: Hone Werahiko: the discoverer of gold at Te Aroha Originally Hone Kahukahu, when he was living at Ohinemutu in the 1860s he became known as Hone Werahiko, an Arawa name he retained for the rest of his life. His father, a member of Ngati Kahungungu, had been captured by Arawa; his mother was a Waikato. A widow living at Maketu chose him as her second husband because he was ‘a good looking fellow & understood English’. 
In the late 1860s and much of the 1870s, he prospected in Hauraki and even in the King Country, and worked underground in a Thames mine, the only Maori known to have done so. But in the early 1870s he gave up mining to be a pioneer publican and storekeeper at Ohinemutu, at Rotorua. He acquired land and property there, but after his wife died he returned to prospecting full-time. 
Werahiko’s first investigation of Te Aroha was in 1877, when he was ordered off by the local hapu. He returned in 1880 as the head of a prospecting party subsidized by the government. After finding gold, he was granted the Prospectors’ Claim and, in due course, a reward, and for a time supervised its development. Investing in other claims, he traded in shares. When his discovery turned out to be a duffer, he explored other parts of the mountain, first having high hopes for the Tui portion but then, after four months of exploring over winter with the support of three other Maori, he announced the discovery of his New Find at Waiorongomai. Once again he acquired partners, mostly Paheka, and traded in shares, and for some time supervised the opening up of his new find.
Later, he was invited to prospect the King Country, but this did not eventuate. His last involvement in mining was at Karangahake. Because of the hardships of his prospecting at Te Aroha, he died at an early age, leaving a young second wife. His memory lived on, amongst Pakeha miners in particular, because he had the rare distinction for a prospector of being regarded as totally honest, and he was admired for succeeding when so many others had failed.

[Note: Especially when he first came to public attention, many Pakeha struggled with Hone Werahiko’s name, which was recorded in a variety of incorrect forms, the worst example being Hoani Whaekareka.  Even the warden at first gave his name as Hone Wharekino.  Many Pakeha found it simpler to refer to him as ‘Johnny the Maori’.  In this paper, his name is given correctly throughout.]

year: 2016