title: Mining algorithmic complexity in full-text scholarly documents

authors: Bakar, Abu

abstract: Non-textual document elements (NTDE) like charts, diagrams, algorithms play an important role to present key information in scientific documents [1]. Recent advancements in information retrieval systems tap this information to answer more complex queries by mining text pertaining to non-textual document elements. However, linking between document elements and corresponding text can be non-trivial. For instance, linking text related to algorithmic complexity with consequent root algorithm could be challenging. These elements are sometime placed at the start or at the end of the page instead of following the flow of document text, and the discussion about these elements may or may not be on the same page. In recent years, quite a few attempts have been made to extract NTDE [2-3]. These techniques are actively applied for effective document summarization, to improve the existing IR systems. Generally, asymptotic notations are used to identify the complexity lines in full text. We mine the relevant complexities of algorithms from full text by comparing the metadata of algorithm with context of paragraph in which complexity related discussion is made by authors. In this paper, we presented a mechanism for identification of algorithmic complexity lines using regular expressions, algorithmic metadata compilation of algorithms, and linking complexity related textual lines to algorithmic metadata.

text: Mining algorithmic complexity in full-text scholarly documents Non-textual document elements (NTDE) like charts, diagrams, algorithms play an important role to present key information in scientific documents [1]. Recent advancements in information retrieval systems tap this information to answer more complex queries by mining text pertaining to non-textual document elements. However, linking between document elements and corresponding text can be non-trivial. For instance, linking text related to algorithmic complexity with consequent root algorithm could be challenging. These elements are sometime placed at the start or at the end of the page instead of following the flow of document text, and the discussion about these elements may or may not be on the same page. In recent years, quite a few attempts have been made to extract NTDE [2-3]. These techniques are actively applied for effective document summarization, to improve the existing IR systems. Generally, asymptotic notations are used to identify the complexity lines in full text. We mine the relevant complexities of algorithms from full text by comparing the metadata of algorithm with context of paragraph in which complexity related discussion is made by authors. In this paper, we presented a mechanism for identification of algorithmic complexity lines using regular expressions, algorithmic metadata compilation of algorithms, and linking complexity related textual lines to algorithmic metadata.

year: 2018

title: Drama and Theatre in and for Schools: Referencing the Nature of Theatre in Contemporary New Zealand

authors: Luton, Jane Isobel

subjects: Educational Drama

abstract: This thesis considers the nature of drama and theatre in and for schools and references the nature of theatre in contemporary New Zealand. Drama in schools in New Zealand has developed from the earliest school productions in the 1800's, through its perceived role to enrich lives, to becoming a discrete Arts subject within the New Zealand educational curriculum in 1999. During this development, theatre companies began to tour schools and arguments ensued regarding drama's role in education as a process or performance. This development is charted through a range of historical and current curriculum documents.  The thesis references the importance of the Australian UNESCO Seminar on drama in education in 1958 which explored the relationship between the educational aspects of Drama and Drama as an art form, and which inspired New Zealand Drama teachers. The research contains interviews conducted during 2009, with Drama teachers, students and theatre practitioners, as well as considering examples of performances by schools and professional theatre since the advent of the new curriculum. The thesis investigates some of the many kinds of Drama work taking place in contemporary New Zealand schools, including co-curricula and curricula productions concerning a wide range of issues and utilising a range of dramatic styles. These include, an Intermediate School's collaboration and contribution to capital E's production of Kia Ora Khalid,   and examples of devised and scripted projects undertaken at Secondary Colleges in New Zealand.  The research explores the relationship which exists between schools and professional theatre practitioners, and establishes some of the ways in which the relationship is beneficial for the development of high quality Drama programmes in schools.   The contribution of the Auckland Theatre Company's Educational Unit to schools is investigated, as is an example of the Artist in Schools programme at Pakuranga College in Auckland.  The introduction of the National certificate in Educational drama in 2001 has  undoubtedly contributed to the range and quality of work being undertaken in schools, allowing the contention that their Drama performance work can, and often does, contribute  to the cultural welfare of local communities and to a New Zealand theatre identity in general.

