title: Robert John Michael: a Te Aroha labourer

authors: Hart, Philip

abstract: An Irishman, Michael prospected at Waihi before settling in Te Aroha in late 1882, where he owned several worthless mines close to that settlement and also at Stoney Creek. He also acquired and developed farmland on the edge of Te Aroha, but struggled to retain it, and fought (sometimes literally) with some of his neighbours. His main occupation became repairing the township’s roads, and he was recalled as being the borough’s sole employee, working for years on its roads. His private life was complicated by his partner already being married, meaning they could not marry. Ill health led to the early death of a hard working labourer whose personal life was the most unusual feature of his years at Te Aroha.

text: Robert John Michael: a Te Aroha labourer An Irishman, Michael prospected at Waihi before settling in Te Aroha in late 1882, where he owned several worthless mines close to that settlement and also at Stoney Creek. He also acquired and developed farmland on the edge of Te Aroha, but struggled to retain it, and fought (sometimes literally) with some of his neighbours. His main occupation became repairing the township’s roads, and he was recalled as being the borough’s sole employee, working for years on its roads. His private life was complicated by his partner already being married, meaning they could not marry. Ill health led to the early death of a hard working labourer whose personal life was the most unusual feature of his years at Te Aroha.

year: 2016

title: Envisioning VR theatre: Virtual reality as an assistive technology in theatre performance

authors: Srinivasan, Saikrishna

subjects: Virtual Reality

abstract: This research project focuses on exploring the potential artistic advancements provided by the inclusion and incorporation of Virtual Reality (VR) within theatre. The incorporation of VR technology into theatre performance ultimately aims to alter a theatre experience by adding spatial presence for audiences and adding new production considerations for theatre practitioners. This project investigated the conceptual nature and practical aspects of using 360-degree cameras placed on stage to enable virtual teleportation onto the stage from the audience or remote viewing.
This thesis constitutes a PhD ‘with publication’ and includes reprints of quality assured peer reviewed scholarly articles produced at different stages on the project. The first study examines the early development and use of three-dimensional theatre prototyping to identify the technical requirements for VR theatre. A digital theatrical prototype was designed, along with mathematical calculations to determine the optimal placement of 360-degree cameras on stage. The study reveals multiple camera angles that can be utilized to capture a 360-degree/VR theatre experience.
Building upon the findings of the first study, the second study focuses on practical and technical factors such as visibility, sound, lighting, and visual intensity to enhance audience access and proximity to live performances. Different camera positions were found to be suitable for different theatre styles. The study suggests that the application of VR technology in theatre stages can yield highly satisfying results, as reported by participating actors.
Following initial prototyping and planning, the PhD then experienced the impact of COVID-19 that prevented planned collaboration with local theatre practitioners that would have enabled a substantive practical application of VR, technical refinements and, user and audience testing. However, in response to the impact of COVID-19 on the theatre industry, the third study investigated the use of virtually designed spaces and the inclusion of 3D avatars/characters or real actors in performances. It explores the creation of photorealistic virtual worlds that mimic real-world environments and examines audience perceptions of virtual theatre experiences. The study presents a modernization of theatre performance by incorporating 3D virtual spaces, akin to VR games, but with limited interactive freedom for the audience.
The fourth and final study involved the development of a post-pandemic experimental theatre performance based on the insights and data collected from the previous studies. It focuses on the virtual teleportation of an audience onto the stage during a performance, facilitated by VR headsets and a 360-degree camera mounted on the actor. Within the experiment participants experienced the performance through VR headsets. The audience and theatre practitioners were then invited to participate in a post interview session, to note their feedback and comments regarding the experience. Despite the limited number of participants due to COVID-19 restrictions, the study highlighted the positive nature of the VR experience pointing to the possibilities for increased virtual access to live theatre beyond this research.
Overall, the results of these studies shed light on key practical considerations involved in the integration of VR into theatre performances. The approaches taken in each study support and guide best practice but also opens up VR-assisted theatre to grass roots level community and local theatre so that VR can become a common consideration and tool for all forms of theatre.

