title: Investigating the anti-methanogenic properties of select species of seaweed in New Zealand.

authors: Mihaila, Alisa Andrea

abstract: Enteric methane emissions from ruminants constitute a large proportion of agricultural greenhouse gas emissions, particularly in New Zealand. The recent increase in enteric methane emissions has driven the development of innovative strategies for mitigating these emissions. Red seaweed from the genus Asparagopsis has demonstrated elimination of enteric methane due to the presence of the active anti-methanogenic component, bromoform.

Spatial variation in bromoform content for Asparagopsis armata throughout the North Island, New Zealand, was quantified to determine the region that produces the highest concentration of bromoform. Alongside Asparagopsis, the New Zealand red seaweed species Bonnemaisonia hamifera, Delisea compressa, Plocamium sp., Vidalia colensoi, and identified aquaculture-target seaweed species, Ecklonia radiata, and Ulva sp. B, were investigated as ruminant feed additives to reduce enteric methane emissions. Polyphenol quantification and compositional analyses were carried out for these seaweed species to provide a baseline for interpreting anti-methanogenic effects. Seaweed species were included at 0 %, 2 %, 6 %, and 10 % of feed organic matter (ryegrass hay) during in vitro fermentation assays using rumen inoculant from non-lactating cows. Total gas, methane, hydrogen, volatile fatty acid (VFA), and ammonia production were measured during the incubations.

Bromoform concentration was highest in A. armata sampled from Matheson’s Bay at 1 % of the biomass dry weight. Species of red seaweed had a high halogen content, while E. radiata and Ulva. sp. B had a high iodine and crude protein content, respectively. Inclusions of A. armata and B. hamifera demonstrated near elimination of enteric methane production at doses of 2 and 6 % organic matter, respectively, while the remaining species (except for Ulva sp. B) caused moderate reductions at doses of 6 and 10 % organic matter in comparison to these two species. The anti-methanogenic effects of A. armata and B. hamifera resulted in a 22 % reduction in total VFA production, accompanied by changes in the relative proportions of individual VFAs, and had little or no effect on organic matter degradation.

The effectiveness of A. armata and B. hamifera demonstrates the potential of these species for mitigating ruminant methane emissions at low inclusion rates, dependent on the concentration of their active components, while E. radiata and Ulva sp. B could be used as feed additives for nutritional benefit. The undertaking of larger scale sampling of A. armata throughout New Zealand, the identification of the active component(s) in B. hamifera, and the development of methods and infrastructure required for successful large-scale aquaculture and application of these seaweed species to livestock management systems are key areas of future research highlighted by this thesis.

text: Investigating the anti-methanogenic properties of select species of seaweed in New Zealand. Enteric methane emissions from ruminants constitute a large proportion of agricultural greenhouse gas emissions, particularly in New Zealand. The recent increase in enteric methane emissions has driven the development of innovative strategies for mitigating these emissions. Red seaweed from the genus Asparagopsis has demonstrated elimination of enteric methane due to the presence of the active anti-methanogenic component, bromoform.

Spatial variation in bromoform content for Asparagopsis armata throughout the North Island, New Zealand, was quantified to determine the region that produces the highest concentration of bromoform. Alongside Asparagopsis, the New Zealand red seaweed species Bonnemaisonia hamifera, Delisea compressa, Plocamium sp., Vidalia colensoi, and identified aquaculture-target seaweed species, Ecklonia radiata, and Ulva sp. B, were investigated as ruminant feed additives to reduce enteric methane emissions. Polyphenol quantification and compositional analyses were carried out for these seaweed species to provide a baseline for interpreting anti-methanogenic effects. Seaweed species were included at 0 %, 2 %, 6 %, and 10 % of feed organic matter (ryegrass hay) during in vitro fermentation assays using rumen inoculant from non-lactating cows. Total gas, methane, hydrogen, volatile fatty acid (VFA), and ammonia production were measured during the incubations.

