title: !!!FR33D0M 0FF SP33CH!!!

authors: Smith, Hugh Lyal

subjects: Poetry

abstract: My title is “FR33D0M 0FF SP33CH”, a play on the saying “freedom of speech”. I write with the intent of voicing tough subjects that others haven’t or don’t, and often exposing things that I wouldn’t tell or share personally. “FR33D0M 0FF SP33CH” consists of 37 poems, 2 hooks and a chorus in this complete album. My earliest piece can date back to 2020 with the latest pieces being written in 2021. They express different visions of day-to-day life through points of view and alternating voices and perspectives. The topics range from anything like seeing a face in the smudge on a wall, to things like love, street styles and why I can’t sleep at night. They are to be read left to right, top to bottom -- but feel free to read them as you see fit, because it’s art after all and what you see is what you see. Those labelled “Mirrored” have been turned upside down to allow reading from either end and show the extent of form and variety my pieces can take. Some things may be explicit or hard to read, but I assure you that they are just certain views from different angles that I believe need to be shared. There is a strong political/cultural component to my mahi, a tough vocal attack on elements of society I believe are flawed and unjust, and an exposure of the addictions and abuses that colonial history and racial inequality lead to – but there’s also an intense celebration of the power of the Māori voice that remains, its beat and pride and resilience and ancestry, joined by a rich musical joy in the songs of the street I grew up in, their rhythms and rap, energy and power. It has taken me a long time to reach this level of writing in terms of technique, rhythm and content. I want the reader to see things through my shades and feel what it feels like to be me with an understanding of why I am and where I come from. To understand that, No, I don’t know everything, and I don’t expect anyone else to. But, Yes, this is what I saw, felt and how I interpreted it. So there it is and this is me, the bro Hugh. A lit ūrikā descendant of Ngāti Kuri, Ngāti Rēhia, Te Rārawa, Te Aupōuri and Ngāpuhi. Bred in the streets I-roam and made home. A dreamer of the future. Last but not least, your son, your brother, your bro and he who wrote the killer book that you are about to read. Churrr!!!

text: !!!FR33D0M 0FF SP33CH!!! My title is “FR33D0M 0FF SP33CH”, a play on the saying “freedom of speech”. I write with the intent of voicing tough subjects that others haven’t or don’t, and often exposing things that I wouldn’t tell or share personally. “FR33D0M 0FF SP33CH” consists of 37 poems, 2 hooks and a chorus in this complete album. My earliest piece can date back to 2020 with the latest pieces being written in 2021. They express different visions of day-to-day life through points of view and alternating voices and perspectives. The topics range from anything like seeing a face in the smudge on a wall, to things like love, street styles and why I can’t sleep at night. They are to be read left to right, top to bottom -- but feel free to read them as you see fit, because it’s art after all and what you see is what you see. Those labelled “Mirrored” have been turned upside down to allow reading from either end and show the extent of form and variety my pieces can take. Some things may be explicit or hard to read, but I assure you that they are just certain views from different angles that I believe need to be shared. There is a strong political/cultural component to my mahi, a tough vocal attack on elements of society I believe are flawed and unjust, and an exposure of the addictions and abuses that colonial history and racial inequality lead to – but there’s also an intense celebration of the power of the Māori voice that remains, its beat and pride and resilience and ancestry, joined by a rich musical joy in the songs of the street I grew up in, their rhythms and rap, energy and power. It has taken me a long time to reach this level of writing in terms of technique, rhythm and content. I want the reader to see things through my shades and feel what it feels like to be me with an understanding of why I am and where I come from. To understand that, No, I don’t know everything, and I don’t expect anyone else to. But, Yes, this is what I saw, felt and how I interpreted it. So there it is and this is me, the bro Hugh. A lit ūrikā descendant of Ngāti Kuri, Ngāti Rēhia, Te Rārawa, Te Aupōuri and Ngāpuhi. Bred in the streets I-roam and made home. A dreamer of the future. Last but not least, your son, your brother, your bro and he who wrote the killer book that you are about to read. Churrr!!!

year: 2021

title: Dendroarchaeology in New Zealand: extending the range of archaeologically useful species beyond kauri (Agathis australis)

authors: Boswijk, Gretel

abstract: Accurately establishing calendar dates for Māori wooden objects would place them in a secure temporal context and enable aspects of manufacturing and use to be explored within and between sites, and across time. Dendrochronology has the potential to produce accurate and precise calendar dates for wooden artefacts but in New Zealand application of this technique to Māori cultural material is limited as there is almost no overlap between wood species found in archaeological contexts and tree-species with proven suitability for tree-ring dating. Here we identify five archaeologically-useful species – kahikatea (Dacrycarpus dacrydioides), matai (Prumnopitys taxifolia), miro (Prumnopitys ferruginea), rimu (Dacrydium cupressinum) and totara (Podocarpus totara) – and assess their potential for dendrochronology. Of these, matai, miro and totara are identified as species that should be the subject of further comprehensive dendrochronological investigation.

text: Dendroarchaeology in New Zealand: extending the range of archaeologically useful species beyond kauri (Agathis australis) Accurately establishing calendar dates for Māori wooden objects would place them in a secure temporal context and enable aspects of manufacturing and use to be explored within and between sites, and across time. Dendrochronology has the potential to produce accurate and precise calendar dates for wooden artefacts but in New Zealand application of this technique to Māori cultural material is limited as there is almost no overlap between wood species found in archaeological contexts and tree-species with proven suitability for tree-ring dating. Here we identify five archaeologically-useful species – kahikatea (Dacrycarpus dacrydioides), matai (Prumnopitys taxifolia), miro (Prumnopitys ferruginea), rimu (Dacrydium cupressinum) and totara (Podocarpus totara) – and assess their potential for dendrochronology. Of these, matai, miro and totara are identified as species that should be the subject of further comprehensive dendrochronological investigation.

year: 2019

title: Constructive Mathematics in Theory and Programming Practice

authors: Bridges, Douglas

subjects: computer science

abstract: The first part of the paper introduces the varieties of modern constructive mathematics, concentrating on Bishop’s constructive mathematics(BISH). It gives a sketch of both Myhill’s axiomatic system for BISH and a constructive axiomatic development of the real line R. The second part of the paper focuses on the relation between constructive mathematics and programming, with emphasis on Martin-Lof’s theory of types as a formal system for BISH.

text: Constructive Mathematics in Theory and Programming Practice The first part of the paper introduces the varieties of modern constructive mathematics, concentrating on Bishop’s constructive mathematics(BISH). It gives a sketch of both Myhill’s axiomatic system for BISH and a constructive axiomatic development of the real line R. The second part of the paper focuses on the relation between constructive mathematics and programming, with emphasis on Martin-Lof’s theory of types as a formal system for BISH.

year: 1999