title: Towards improving packet probing techniques

authors: Luckie, Matthew John

subjects: computer science

abstract: Packet probing is an important Internet measurement technique, supporting the investigation of packet delay, path, and loss. Current packet probing techniques use Internet Protocols such as the Internet Control Message Protocol (ICMP), the User Datagram Protocol (UDP), and the Transmission Control Protocol (TCP). These protocols were not originally designed for measurement purposes. Current packet probing techniques have several limitations that can be avoided. The IP Measurement Protocol (IPMP) is presented as a protocol that addresses several of the limitations discussed.

text: Towards improving packet probing techniques Packet probing is an important Internet measurement technique, supporting the investigation of packet delay, path, and loss. Current packet probing techniques use Internet Protocols such as the Internet Control Message Protocol (ICMP), the User Datagram Protocol (UDP), and the Transmission Control Protocol (TCP). These protocols were not originally designed for measurement purposes. Current packet probing techniques have several limitations that can be avoided. The IP Measurement Protocol (IPMP) is presented as a protocol that addresses several of the limitations discussed.

year: 2001

title: Analysis of the South Westland Basin, New Zealand

authors: Sircombe, Keith Nicholas

abstract: Running parallel to the thrust front of the Southern Alps, an elongate, predominantly offshore and relatively deep basin, considered to have originated as a foreland basin, has previously been identified in South Westland, South Island, New Zealand. An integrative approach to basin analysis has been undertaken in this thesis to test the hypothesis that this basin has been formed by the loading of the Pacific Plate onto the Australia Plate during the Late Cenozoic. The two principal approaches to this problem undertaken in this thesis are seismic mapping of industry acquired seismic reflection profiles available for the basin and geodynamical analysis of the basin geometry and its stratigraphy.

Seismic mapping reveals a thick sedimentary section that can be divided broadly into five sequences. The thickness distribution of these units have been digitized into a computer database for subsequent modelling and mapping. The five sequences are titled Sequence E through to A from the basement to the surface. The lowermost sequence, Sequence E, is a thin sheet of marginal marine sediments thickening toward the west. It is believed to have formed in a rift margin setting during the Late Cretaceous-Eocene, overlain by a regionally extensive limestone formed during a marine transgression in the Oligocene. Sequence D has a sheet-like form comprising turbiditic systems deposited in bathyal depths between around 30 Ma and 15 Ma. This is coincident with increasing convergence across the Alpine Fault and initial loading of the Australia Plate, and Sequence D may represent the early underfill stage of foreland basin development. Sequence C is wedge-like in form, consisting of deep water turbiditic systems rapidly deposited between 5 Ma and 3.1 Ma. This corresponds with the uplift of the inner margin of the basin along the South Westland Fault Zone. Sequence B is a prominent lensoidal form prograding facies consisting of mudstone with frequent coarser beds deposited between 3.1 Ma and 1.2 Ma. Sequence A tops the section with a possible eustatically controlled and predominantly slumped deposit of mudstone with thick units of bioclasts near the present surface.

Geodynamic analysis reveals an early stage of thermal subsidence due to late Cretaceous rifting that preceded Tasman Sea spreading. It is compatible with a lithospheric stretching factor of 1.25. Increasingly rapid subsidence since 15-10 Ma is interpreted as possible fault-controlled subsidence due to strike-slip deformation combined with loading resulting from increased convergence across the Alpine Fault. This is followed by the uplift of the inner margin of the basin around 5 Ma to form the presently exposed coastal strip. This event probably also contributed to the loading of the Australia Plate. Flexural analysis of the basement structure of the Australia Plate reveals an unusually weak lithosphere with a rigidity around 9.79 x 10²⁰ Nm. Several alternative interpretations are presented to explain this unusually weak lithosphere, such as high heat flows, lithospheric decoupling and inherited structures. The complex evolution of the basin from rift margin, through strike-slip to foreland basin is believed to have left behind structures that may constrain and/or enhance the flexural response of the Australia Plate.

text: Analysis of the South Westland Basin, New Zealand Running parallel to the thrust front of the Southern Alps, an elongate, predominantly offshore and relatively deep basin, considered to have originated as a foreland basin, has previously been identified in South Westland, South Island, New Zealand. An integrative approach to basin analysis has been undertaken in this thesis to test the hypothesis that this basin has been formed by the loading of the Pacific Plate onto the Australia Plate during the Late Cenozoic. The two principal approaches to this problem undertaken in this thesis are seismic mapping of industry acquired seismic reflection profiles available for the basin and geodynamical analysis of the basin geometry and its stratigraphy.

