title: Kōauau auē, e auau tō au e! The Kōauau in Te Ao Māori.

authors: Komene, Jo'el

subjects: Kōauau

abstract: In recent years there has been a revival of interest in traditional Māori musical instruments, including the kōauau. This thesis studies kōauau informed by a Māori framework, giving weight to traditional Māori knowledge and practices, emphasizing the spiritual dimensions of the instrument in its origins and its functions. The thesis defines the kōauau and how it is distinct from other taonga pūoro in its physical characteristics. It then presents the traditions associated with the kōauau which link its origins to the atua and their natural world, especially Raukatauri, together with other traditions from many rohe throughout Aotearoa.  The thesis describes the traditional tools and methods of construction, the role of atua in the construction process, materials used for kōauau, how they were embellished, and their use as adornments. The techniques for playing kōauau are analyzed, and there is a discussion of the occasions on which kōauau were played, and the purposes of performing on kōauau. The thesis also presents the texts of several traditional waiata kōauau. A number of traditional kōauau in storage at the Auckland Museum were able to be examined to confirm and extend documentary evidence about materials, construction methods, and embellishment. The discussion also comments on the quot;voicesquot; for those kōauau in the museum collection that could be sounded. The decline in kōauau performance during the twentieth century is outlined, and there is a summary of successful efforts in the later twentieth century to revive taonga pūoro, including kōauau. The thesis brings together in concise form much scattered information so that current and future performers with kōauau are able to give full consideration to its place in te ao Māori.

text: Kōauau auē, e auau tō au e! The Kōauau in Te Ao Māori. In recent years there has been a revival of interest in traditional Māori musical instruments, including the kōauau. This thesis studies kōauau informed by a Māori framework, giving weight to traditional Māori knowledge and practices, emphasizing the spiritual dimensions of the instrument in its origins and its functions. The thesis defines the kōauau and how it is distinct from other taonga pūoro in its physical characteristics. It then presents the traditions associated with the kōauau which link its origins to the atua and their natural world, especially Raukatauri, together with other traditions from many rohe throughout Aotearoa.  The thesis describes the traditional tools and methods of construction, the role of atua in the construction process, materials used for kōauau, how they were embellished, and their use as adornments. The techniques for playing kōauau are analyzed, and there is a discussion of the occasions on which kōauau were played, and the purposes of performing on kōauau. The thesis also presents the texts of several traditional waiata kōauau. A number of traditional kōauau in storage at the Auckland Museum were able to be examined to confirm and extend documentary evidence about materials, construction methods, and embellishment. The discussion also comments on the quot;voicesquot; for those kōauau in the museum collection that could be sounded. The decline in kōauau performance during the twentieth century is outlined, and there is a summary of successful efforts in the later twentieth century to revive taonga pūoro, including kōauau. The thesis brings together in concise form much scattered information so that current and future performers with kōauau are able to give full consideration to its place in te ao Māori.

year: 2009

title: Who owns native nature? Discourses of rights to land, culture, and knowledge in New Zealand

authors: Goldsmith, Michael

subjects: indigenous cultures

abstract: Michael Brown famously asked ‘Who owns native culture?’ This paper revisits that question by analyzing what happens to culture when the culturally defined boundary between it and nature becomes salient in the context of disputes between indigenous and settler populations. My case study is the dispute between the New Zealand government and Maori tribal groupings concerning ownership of the foreshore and seabed. Having been granted the right to test their claims in court in 2003, Maori groups were enraged when the government legislated the right out of existence in 2004. Though the reasons for doing so were clearly political, contrasting cultural assumptions appeared to set Maori and Pakeha (New Zealanders of European origin) at odds. While couching ownership of part of nature as an IPR issue may seem counter-intuitive, I argue that as soon as a property claim destabilizes the nature/culture boundary, IPR discourse becomes pertinent.

text: Who owns native nature? Discourses of rights to land, culture, and knowledge in New Zealand Michael Brown famously asked ‘Who owns native culture?’ This paper revisits that question by analyzing what happens to culture when the culturally defined boundary between it and nature becomes salient in the context of disputes between indigenous and settler populations. My case study is the dispute between the New Zealand government and Maori tribal groupings concerning ownership of the foreshore and seabed. Having been granted the right to test their claims in court in 2003, Maori groups were enraged when the government legislated the right out of existence in 2004. Though the reasons for doing so were clearly political, contrasting cultural assumptions appeared to set Maori and Pakeha (New Zealanders of European origin) at odds. While couching ownership of part of nature as an IPR issue may seem counter-intuitive, I argue that as soon as a property claim destabilizes the nature/culture boundary, IPR discourse becomes pertinent.

year: 2009

title: Compositional synthesis of discrete event systems using synthesis abstraction

authors: Mohajerani, Sahar

subjects: computer science

abstract: This paper proposes a general method to synthesize a least restrictive supervisor for a large discrete event system model, consisting of a large number of arbitrary automata representing the plants and specifications. A new type of abstraction called synthesis abstraction is introduced and three rules are proposed to calculate an abstraction of a given automaton. Furthermore, a compositional algorithm for synthesizing a supervisor for large-scale systems of composed finite-state automata is proposed. In the proposed algorithm, the synchronous composition is computed step by step and intermediate results are simplified according to synthesis abstraction. Then a supervisor for the abstracted system is calculated, which in combination with the original system gives the least restrictive, nonblocking, and controllable behaviour.

text: Compositional synthesis of discrete event systems using synthesis abstraction This paper proposes a general method to synthesize a least restrictive supervisor for a large discrete event system model, consisting of a large number of arbitrary automata representing the plants and specifications. A new type of abstraction called synthesis abstraction is introduced and three rules are proposed to calculate an abstraction of a given automaton. Furthermore, a compositional algorithm for synthesizing a supervisor for large-scale systems of composed finite-state automata is proposed. In the proposed algorithm, the synchronous composition is computed step by step and intermediate results are simplified according to synthesis abstraction. Then a supervisor for the abstracted system is calculated, which in combination with the original system gives the least restrictive, nonblocking, and controllable behaviour.

year: 2011