Bromoform concentration was highest in A. armata sampled from Matheson’s Bay at 1 % of the biomass dry weight. Species of red seaweed had a high halogen content, while E. radiata and Ulva. sp. B had a high iodine and crude protein content, respectively. Inclusions of A. armata and B. hamifera demonstrated near elimination of enteric methane production at doses of 2 and 6 % organic matter, respectively, while the remaining species (except for Ulva sp. B) caused moderate reductions at doses of 6 and 10 % organic matter in comparison to these two species. The anti-methanogenic effects of A. armata and B. hamifera resulted in a 22 % reduction in total VFA production, accompanied by changes in the relative proportions of individual VFAs, and had little or no effect on organic matter degradation.

The effectiveness of A. armata and B. hamifera demonstrates the potential of these species for mitigating ruminant methane emissions at low inclusion rates, dependent on the concentration of their active components, while E. radiata and Ulva sp. B could be used as feed additives for nutritional benefit. The undertaking of larger scale sampling of A. armata throughout New Zealand, the identification of the active component(s) in B. hamifera, and the development of methods and infrastructure required for successful large-scale aquaculture and application of these seaweed species to livestock management systems are key areas of future research highlighted by this thesis.

year: 2020

title: Tonality re-framed: The tone clock as gateway to expanded tonality

authors: Baker, Shamus Adam

subjects: Tone clock

abstract: During the 20ᵗʰ century, developments in musical practice courted controversy by abandoning traditional means of musical organization and expression. A potent response to this trend was the work of Peter Schat in creating the tone clock theory of musical composition, and Jenny McLeod’s efforts to develop these ideas in the New Zealand context. However, Schat’s claim to have created an ‘atonical tonality’ is problematic. This thesis uses the tone clock as a tool for generating an expanded form of true tonality. Based upon the common branching groupings of both tonal framing and tone clock steering, the two approaches are combined to create an expanded tonality of emancipated intervals, allowing the population of an expanded musical territory with the expressive possibilities tonality is already known to possess through the work of earlier composers and theorists. The approach, developed using small experiments in composition and analysis, is that the groupings which emerge from the small number of tonal framing motions are easily described by a steering tree, which relates them to the principles of the tone clock. This allows the same basic tonal framings to be transposed into a greater number of interval combinations. This expanded tonality is also demonstrated in multi-voice textures, making use of unconventional chordal sonorities channeled according to the same framing principles.

text: Tonality re-framed: The tone clock as gateway to expanded tonality During the 20ᵗʰ century, developments in musical practice courted controversy by abandoning traditional means of musical organization and expression. A potent response to this trend was the work of Peter Schat in creating the tone clock theory of musical composition, and Jenny McLeod’s efforts to develop these ideas in the New Zealand context. However, Schat’s claim to have created an ‘atonical tonality’ is problematic. This thesis uses the tone clock as a tool for generating an expanded form of true tonality. Based upon the common branching groupings of both tonal framing and tone clock steering, the two approaches are combined to create an expanded tonality of emancipated intervals, allowing the population of an expanded musical territory with the expressive possibilities tonality is already known to possess through the work of earlier composers and theorists. The approach, developed using small experiments in composition and analysis, is that the groupings which emerge from the small number of tonal framing motions are easily described by a steering tree, which relates them to the principles of the tone clock. This allows the same basic tonal framings to be transposed into a greater number of interval combinations. This expanded tonality is also demonstrated in multi-voice textures, making use of unconventional chordal sonorities channeled according to the same framing principles.

year: 2022

title: What is Māori typography?

authors: Kennedy, Nikki Eileen

subjects: Māori Design

abstract: Te Reo Māori was traditionally an oral language similar to many indigenous cultures. Writing systems were not familiar to Māori until 1769 where Māori were introduced to the written language by Pākehā. Early Māori writing can be found printed, carved and painted in a number of different parts of Māori society. These myriad texts were strongly influenced and inspired by Pākehā biblical texts and newspapers. The influence of Pākehā texts meant that overtime the written language of Te Reo Māori had a Pākehā visual identity.

To date, there is minimal research about the history and visual identity of Māori typography. The lack of research and resources about Māori typography confirms how underdeveloped Māori typography is and highlights the potential for research and development in this space.

