title: Every Breath is a Wave: In what ways can contemporary dance making express an ecofeminist perspective

authors: Baker, Gabriel Anne

subjects: ecofeminism

abstract: Arising from the growing interest in ecological concerns that intersected with second wave feminism in the 1970s, ecological feminism is a theoretical perspective which argues that the oppression of women is parallel to and mutually reinforcing to that of the natural environment. Interested in the holistic nature of ecofeminist analysis I seek to understand how the processes of contemporary dance making can intersect with the theory and praxis of ecofeminism. Within ecofeminism the body is often used as a reference point for expression and understanding. Contemporary dance making therefore is of relevance for the exploration of ecofeminism as it offers a way of knowing that is of and from the body. The overall research question of this thesis and creative research project is ‘In what ways can contemporary dance making express an ecofeminist perspective?’
In order to investigate how contemporary dance making may express an ecofeminist perspective, creative practice as research formed an appropriate methodology for this project. Creative practice as research is a methodology which proposes that creating artworks not only expresses research, but the artwork becomes the research in itself. The specific creative practice research methods used in this thesis were improvisation, choreography and journaling.
The methods used in the creation of this solo allowed investigation into how contemporary dance making fosters my relationship with the environment. Moved by the severe consequences of a nuclear disaster, the experiences of the women of Greenham common and the anti-nuclear movement in Aotearoa, my solo dance is an ecofeminist representation of visceral responses to the environment and the threat of nuclear technology. The solo dance is titled ‘Daughter, there will be no home’ and is a representation of my relationship to the environment of this earth and an expression of my ecofeminist sense of care for the earth.

text: Every Breath is a Wave: In what ways can contemporary dance making express an ecofeminist perspective Arising from the growing interest in ecological concerns that intersected with second wave feminism in the 1970s, ecological feminism is a theoretical perspective which argues that the oppression of women is parallel to and mutually reinforcing to that of the natural environment. Interested in the holistic nature of ecofeminist analysis I seek to understand how the processes of contemporary dance making can intersect with the theory and praxis of ecofeminism. Within ecofeminism the body is often used as a reference point for expression and understanding. Contemporary dance making therefore is of relevance for the exploration of ecofeminism as it offers a way of knowing that is of and from the body. The overall research question of this thesis and creative research project is ‘In what ways can contemporary dance making express an ecofeminist perspective?’
In order to investigate how contemporary dance making may express an ecofeminist perspective, creative practice as research formed an appropriate methodology for this project. Creative practice as research is a methodology which proposes that creating artworks not only expresses research, but the artwork becomes the research in itself. The specific creative practice research methods used in this thesis were improvisation, choreography and journaling.
The methods used in the creation of this solo allowed investigation into how contemporary dance making fosters my relationship with the environment. Moved by the severe consequences of a nuclear disaster, the experiences of the women of Greenham common and the anti-nuclear movement in Aotearoa, my solo dance is an ecofeminist representation of visceral responses to the environment and the threat of nuclear technology. The solo dance is titled ‘Daughter, there will be no home’ and is a representation of my relationship to the environment of this earth and an expression of my ecofeminist sense of care for the earth.

year: 2017

title: Instabilities of the cortex during natural sleep

authors: Wilson, Marcus T.

subjects: cortex

abstract: The electrical signals generated by the human cortex during sleep have been widely studied over the last 50 years. The electroencephalogram (EEG) observed during natural sleep exhibits structures with frequencies from 0.5 Hz to over 50 Hz and complicated waveforms such as spindles and K-complexes. Understanding has been enhanced by comprehensive intra-cellular measurements from the cortex and thalamus such as those performed by Steriade et al [1] and Sanchez-Vives and McCormick [2]. Models of the cerebal cortex have been developed in order to explain many of the features observed. These can be classified in terms of individual neuron models or collective models. Since we wish to compare predictions with gross features of the human EEG, we choose a collective model, where we average over a population of neurons in macrocolumns. A number of models of this form have been developed recently; that developed at Waikato draws from a number of different sources to describe the temporal and spatial dynamics of the system.

text: Instabilities of the cortex during natural sleep The electrical signals generated by the human cortex during sleep have been widely studied over the last 50 years. The electroencephalogram (EEG) observed during natural sleep exhibits structures with frequencies from 0.5 Hz to over 50 Hz and complicated waveforms such as spindles and K-complexes. Understanding has been enhanced by comprehensive intra-cellular measurements from the cortex and thalamus such as those performed by Steriade et al [1] and Sanchez-Vives and McCormick [2]. Models of the cerebal cortex have been developed in order to explain many of the features observed. These can be classified in terms of individual neuron models or collective models. Since we wish to compare predictions with gross features of the human EEG, we choose a collective model, where we average over a population of neurons in macrocolumns. A number of models of this form have been developed recently; that developed at Waikato draws from a number of different sources to describe the temporal and spatial dynamics of the system.

year: 2005

title: Ko te Kōauau: Its historical journey, aspects of construction, socio-cultural relevance, and performance

authors: Komene, Jo'el

subjects: Koauau

abstract: In recent years there has been a revival of interest in traditional Māori musical instruments, including the Kōauau (sometimes called a  flute ). Most of the information on record is from Pākehā perspectives of music and culture. This thesis studies Kōauau in a Māori framework, giving weight to traditional Māori knowledge and practices, while bringing together much scattered information. The research links the origins/whakapapa of the Kōauau to the gods and their natural world, especially Hineraukatauri. The thesis analyses the materials used for Kōauau, the circumstances under which materials were acquired, their significance, design and methods of construction, and the tools employed in making Kōauau. The study discusses techniques for playing Kōauau, including its range of sounds, occasions on which they were played, and for what purposes they were used. Reference is made to the story of Hinemoa and Tūtānekai, with the suggestion that more knowledge can be drawn from pakiwaitara and pūrākau. As part of the research, several Kōauau available in the Auckland Museum were examined, showing that close inspection of these taonga significantly extended the information on them held by the Museum. Despite the constraints of the research in terms of time and other resources, the thesis makes an important contribution to knowledge, by collating widely distributed documentation into a concise form, by placing the Kōauau into a Māori perspective, emphasizing the spiritual dimensions of the instrument in its origins and its function, and by indicating what kinds of further research will assist in strengthening the revival of the Kōauau.

text: Ko te Kōauau: Its historical journey, aspects of construction, socio-cultural relevance, and performance In recent years there has been a revival of interest in traditional Māori musical instruments, including the Kōauau (sometimes called a  flute ). Most of the information on record is from Pākehā perspectives of music and culture. This thesis studies Kōauau in a Māori framework, giving weight to traditional Māori knowledge and practices, while bringing together much scattered information. The research links the origins/whakapapa of the Kōauau to the gods and their natural world, especially Hineraukatauri. The thesis analyses the materials used for Kōauau, the circumstances under which materials were acquired, their significance, design and methods of construction, and the tools employed in making Kōauau. The study discusses techniques for playing Kōauau, including its range of sounds, occasions on which they were played, and for what purposes they were used. Reference is made to the story of Hinemoa and Tūtānekai, with the suggestion that more knowledge can be drawn from pakiwaitara and pūrākau. As part of the research, several Kōauau available in the Auckland Museum were examined, showing that close inspection of these taonga significantly extended the information on them held by the Museum. Despite the constraints of the research in terms of time and other resources, the thesis makes an important contribution to knowledge, by collating widely distributed documentation into a concise form, by placing the Kōauau into a Māori perspective, emphasizing the spiritual dimensions of the instrument in its origins and its function, and by indicating what kinds of further research will assist in strengthening the revival of the Kōauau.

year: 2008