text: Drama and Theatre in and for Schools: Referencing the Nature of Theatre in Contemporary New Zealand This thesis considers the nature of drama and theatre in and for schools and references the nature of theatre in contemporary New Zealand. Drama in schools in New Zealand has developed from the earliest school productions in the 1800's, through its perceived role to enrich lives, to becoming a discrete Arts subject within the New Zealand educational curriculum in 1999. During this development, theatre companies began to tour schools and arguments ensued regarding drama's role in education as a process or performance. This development is charted through a range of historical and current curriculum documents.  The thesis references the importance of the Australian UNESCO Seminar on drama in education in 1958 which explored the relationship between the educational aspects of Drama and Drama as an art form, and which inspired New Zealand Drama teachers. The research contains interviews conducted during 2009, with Drama teachers, students and theatre practitioners, as well as considering examples of performances by schools and professional theatre since the advent of the new curriculum. The thesis investigates some of the many kinds of Drama work taking place in contemporary New Zealand schools, including co-curricula and curricula productions concerning a wide range of issues and utilising a range of dramatic styles. These include, an Intermediate School's collaboration and contribution to capital E's production of Kia Ora Khalid,   and examples of devised and scripted projects undertaken at Secondary Colleges in New Zealand.  The research explores the relationship which exists between schools and professional theatre practitioners, and establishes some of the ways in which the relationship is beneficial for the development of high quality Drama programmes in schools.   The contribution of the Auckland Theatre Company's Educational Unit to schools is investigated, as is an example of the Artist in Schools programme at Pakuranga College in Auckland.  The introduction of the National certificate in Educational drama in 2001 has  undoubtedly contributed to the range and quality of work being undertaken in schools, allowing the contention that their Drama performance work can, and often does, contribute  to the cultural welfare of local communities and to a New Zealand theatre identity in general.

year: 2010

title: Ngā Pakanga mō Wāhi Tapu: Battles over sacred places

authors: Joseph, Robert

abstract: Wāhi tapu are the sacred places of Māori in Aotearoa New Zealand. All cultures have sacred sites such as cemeteries, significant battlefields, and places of spiritual significance. Standout examples internationally include the ‘Weeping Wall’ in the Holy Land, Stonehenge in Britain, Maraeātea in the Pacific, and Intihuatana at Macchu Picchu in Peru. But unlike these sites, wāhi tapu are rarely a visible structure but rather a site or area within the landscape with values so significant that restrictions are warranted. In law, wāhi tapu are defined as a ‘place of special significance according to tikanga Māori’
 and ‘a place sacred to Māori in the traditional, spiritual, religious, ritual, or mythological sense’.
As the aphorism above emphasises, Māori historically were willing to die for land (and for women of course!), and wāhi tapu are the most sacred of places. Many battles have been fought over actual or proposed transgressions of their sacredness. In earlier years, blood was shed and men did die; today battles tend to occur in the Environment Court, but are just as passionate. Recent decades have seen conflicts where wāhi tapu were threatened by new highways, railroads, airports, prisons, residential and commercial developments, wind farms, power stations and waste dumps.
In this chapter, I discuss a number of the battles that have been fought over the development or preservation of wāhi tapu from first European contact up until the present time. I highlight the growing legal recognition of tikanga Māori in relation to these sacred landscapes, and conclude with a proposed pragmatic solution for all New Zealanders when negotiating developments over wāhi tapu. Having a
background in law and tribal affiliations, I discuss these tensions from both legal and kaupapa Māori perspectives.

text: Ngā Pakanga mō Wāhi Tapu: Battles over sacred places Wāhi tapu are the sacred places of Māori in Aotearoa New Zealand. All cultures have sacred sites such as cemeteries, significant battlefields, and places of spiritual significance. Standout examples internationally include the ‘Weeping Wall’ in the Holy Land, Stonehenge in Britain, Maraeātea in the Pacific, and Intihuatana at Macchu Picchu in Peru. But unlike these sites, wāhi tapu are rarely a visible structure but rather a site or area within the landscape with values so significant that restrictions are warranted. In law, wāhi tapu are defined as a ‘place of special significance according to tikanga Māori’
 and ‘a place sacred to Māori in the traditional, spiritual, religious, ritual, or mythological sense’.
As the aphorism above emphasises, Māori historically were willing to die for land (and for women of course!), and wāhi tapu are the most sacred of places. Many battles have been fought over actual or proposed transgressions of their sacredness. In earlier years, blood was shed and men did die; today battles tend to occur in the Environment Court, but are just as passionate. Recent decades have seen conflicts where wāhi tapu were threatened by new highways, railroads, airports, prisons, residential and commercial developments, wind farms, power stations and waste dumps.
In this chapter, I discuss a number of the battles that have been fought over the development or preservation of wāhi tapu from first European contact up until the present time. I highlight the growing legal recognition of tikanga Māori in relation to these sacred landscapes, and conclude with a proposed pragmatic solution for all New Zealanders when negotiating developments over wāhi tapu. Having a
background in law and tribal affiliations, I discuss these tensions from both legal and kaupapa Māori perspectives.

year: 2011