title: Sedimentary structures, texture and paleoenvironment of the Hinuera Formation

authors: Sherwood, Alan M.

abstract: The Hinuera Formation is the extensive Upper Pleistocene terrestrial deposit of alluvial origin, underlying the plains of the Hamilton Basin and the Hauraki Lowland. The textures and sedimentary structures of ten stratigraphic sections are studied in detail, and indicate uniformity of the Hinuera Formation on a regional scale. Four dominant lithotypes occur: rhyolitic and pumiceous gravelly sands, quartz sands, pumice silt, and rhyolitic sandy gravels. A variety of primary and post-depositional structures is present, and four types of cross-stratification (Rho, Nu, Epsilon and Sigma) and three types of horizontal stratification are described. Textures indicate rapid deposition in an environment of flucuating high turbulat energy. Relative energies of the different sedimentary structures are suggested from the relations of structures to texture. Sedimentary structures are also related to flow regeime. Six facies are erected for the Hinuera Formation on the basis of lithology, texture, sedimentary structures, and flow reigeme, which indicate deposition by a braided river system. Deposition was contemporaneous with intense volcanic activity in the Central Volcanic Region, which combined with the cold, wet climate of a glacial period, led to the supply of large amounts of sediment to the river systems of the region, and aggradational fans were constructed in the Hauraki Lowloan and the Hamilton Basin. The six facies are incorperated into a suggested physiographic model of the Hinuera Formation.

text: Sedimentary structures, texture and paleoenvironment of the Hinuera Formation The Hinuera Formation is the extensive Upper Pleistocene terrestrial deposit of alluvial origin, underlying the plains of the Hamilton Basin and the Hauraki Lowland. The textures and sedimentary structures of ten stratigraphic sections are studied in detail, and indicate uniformity of the Hinuera Formation on a regional scale. Four dominant lithotypes occur: rhyolitic and pumiceous gravelly sands, quartz sands, pumice silt, and rhyolitic sandy gravels. A variety of primary and post-depositional structures is present, and four types of cross-stratification (Rho, Nu, Epsilon and Sigma) and three types of horizontal stratification are described. Textures indicate rapid deposition in an environment of flucuating high turbulat energy. Relative energies of the different sedimentary structures are suggested from the relations of structures to texture. Sedimentary structures are also related to flow regeime. Six facies are erected for the Hinuera Formation on the basis of lithology, texture, sedimentary structures, and flow reigeme, which indicate deposition by a braided river system. Deposition was contemporaneous with intense volcanic activity in the Central Volcanic Region, which combined with the cold, wet climate of a glacial period, led to the supply of large amounts of sediment to the river systems of the region, and aggradational fans were constructed in the Hauraki Lowloan and the Hamilton Basin. The six facies are incorperated into a suggested physiographic model of the Hinuera Formation.

year: 1972

title: The case for measuring adults’ numeracy practices

authors: Coben, Diana

subjects: Adult's Numeracy Practices

abstract: In this article, we make the case for the development of a numeracy practices measure in the light of a review of relevant research and extant measures. We argue that a numeracy practices measure would acknowledge and validate adult learners’ practice gains and inform teaching geared to their circumstances, needs and interests.

text: The case for measuring adults’ numeracy practices In this article, we make the case for the development of a numeracy practices measure in the light of a review of relevant research and extant measures. We argue that a numeracy practices measure would acknowledge and validate adult learners’ practice gains and inform teaching geared to their circumstances, needs and interests.

year: 2017

title: Ngā kura a Hineteiwaiwa: The embodiment of Mana Wahine in Māori fibre Arts

authors: Campbell, Donna

subjects: Mana Wahine

abstract: Imagine you are on a continuum of past present and future, in the present while connected to the past and creating for the future. Kairaranga  are constantly in this experience through engaging with the materiality of the practices of raranga and raranga whatu.  
The key focus of this thesis is to provide theoretical discussion of the raranga and whatu practices that are the creative component of this doctoral research.  The theories that inform the analysis are Kaupapa Māori and Mana Wahine both of which, like raranga, are organic to this place, Aotearoa , and have grown as descendants of Papatūānuku  and Ranginui . The connection between these theories and the creative practices of raranga and whatu form a cultural praxis through which I argue enables the transformative power of raranga and whatu practices.  This too is the essence of Te Whare Pora, a weaving house that embraces kairaranga both conceptually and materially and which provides the approach to the project. Te Whare Pora is a place of knowledge and a place of practice. Like Kaupapa Māori and Mana Wahine theories it is a cultural form and expression of praxis. As kairaranga we create taonga  informed by the creative genius of our tūpuna  from the native plants of the land. These ageless practices and the taonga we create are permeated with our own present realities. The taonga then carry this tūpuna knowledge into the future in multiple forms. To highlight this, I explore a range of practices that exemplify raranga and raranga whatu as cultural embodiment.  This is articulated through notions of raranga as an expression of cultural bodies of knowledge, creative practice and regenerative praxis that span the past, present and future.  As such, this thesis is an expression of the creative journey of theory and practice inspired by tūpuna knowledge in the art forms of raranga and raranga whatu. The practices of raranga and raranga whatu not only transform the materials the kairaranga is using, but also the kairaranga themselves. These practices become self-affirming, culturally affirming and ultimately decolonizing.

text: Ngā kura a Hineteiwaiwa: The embodiment of Mana Wahine in Māori fibre Arts Imagine you are on a continuum of past present and future, in the present while connected to the past and creating for the future. Kairaranga  are constantly in this experience through engaging with the materiality of the practices of raranga and raranga whatu.  
The key focus of this thesis is to provide theoretical discussion of the raranga and whatu practices that are the creative component of this doctoral research.  The theories that inform the analysis are Kaupapa Māori and Mana Wahine both of which, like raranga, are organic to this place, Aotearoa , and have grown as descendants of Papatūānuku  and Ranginui . The connection between these theories and the creative practices of raranga and whatu form a cultural praxis through which I argue enables the transformative power of raranga and whatu practices.  This too is the essence of Te Whare Pora, a weaving house that embraces kairaranga both conceptually and materially and which provides the approach to the project. Te Whare Pora is a place of knowledge and a place of practice. Like Kaupapa Māori and Mana Wahine theories it is a cultural form and expression of praxis. As kairaranga we create taonga  informed by the creative genius of our tūpuna  from the native plants of the land. These ageless practices and the taonga we create are permeated with our own present realities. The taonga then carry this tūpuna knowledge into the future in multiple forms. To highlight this, I explore a range of practices that exemplify raranga and raranga whatu as cultural embodiment.  This is articulated through notions of raranga as an expression of cultural bodies of knowledge, creative practice and regenerative praxis that span the past, present and future.  As such, this thesis is an expression of the creative journey of theory and practice inspired by tūpuna knowledge in the art forms of raranga and raranga whatu. The practices of raranga and raranga whatu not only transform the materials the kairaranga is using, but also the kairaranga themselves. These practices become self-affirming, culturally affirming and ultimately decolonizing.

year: 2019