text: Envisioning VR theatre: Virtual reality as an assistive technology in theatre performance This research project focuses on exploring the potential artistic advancements provided by the inclusion and incorporation of Virtual Reality (VR) within theatre. The incorporation of VR technology into theatre performance ultimately aims to alter a theatre experience by adding spatial presence for audiences and adding new production considerations for theatre practitioners. This project investigated the conceptual nature and practical aspects of using 360-degree cameras placed on stage to enable virtual teleportation onto the stage from the audience or remote viewing.
This thesis constitutes a PhD ‘with publication’ and includes reprints of quality assured peer reviewed scholarly articles produced at different stages on the project. The first study examines the early development and use of three-dimensional theatre prototyping to identify the technical requirements for VR theatre. A digital theatrical prototype was designed, along with mathematical calculations to determine the optimal placement of 360-degree cameras on stage. The study reveals multiple camera angles that can be utilized to capture a 360-degree/VR theatre experience.
Building upon the findings of the first study, the second study focuses on practical and technical factors such as visibility, sound, lighting, and visual intensity to enhance audience access and proximity to live performances. Different camera positions were found to be suitable for different theatre styles. The study suggests that the application of VR technology in theatre stages can yield highly satisfying results, as reported by participating actors.
Following initial prototyping and planning, the PhD then experienced the impact of COVID-19 that prevented planned collaboration with local theatre practitioners that would have enabled a substantive practical application of VR, technical refinements and, user and audience testing. However, in response to the impact of COVID-19 on the theatre industry, the third study investigated the use of virtually designed spaces and the inclusion of 3D avatars/characters or real actors in performances. It explores the creation of photorealistic virtual worlds that mimic real-world environments and examines audience perceptions of virtual theatre experiences. The study presents a modernization of theatre performance by incorporating 3D virtual spaces, akin to VR games, but with limited interactive freedom for the audience.
The fourth and final study involved the development of a post-pandemic experimental theatre performance based on the insights and data collected from the previous studies. It focuses on the virtual teleportation of an audience onto the stage during a performance, facilitated by VR headsets and a 360-degree camera mounted on the actor. Within the experiment participants experienced the performance through VR headsets. The audience and theatre practitioners were then invited to participate in a post interview session, to note their feedback and comments regarding the experience. Despite the limited number of participants due to COVID-19 restrictions, the study highlighted the positive nature of the VR experience pointing to the possibilities for increased virtual access to live theatre beyond this research.
Overall, the results of these studies shed light on key practical considerations involved in the integration of VR into theatre performances. The approaches taken in each study support and guide best practice but also opens up VR-assisted theatre to grass roots level community and local theatre so that VR can become a common consideration and tool for all forms of theatre.

year: 2024

title: 'Chris Finlayson and James Christmas, He Kupu Taurangi'

authors: Simon, Hemopereki

abstract: Twenty-five years on from the Ngāi Tahu Treaty settlement this book authored by Former Minister for Treaty of Waitangi Negotiations Hon. Chris Finlayson QC and Senior Ministerial Advisor James Christmas seems timely to capture the modern history and processes of the Treaty Settlement here in Aotearoa New Zealand. After all, the effects of these settlements is driving change economically, socially, environmentally, and politically, not only within hapū and iwi but nationally.

text: 'Chris Finlayson and James Christmas, He Kupu Taurangi' Twenty-five years on from the Ngāi Tahu Treaty settlement this book authored by Former Minister for Treaty of Waitangi Negotiations Hon. Chris Finlayson QC and Senior Ministerial Advisor James Christmas seems timely to capture the modern history and processes of the Treaty Settlement here in Aotearoa New Zealand. After all, the effects of these settlements is driving change economically, socially, environmentally, and politically, not only within hapū and iwi but nationally.

year: 2022