title: Towards achieving low background levels in routine dating by liquid scintillation spectrometry

authors: Hogg, Alan G.

subjects: liquid scintillation

abstract: International radiocarbon intercalibration studies have revealed that radiometric laboratories using liquid scintillation (LS) spectrometry of benzene reported, on average, younger ages for near-background standards than either gas proportional counter (GPC) or accelerator mass spectrometry (AMS) laboratories. These studies suggested that the younger LS ages are probably related to the use of spectrophotometric benzene as a background standard. An analysis of successive
110-ka subfossil wood (Airedale Reef Ancient Wood: ARAW) standards shows that vacuum line memory effects occur in LS spectrometry and, consequently, must be corrected to obtain accurate ¹⁴C dates. ARAW standards, measured at monthly intervals in the Waikato laboratory, are used to provide blank corrections for both research and routine dating applications. The strong correlation between the ARAW Δ¹⁴C data and the sample activities that preceded the standards may provide an opportunity to obtain sample-specific blank corrections. Lithium carbide synthesis is likely to prove a source of contamination. This work suggests that reproducible background levels for routine dating of less than 0.1 pMC (55 ka ¹⁴C yr) are achievable.

text: Towards achieving low background levels in routine dating by liquid scintillation spectrometry International radiocarbon intercalibration studies have revealed that radiometric laboratories using liquid scintillation (LS) spectrometry of benzene reported, on average, younger ages for near-background standards than either gas proportional counter (GPC) or accelerator mass spectrometry (AMS) laboratories. These studies suggested that the younger LS ages are probably related to the use of spectrophotometric benzene as a background standard. An analysis of successive
110-ka subfossil wood (Airedale Reef Ancient Wood: ARAW) standards shows that vacuum line memory effects occur in LS spectrometry and, consequently, must be corrected to obtain accurate ¹⁴C dates. ARAW standards, measured at monthly intervals in the Waikato laboratory, are used to provide blank corrections for both research and routine dating applications. The strong correlation between the ARAW Δ¹⁴C data and the sample activities that preceded the standards may provide an opportunity to obtain sample-specific blank corrections. Lithium carbide synthesis is likely to prove a source of contamination. This work suggests that reproducible background levels for routine dating of less than 0.1 pMC (55 ka ¹⁴C yr) are achievable.

year: 2004

title: Nuclear power and the greenhouse effect

authors: Smith, Ron C.

subjects: nuclear power

abstract: When the inter-governmental Panel on climate Change (IPCC) met in Auckland in early February this year, this group was widely reported as being ‘increasingly certain’ that the atmosphere was warming and that is was due  to the burning of fossil fuels. Individuals at the meeting talked of dramatic changes in climate around the globe, of ice-caps melting, of large-scale inundation of low-lying land and of catastrophic consequences for human populations. Recent official publications in New Zealand have confirmed these judgements, speaking of global temperature rises of between 1 and 3.5 percent and sea level rises of half a metre over the next century.

text: Nuclear power and the greenhouse effect When the inter-governmental Panel on climate Change (IPCC) met in Auckland in early February this year, this group was widely reported as being ‘increasingly certain’ that the atmosphere was warming and that is was due  to the burning of fossil fuels. Individuals at the meeting talked of dramatic changes in climate around the globe, of ice-caps melting, of large-scale inundation of low-lying land and of catastrophic consequences for human populations. Recent official publications in New Zealand have confirmed these judgements, speaking of global temperature rises of between 1 and 3.5 percent and sea level rises of half a metre over the next century.

year: 2000

title: Indigenising the screen: Screenplay and critical analysis for The Prophet

authors: Bristowe, Joseph Curtis

subjects: indiginization

abstract: This thesis tests the hypothesis that it is possible to both decolonise and indigenise the New Zealand cinema screen. Secondary research reveals how those discourses that promoted roles and expectations for Māori within the New Zealand film industry were based principally upon historical colonial ideologies imposed by various means upon the native populous, and subsequently reproduced. These discourses of race, gender and religion perpetuate negative belief systems about Māori and contribute to the reproduction of stereotypical images of Māori, such as the irrational, naive, simpleminded and warlike Māori man, or the domesticated, lustful and sexually available Māori woman. 

Research by creative practice advances the project of decolonising the New Zealand screen through the writing of a feature length screenplay based on careful research and intimate cultural knowledge, and by working according to an appropriate kaupapa Māori framework. The resulting screenplay, The Prophet, brings to life the multitude of forces that coalesced to shape the life of 19th century Māori warrior and prophet, Te Kooti Arikirangi Te Tūruki. In his death, as in his life, he remains an enigmatic figure. In written accounts and in Pākehā memories he appears as a violent rebel, mass murderer and religious fanatic. This epic re-telling focuses on the character of Te Kooti, showing him to be a man who accomplished great feats in the face of injustice, adversity and hardship. 
A critical analysis of the screenplay reveals how I adopted a unique cross cultural writing approach drawing upon both the 'classic' western narrative structure as well as kaupapa Māori pūrākau oral tradition. I argue that this approach combines effectively to materialise strong anti-colonial perspectives aimed specifically at subverting long-held and dominant colonial discourses. Such an approach to scriptwriting rejects the tradition of being defined, constructed and represented through discourses that serve to promote the interests of the Pākehā majority and, in doing so, urges the utilisation of Māori philosophies, concepts and practices in the scriptwriting/film production process.

text: Indigenising the screen: Screenplay and critical analysis for The Prophet This thesis tests the hypothesis that it is possible to both decolonise and indigenise the New Zealand cinema screen. Secondary research reveals how those discourses that promoted roles and expectations for Māori within the New Zealand film industry were based principally upon historical colonial ideologies imposed by various means upon the native populous, and subsequently reproduced. These discourses of race, gender and religion perpetuate negative belief systems about Māori and contribute to the reproduction of stereotypical images of Māori, such as the irrational, naive, simpleminded and warlike Māori man, or the domesticated, lustful and sexually available Māori woman. 

Research by creative practice advances the project of decolonising the New Zealand screen through the writing of a feature length screenplay based on careful research and intimate cultural knowledge, and by working according to an appropriate kaupapa Māori framework. The resulting screenplay, The Prophet, brings to life the multitude of forces that coalesced to shape the life of 19th century Māori warrior and prophet, Te Kooti Arikirangi Te Tūruki. In his death, as in his life, he remains an enigmatic figure. In written accounts and in Pākehā memories he appears as a violent rebel, mass murderer and religious fanatic. This epic re-telling focuses on the character of Te Kooti, showing him to be a man who accomplished great feats in the face of injustice, adversity and hardship. 
A critical analysis of the screenplay reveals how I adopted a unique cross cultural writing approach drawing upon both the 'classic' western narrative structure as well as kaupapa Māori pūrākau oral tradition. I argue that this approach combines effectively to materialise strong anti-colonial perspectives aimed specifically at subverting long-held and dominant colonial discourses. Such an approach to scriptwriting rejects the tradition of being defined, constructed and represented through discourses that serve to promote the interests of the Pākehā majority and, in doing so, urges the utilisation of Māori philosophies, concepts and practices in the scriptwriting/film production process.

year: 2009