This thesis aims to explore Māori typography. In particular, this thesis will provide an understanding of how Māori typography has evolved, addressing the perceptions of Māori text features and advice on design guidance of Māori typography.

Two studies within this thesis involved analysing the text-based features in 21 Māori newspapers dated from 1842-1935. Māori newspapers are a valuable resource that captured moments in history and also early displays of Māori text. The second study involved interviews with 50 participants — Māori and non-Māori, from a range of different backgrounds — who provided their understandings and perceptions surrounding the features of Māori text.

The results from these studies have shown that the serif typeface classification was commonly used in early print such as Māori newspapers. Serif lettering also reminded participants in our studies of early Māori texts such as old text books and newspapers. This appears to be the reason as to why, a strong theme of serifs and the style of Didone typefaces have been used throughout Māori typography and by default are recognised features of Māori typefaces today.

Having analysed Māori newspapers, an unexpected finding appeared in the 1908 Te Pipiwharauroa newspaper. Two unique letter characters were found that was revolution for Te Reo Māori text of the time. This oddity combined the ‘ng’ letters into one letter character and the ‘wh’ letters into one letter character also. The aim in combining the two letters together was to emphasise the one sound that the ‘ng’ and the ‘wh’ make to avoid confusion in the pronunciation of Māori words. The results showed that these two letter characters appeared from 1908 through to 1912. There is no evidence of these characters appearing after 1912 and also appearing in other newspapers. The two characters were a rare appearance of its time.

As a result of this research it is clear that the visual identity of Te Reo Māori remains unclear and was highly influenced by serif lettering. This thesis highlights the need for more research about Māori typography and design guidance for developing appropriate Māori typefaces that are influenced and inspired by Maori culture.

text: What is Māori typography? Te Reo Māori was traditionally an oral language similar to many indigenous cultures. Writing systems were not familiar to Māori until 1769 where Māori were introduced to the written language by Pākehā. Early Māori writing can be found printed, carved and painted in a number of different parts of Māori society. These myriad texts were strongly influenced and inspired by Pākehā biblical texts and newspapers. The influence of Pākehā texts meant that overtime the written language of Te Reo Māori had a Pākehā visual identity.

To date, there is minimal research about the history and visual identity of Māori typography. The lack of research and resources about Māori typography confirms how underdeveloped Māori typography is and highlights the potential for research and development in this space.

This thesis aims to explore Māori typography. In particular, this thesis will provide an understanding of how Māori typography has evolved, addressing the perceptions of Māori text features and advice on design guidance of Māori typography.

Two studies within this thesis involved analysing the text-based features in 21 Māori newspapers dated from 1842-1935. Māori newspapers are a valuable resource that captured moments in history and also early displays of Māori text. The second study involved interviews with 50 participants — Māori and non-Māori, from a range of different backgrounds — who provided their understandings and perceptions surrounding the features of Māori text.

The results from these studies have shown that the serif typeface classification was commonly used in early print such as Māori newspapers. Serif lettering also reminded participants in our studies of early Māori texts such as old text books and newspapers. This appears to be the reason as to why, a strong theme of serifs and the style of Didone typefaces have been used throughout Māori typography and by default are recognised features of Māori typefaces today.

Having analysed Māori newspapers, an unexpected finding appeared in the 1908 Te Pipiwharauroa newspaper. Two unique letter characters were found that was revolution for Te Reo Māori text of the time. This oddity combined the ‘ng’ letters into one letter character and the ‘wh’ letters into one letter character also. The aim in combining the two letters together was to emphasise the one sound that the ‘ng’ and the ‘wh’ make to avoid confusion in the pronunciation of Māori words. The results showed that these two letter characters appeared from 1908 through to 1912. There is no evidence of these characters appearing after 1912 and also appearing in other newspapers. The two characters were a rare appearance of its time.

As a result of this research it is clear that the visual identity of Te Reo Māori remains unclear and was highly influenced by serif lettering. This thesis highlights the need for more research about Māori typography and design guidance for developing appropriate Māori typefaces that are influenced and inspired by Maori culture.

year: 2020