title: William Morris Newsham: a prospector and miner in the Te Aroha district

authors: Hart, Philip

abstract: New Zealand-born William Morris Newsham fought against Maori without suffering any mishaps, but when aged 35 had the most perilous experience of his life. When assisting to survey a potential railway line in the King Country, he was captured by one prophet, Te Mahuki, and rescued by another, Te Kooti, after a harsh ordeal.
After mining at Coromandel and Thames, in 1889 he settled in the Te Aroha district, taking whatever work was available. For the remainder of his life he was a small-scale miner, tributer, prospector, and operator of battery and tailings plants. Most of the 1890s was spent on the Waiorongomai field, but in the early twentieth century he explored nearby, his most notable claims being the Pick and Dish, close to the summit of Te Aroha. All his mining was done in small mining parties, sometimes backed by local small businessmen. He never ceased to search for gold, but found little of value, and achieved only a modest return from all his hard work.

text: William Morris Newsham: a prospector and miner in the Te Aroha district New Zealand-born William Morris Newsham fought against Maori without suffering any mishaps, but when aged 35 had the most perilous experience of his life. When assisting to survey a potential railway line in the King Country, he was captured by one prophet, Te Mahuki, and rescued by another, Te Kooti, after a harsh ordeal.
After mining at Coromandel and Thames, in 1889 he settled in the Te Aroha district, taking whatever work was available. For the remainder of his life he was a small-scale miner, tributer, prospector, and operator of battery and tailings plants. Most of the 1890s was spent on the Waiorongomai field, but in the early twentieth century he explored nearby, his most notable claims being the Pick and Dish, close to the summit of Te Aroha. All his mining was done in small mining parties, sometimes backed by local small businessmen. He never ceased to search for gold, but found little of value, and achieved only a modest return from all his hard work.

year: 2016

title: Paradoxical Performances of Subjectivities, Spaces and Art Gallery Postcards

authors: Robinson, Christine

subjects: gallery postcards

abstract: This thesis examines the relationship between art gallery postcards, subjectivities and domestic spaces. Feminist post-structuralist debates on memory, subjectivity and domestic spaces provide the theoretical framework for this research into taken-for-granted objects of the everyday. Empirical data came from interviewing nine women who buy, use and keep postcards and two New Zealand Art Gallery store managers. Some of the participants were interviewed more than once, while others extended their views by e-mail. Auto-ethnographic narrative is used to explore further the symbolic significance of an individual's postcard consumption.
This research focuses attention on the production of gendered subjectivities and domestic spaces through an aesthetic artefact. There are three points to my analysis. Firstly, I argue paradoxically the under-noticed seemingly trivial gallery postcard becomes a memory holder and therefore a significant artefact of symbolic value. Memories are potent, elusive fragments that become attached to a sound, smell, touch or sight. Catching sight of a postcard can trigger a chain of memory associations, which in turn constructs a sense of self through the remembering. Secondly, I contend that subjectivity is understood as fluid and multiple, evolving out of experience and interpretation. Memories formed from experience and connections made with people, place and things become associated with gallery postcards and serve as a catalyst for personal narratives which in turn can operate as tools for constructing subjectivities. Finally I suggest that domestic spaces are a product of relations that can be understood as existing within and beyond the home. Stretched domestic space can be produced by the display of gallery postcards in office spaces. The exploration of the art gallery postcard adds to the knowledges of everyday objects and their role and significance in constructing gendered subjectivities and spaces.

text: Paradoxical Performances of Subjectivities, Spaces and Art Gallery Postcards This thesis examines the relationship between art gallery postcards, subjectivities and domestic spaces. Feminist post-structuralist debates on memory, subjectivity and domestic spaces provide the theoretical framework for this research into taken-for-granted objects of the everyday. Empirical data came from interviewing nine women who buy, use and keep postcards and two New Zealand Art Gallery store managers. Some of the participants were interviewed more than once, while others extended their views by e-mail. Auto-ethnographic narrative is used to explore further the symbolic significance of an individual's postcard consumption.
This research focuses attention on the production of gendered subjectivities and domestic spaces through an aesthetic artefact. There are three points to my analysis. Firstly, I argue paradoxically the under-noticed seemingly trivial gallery postcard becomes a memory holder and therefore a significant artefact of symbolic value. Memories are potent, elusive fragments that become attached to a sound, smell, touch or sight. Catching sight of a postcard can trigger a chain of memory associations, which in turn constructs a sense of self through the remembering. Secondly, I contend that subjectivity is understood as fluid and multiple, evolving out of experience and interpretation. Memories formed from experience and connections made with people, place and things become associated with gallery postcards and serve as a catalyst for personal narratives which in turn can operate as tools for constructing subjectivities. Finally I suggest that domestic spaces are a product of relations that can be understood as existing within and beyond the home. Stretched domestic space can be produced by the display of gallery postcards in office spaces. The exploration of the art gallery postcard adds to the knowledges of everyday objects and their role and significance in constructing gendered subjectivities and spaces.

year: 2007

title: Kai whakakitenga-nui te whakatōhea: Whenua planning for kai security

authors: Maxwell, Te Kahautu

abstract: To exercise Tino Rangatiratanga in our pursuit to define our local food systems through the traditional knowledge and practice of growing kai that will inspire and transform the health and well-being of all Whakatōhea, Whānau, Hapū, Iwi.

text: Kai whakakitenga-nui te whakatōhea: Whenua planning for kai security To exercise Tino Rangatiratanga in our pursuit to define our local food systems through the traditional knowledge and practice of growing kai that will inspire and transform the health and well-being of all Whakatōhea, Whānau, Hapū, Iwi.

year: 2025