title: Older adult education in a New Zealand university: Developments and issues

authors: Findsen, Brian

abstract: This article explores a case study of educational provision for older adults in the context of continuing education in one of New Zealand’s universities. It explains how developments in older adult education at the University of Waikato have reflected historical and cultural trends related to the wider field of adult and community education (ACE) inside a higher education setting. It discusses issues of tertiary education policy and funding, what constitutes curriculum and provision for older adults and how university-community partnerships have shaped opportunities for both indigenous Māori and Pakeha (European) seniors. Government removal of funding to all universities in New Zealand for ACE at the end of 2012 ended formal provision but older adult education groups, formerly supported by the Centre for Continuing Education in the University of Waikato, have assumed a more proactive stance in planning and implementing their own programmes.

text: Older adult education in a New Zealand university: Developments and issues This article explores a case study of educational provision for older adults in the context of continuing education in one of New Zealand’s universities. It explains how developments in older adult education at the University of Waikato have reflected historical and cultural trends related to the wider field of adult and community education (ACE) inside a higher education setting. It discusses issues of tertiary education policy and funding, what constitutes curriculum and provision for older adults and how university-community partnerships have shaped opportunities for both indigenous Māori and Pakeha (European) seniors. Government removal of funding to all universities in New Zealand for ACE at the end of 2012 ended formal provision but older adult education groups, formerly supported by the Centre for Continuing Education in the University of Waikato, have assumed a more proactive stance in planning and implementing their own programmes.

year: 2014

title: Performing Femininity. Carmen - Good Ship Lollipop: A solo performance

authors: Fraser, Elroy

subjects: Performance

abstract: In the tradition of queer fringe theatre, Carmen - Good Ship Lollipop: a solo performance was written by a queer playwright, with a queer message for a queer audience.  The play was devised by drawing on Queer Theatre practice and methodology.
The following thesis details the process I undertook to create Carmen - Good Ship Lollipop: a solo performance. The story was created using biographical content already in the public arena. The play is about the public life of the late Carmen Rupe, New Zealand’s most famous transsexual. 
A historical perspective of men performing as women, or more fittingly, femininity performed by those other than female is presented by drawing on literature of this genre. The place of the solo performer and the combined roles of the actor, director, and producer are explored. Definitions of queer theatre and female impersonation are presented and issues of imitation, innovation and authenticity discussed.
The first methodology section details the choice of the particular playtext, the scriptwriting process, and dramaturgical analysis of Carmen – Good Ship Lollipop: a solo performance 
The second methodology section details the ‘script to stage’ production process. The development of the rehearsal script and the decision to limit the rehearsal period to one week is discussed. The plays evolution in terms of style and structure is presented.
The conclusion analyses the final product: to what extent Carmen - Good Ship Lollipop: a solo performance is faithful the Queer Theatre genre, successful as a performance piece, and reactive enough to be relevant. What further development could be applied in order to perform a future season.

text: Performing Femininity. Carmen - Good Ship Lollipop: A solo performance In the tradition of queer fringe theatre, Carmen - Good Ship Lollipop: a solo performance was written by a queer playwright, with a queer message for a queer audience.  The play was devised by drawing on Queer Theatre practice and methodology.
The following thesis details the process I undertook to create Carmen - Good Ship Lollipop: a solo performance. The story was created using biographical content already in the public arena. The play is about the public life of the late Carmen Rupe, New Zealand’s most famous transsexual. 
A historical perspective of men performing as women, or more fittingly, femininity performed by those other than female is presented by drawing on literature of this genre. The place of the solo performer and the combined roles of the actor, director, and producer are explored. Definitions of queer theatre and female impersonation are presented and issues of imitation, innovation and authenticity discussed.
The first methodology section details the choice of the particular playtext, the scriptwriting process, and dramaturgical analysis of Carmen – Good Ship Lollipop: a solo performance 
The second methodology section details the ‘script to stage’ production process. The development of the rehearsal script and the decision to limit the rehearsal period to one week is discussed. The plays evolution in terms of style and structure is presented.
The conclusion analyses the final product: to what extent Carmen - Good Ship Lollipop: a solo performance is faithful the Queer Theatre genre, successful as a performance piece, and reactive enough to be relevant. What further development could be applied in order to perform a future season.

year: 2013

title: Transition removal for compositional supervisor synthesis

authors: Mohajerani, Sahar

subjects: computer science

abstract: This paper investigates under which conditions transitions can be removed from an automaton while preserving important synthesis properties. The work is part of a framework for compositional synthesis of least restrictive controllable and nonblocking supervisors for modular discrete event systems. The method for transition removal complements previous results, which are largely focused on state merging. Issues concerning transition removal in synthesis are discussed, and redirection maps are introduced to enable a supervisor to process an event, even though the corresponding transition is no longer present in the model. Based on the results, different techniques are proposed to remove controllable and uncontrollable transitions, and an example shows the potential of the method for practical problems.

text: Transition removal for compositional supervisor synthesis This paper investigates under which conditions transitions can be removed from an automaton while preserving important synthesis properties. The work is part of a framework for compositional synthesis of least restrictive controllable and nonblocking supervisors for modular discrete event systems. The method for transition removal complements previous results, which are largely focused on state merging. Issues concerning transition removal in synthesis are discussed, and redirection maps are introduced to enable a supervisor to process an event, even though the corresponding transition is no longer present in the model. Based on the results, different techniques are proposed to remove controllable and uncontrollable transitions, and an example shows the potential of the method for practical problems.

year: 2012