Seismic mapping reveals a thick sedimentary section that can be divided broadly into five sequences. The thickness distribution of these units have been digitized into a computer database for subsequent modelling and mapping. The five sequences are titled Sequence E through to A from the basement to the surface. The lowermost sequence, Sequence E, is a thin sheet of marginal marine sediments thickening toward the west. It is believed to have formed in a rift margin setting during the Late Cretaceous-Eocene, overlain by a regionally extensive limestone formed during a marine transgression in the Oligocene. Sequence D has a sheet-like form comprising turbiditic systems deposited in bathyal depths between around 30 Ma and 15 Ma. This is coincident with increasing convergence across the Alpine Fault and initial loading of the Australia Plate, and Sequence D may represent the early underfill stage of foreland basin development. Sequence C is wedge-like in form, consisting of deep water turbiditic systems rapidly deposited between 5 Ma and 3.1 Ma. This corresponds with the uplift of the inner margin of the basin along the South Westland Fault Zone. Sequence B is a prominent lensoidal form prograding facies consisting of mudstone with frequent coarser beds deposited between 3.1 Ma and 1.2 Ma. Sequence A tops the section with a possible eustatically controlled and predominantly slumped deposit of mudstone with thick units of bioclasts near the present surface.

Geodynamic analysis reveals an early stage of thermal subsidence due to late Cretaceous rifting that preceded Tasman Sea spreading. It is compatible with a lithospheric stretching factor of 1.25. Increasingly rapid subsidence since 15-10 Ma is interpreted as possible fault-controlled subsidence due to strike-slip deformation combined with loading resulting from increased convergence across the Alpine Fault. This is followed by the uplift of the inner margin of the basin around 5 Ma to form the presently exposed coastal strip. This event probably also contributed to the loading of the Australia Plate. Flexural analysis of the basement structure of the Australia Plate reveals an unusually weak lithosphere with a rigidity around 9.79 x 10²⁰ Nm. Several alternative interpretations are presented to explain this unusually weak lithosphere, such as high heat flows, lithospheric decoupling and inherited structures. The complex evolution of the basin from rift margin, through strike-slip to foreland basin is believed to have left behind structures that may constrain and/or enhance the flexural response of the Australia Plate.

year: 1993

title: Listening at dawn: Trans* storywork for all my relations

authors: Luna-Pizano, Rafaela

subjects: Transgender

abstract: This is a love letter to trans* people: a reminder of our place and legacy of trans*formation. In the form of collaborative and ceremonial research, this PhD with creative practice component is an affirmation of embodied, elemental storytelling as a necessary practice for unearthing and grounding the traditional knowledge that Indigenous-Trans* (Indigi-Trans*) people carry within our body-spirits. This creative practice (co)research uplifts liminal states of being, as given to us by our elemental ancestors, in the decolonial project of Indigenous (encompassing Black and Trans*) body-land reclamation and restoration. By recognizing and nourishing the power of the between, this thesis remembers practices of place that are rooted in the body, often our last piece of ancestral land as displaced and diasporic Indigi-Trans* people. Spanning the coasts of Aotearoa-NZ to the west coast of Ixtlán (Turtle Island-US), this creative project listened to the somatic presence of Indigi-Trans* creators (co-researchers) who are in varying states of connection to their ancestral lands and traditions. To account for sudden and extreme shifts in safety and access due to the COVID-19 pandemic, I created online and on-site rituals to sustain connection and retrace our ancestors’ techniques of time and space travel. By engaging with body-awareness practices or ritual performances offered in this project, co-researchers and storytellers were able to experiment with ‘knew’ ways of engaging the ancestral power of place. As a member of the communities contributing to this project, I witnessed an important transformation within co-researchers from a sense of landlessness to a sense of infinite place. This transformation gave co-researchers and storytellers a new source of power, strengthening their spiritual-mental capacity to receive and grow (especially during the height of the COVID-19 pandemic). In a political climate of increasing backlash to trans* and Indigenous sovereignty, this creative project is a unique contribution to the kete, or basket of knowledge that we offer to the coming generations of trans*formational practitioners and scholars.
Situated within the realms of Indigenous, Queer, Xicana and Critical Black Trans* Feminist theories, this creative project also draws upon performance, sound, and poetic practice to hatch another creative methodology that centers place-based ritual. As I created this thesis in a liminal waterscape, crossing back and forth between Aotearoa and Ixtlán, colliding with the onset of the COVID-19 pandemic, I opened myself to theories generated by the lands that nourished me. Thus, a Kaupapa Māori and Mana Wahine informed approach emerges as the prow of this banka, or canoe that carries other Black, Indigenous and Trans* lineages of scholarship. From this fluid place of theory, my practice as an Indigi-
Trans* ritualist, poet, and sound artist grounds these theories in my body and the body-lands of my co-researchers. Together, we create a Kappi (Ilocano crab motif referencing Maui’s fishing up of our islands) methodology, or the underwater reflections of celestial movement as mapped by Indigi-Trans* freedom strategies. As the co-researchers and storytellers of this project demonstrate, many Indigi-Trans* people are (re)birthing and (re)creating life and possibility just by existing. Our power of place, in body and land, can link and strengthen all Indigenous sovereignty movements when our communities take up the call to foster each person’s fluid potential.
Although this entire project is creative, as a PhD with creative practice component, this project is an ebb and flow of written and other media components. Most of the ‘creative component’ occurred during the co-research stage of this thesis and has been documented via photographs, video, participant testimony, soundscapes, and poetry on a separate, companion website (https://transjoy.cargo.site/). These artifacts of ritual research are also discussed within the harvest (data) section of the written portion, but reader/listeners are encouraged to view the website in tandem. Poetry, narrative, and soundscapes (hyperlinks or bone icons) weave throughout the written portion to create a multi-sensory experience that privileges my roots in aural tradition. Together, the performances, website, poetry, and soundscapes constitute roughly thirty percent of the final thesis, weighing more heavily on a written portion of seventy percent. Listener/readers are encouraged to experience the written and multi-media portions in tandem, cycling back and forth in a playful spirit as the next step of creative practice: listener participation. Please enter this project with the care and excitement invited of all listeners when the storyteller asks, “are you ready to hear a story?”

text: Listening at dawn: Trans* storywork for all my relations This is a love letter to trans* people: a reminder of our place and legacy of trans*formation. In the form of collaborative and ceremonial research, this PhD with creative practice component is an affirmation of embodied, elemental storytelling as a necessary practice for unearthing and grounding the traditional knowledge that Indigenous-Trans* (Indigi-Trans*) people carry within our body-spirits. This creative practice (co)research uplifts liminal states of being, as given to us by our elemental ancestors, in the decolonial project of Indigenous (encompassing Black and Trans*) body-land reclamation and restoration. By recognizing and nourishing the power of the between, this thesis remembers practices of place that are rooted in the body, often our last piece of ancestral land as displaced and diasporic Indigi-Trans* people. Spanning the coasts of Aotearoa-NZ to the west coast of Ixtlán (Turtle Island-US), this creative project listened to the somatic presence of Indigi-Trans* creators (co-researchers) who are in varying states of connection to their ancestral lands and traditions. To account for sudden and extreme shifts in safety and access due to the COVID-19 pandemic, I created online and on-site rituals to sustain connection and retrace our ancestors’ techniques of time and space travel. By engaging with body-awareness practices or ritual performances offered in this project, co-researchers and storytellers were able to experiment with ‘knew’ ways of engaging the ancestral power of place. As a member of the communities contributing to this project, I witnessed an important transformation within co-researchers from a sense of landlessness to a sense of infinite place. This transformation gave co-researchers and storytellers a new source of power, strengthening their spiritual-mental capacity to receive and grow (especially during the height of the COVID-19 pandemic). In a political climate of increasing backlash to trans* and Indigenous sovereignty, this creative project is a unique contribution to the kete, or basket of knowledge that we offer to the coming generations of trans*formational practitioners and scholars.
Situated within the realms of Indigenous, Queer, Xicana and Critical Black Trans* Feminist theories, this creative project also draws upon performance, sound, and poetic practice to hatch another creative methodology that centers place-based ritual. As I created this thesis in a liminal waterscape, crossing back and forth between Aotearoa and Ixtlán, colliding with the onset of the COVID-19 pandemic, I opened myself to theories generated by the lands that nourished me. Thus, a Kaupapa Māori and Mana Wahine informed approach emerges as the prow of this banka, or canoe that carries other Black, Indigenous and Trans* lineages of scholarship. From this fluid place of theory, my practice as an Indigi-
Trans* ritualist, poet, and sound artist grounds these theories in my body and the body-lands of my co-researchers. Together, we create a Kappi (Ilocano crab motif referencing Maui’s fishing up of our islands) methodology, or the underwater reflections of celestial movement as mapped by Indigi-Trans* freedom strategies. As the co-researchers and storytellers of this project demonstrate, many Indigi-Trans* people are (re)birthing and (re)creating life and possibility just by existing. Our power of place, in body and land, can link and strengthen all Indigenous sovereignty movements when our communities take up the call to foster each person’s fluid potential.
Although this entire project is creative, as a PhD with creative practice component, this project is an ebb and flow of written and other media components. Most of the ‘creative component’ occurred during the co-research stage of this thesis and has been documented via photographs, video, participant testimony, soundscapes, and poetry on a separate, companion website (https://transjoy.cargo.site/). These artifacts of ritual research are also discussed within the harvest (data) section of the written portion, but reader/listeners are encouraged to view the website in tandem. Poetry, narrative, and soundscapes (hyperlinks or bone icons) weave throughout the written portion to create a multi-sensory experience that privileges my roots in aural tradition. Together, the performances, website, poetry, and soundscapes constitute roughly thirty percent of the final thesis, weighing more heavily on a written portion of seventy percent. Listener/readers are encouraged to experience the written and multi-media portions in tandem, cycling back and forth in a playful spirit as the next step of creative practice: listener participation. Please enter this project with the care and excitement invited of all listeners when the storyteller asks, “are you ready to hear a story?”

year: 2023