title: Investigation of failure patterns of desktop computer power supplies using a lightning surge simulator and the generation of a database for a comprehensive surge propagation study

authors: James, Sisira

subjects: International Technology Roadmap for Semiconductors

abstract: According to the International Technology Roadmap for Semiconductors (ITRS) future VLSI devices of gigahertz capability are expected to have feature sizes below 45 nm with DC power supply requirements with sub 1V and the equivalent noise voltages close to the DC rail values. This scenario makes the surge resist capability of processor type loads and the associated power conversion interfaces with lot of power semiconductors, seriously vulnerable to lightning and other power transients. In a major research project to predict the propagation of transients within the power conversion interfaces using wavelet transform, it was necessary to develop an experimental database of surge failures in power electronic subsystems. This paper highlights the results of destructive testing of desk top PC power supplies using a lightning surge simulator which will be used for comparing experimental data with analytical/simulated results.

text: Investigation of failure patterns of desktop computer power supplies using a lightning surge simulator and the generation of a database for a comprehensive surge propagation study According to the International Technology Roadmap for Semiconductors (ITRS) future VLSI devices of gigahertz capability are expected to have feature sizes below 45 nm with DC power supply requirements with sub 1V and the equivalent noise voltages close to the DC rail values. This scenario makes the surge resist capability of processor type loads and the associated power conversion interfaces with lot of power semiconductors, seriously vulnerable to lightning and other power transients. In a major research project to predict the propagation of transients within the power conversion interfaces using wavelet transform, it was necessary to develop an experimental database of surge failures in power electronic subsystems. This paper highlights the results of destructive testing of desk top PC power supplies using a lightning surge simulator which will be used for comparing experimental data with analytical/simulated results.

year: 2010

title: Life, the crocodile, the Pisikoa and the wind: representations of teaching in the writings of three pacific authors.

authors: Devine, Nesta

subjects: Pacific literature

abstract: In the course of research involving the experiences of teachers of Pacific ancestry in New Zealand public schools, I became interested in the ways in which teachers were represented in Pacific thinking. Published works give relatively easy access to at least some of the patterns of thought evoked by the term teacher. In this paper I shall look at the kinds of teacher and teaching shown by Ruparuke Petaia, Albert Wendt and Sia Figiel. These authors, all confidently Samoan, portray some of the complexities of learning and teaching from within Samoan sensibilities. ÂLife", "the Crocodile", "the Pisikoa" and "the Wind" are all the names of teachers in this literature. My discussion of Kidnapped by Petaia (1974), Ola by Wendt (1991) and Where we once belonged by Figiel (1996) is not chronologically ordered so much as thematically arranged. The three themes are: decolonisation of education, the European teacher of Pasifika students and the Samoan teacher of Samoan students. Petaia presents a decolonising stance: the teacher as instrument of colonisation or enslavement. This perception is followed through by a discussion of Figiel's character, Siniva, who likewise rejects European knowledge as a form of darkness, and a brief reference to this idea by Wendt. Both Wendt and Figiel portray European teachers as arrogant in their assumptions about the universal nature of their knowledge, and as comic figures of enlightenment colonisation, somehow cut off from embodied human experience. Wendt sees the Samoan teacher as ineffectual, an instrument of a kind of hopeless enlightenment, frustrated by regulations and village traditions, while Fig iel sees her as a real presence in village life but a tragic figure of local ignorance.

text: Life, the crocodile, the Pisikoa and the wind: representations of teaching in the writings of three pacific authors. In the course of research involving the experiences of teachers of Pacific ancestry in New Zealand public schools, I became interested in the ways in which teachers were represented in Pacific thinking. Published works give relatively easy access to at least some of the patterns of thought evoked by the term teacher. In this paper I shall look at the kinds of teacher and teaching shown by Ruparuke Petaia, Albert Wendt and Sia Figiel. These authors, all confidently Samoan, portray some of the complexities of learning and teaching from within Samoan sensibilities. ÂLife", "the Crocodile", "the Pisikoa" and "the Wind" are all the names of teachers in this literature. My discussion of Kidnapped by Petaia (1974), Ola by Wendt (1991) and Where we once belonged by Figiel (1996) is not chronologically ordered so much as thematically arranged. The three themes are: decolonisation of education, the European teacher of Pasifika students and the Samoan teacher of Samoan students. Petaia presents a decolonising stance: the teacher as instrument of colonisation or enslavement. This perception is followed through by a discussion of Figiel's character, Siniva, who likewise rejects European knowledge as a form of darkness, and a brief reference to this idea by Wendt. Both Wendt and Figiel portray European teachers as arrogant in their assumptions about the universal nature of their knowledge, and as comic figures of enlightenment colonisation, somehow cut off from embodied human experience. Wendt sees the Samoan teacher as ineffectual, an instrument of a kind of hopeless enlightenment, frustrated by regulations and village traditions, while Fig iel sees her as a real presence in village life but a tragic figure of local ignorance.

year: 2006

title: Colonial versus ancestral legacy: The assertion of culture and identity through public arts in Kirikiriroa/Hamilton

authors: Kiff, Shirin

subjects: Ethnography

abstract: This thesis is an ethnography of Hamilton. It focuses on the role of public arts as a cultural regeneration tool and their function in shaping the community(s) in Kirikiriroa/Hamilton through building a sense of place and identity. As a qualitative study, I conducted nine semi- structured interviews with public art artists, art advocates and residents to explore the relational context within which the development and transmission of meaning takes place, a process which is central to culture and identity. The primary purpose of the research interviews was to gain insight into the factors that motivate arts organisers and planners to direct valuable limited resources into public art projects and its observable outcomes. The second purpose of the interviews, conducted while walking to public artworks in the city centre with six participants, was to examine the effect of public art on the public.
My methods also include tracking press reviews, monitoring comments and posts on social media and institutional debates involving residents, artists, and public authorities concerning public arts. I also recorded data by taking photographs and recording field notes of my observations during and after the fieldwork process. Data gathering was also enhanced by the large-scale collection of written materials and resources, including public art publications and HCC policy documents. Taken together, these research methods allowed me to investigate whether Hamilton had achieved its goals in its cultural regeneration efforts. In my analysis, I discuss the role of public art and its association with place and consider how artworks may antagonise Māori-Pākehā relationships or otherwise emphasis residents’ sense of place.
Biculturalism and monoculturalism narratives appear to dominate public arts with the purpose of invoking either a colonial legacy or ancestral legacy while the politics of multiculturalism continue to jockey for place. Colonial legacy refers to the glorifying of colonial achievements while ancestral legacy in this context refers to Māori assertion of history, culture and identity. Particularly, in this research, ancestral legacy belonging to local hapū, Ngāti Wairere. Participants’ narratives reveal four overarching themes, 1) the publics’ resistance to the making of colonial places through public art, 2) Ngāti Wairere struggles to assert ancestral legacy through public arts, 3) the need for ethnically diverse artworks to create and maintain ethnically diverse places, and 4) a yearning for a collective identity represented through public arts. Hamilton’s public artworks are variously perceived as a superficial representation of Māori culture, identity and history, a reminder of a colonial binary discourse, the colonised versus the coloniser, an assertion of either a Māori ancestral legacy or a colonial legacy or, minimally, a nod to multiculturalism. Nevertheless, my research shows that participants engagement with these artworks reveal a yearning for a local collective identity that is still a work in progress.

text: Colonial versus ancestral legacy: The assertion of culture and identity through public arts in Kirikiriroa/Hamilton This thesis is an ethnography of Hamilton. It focuses on the role of public arts as a cultural regeneration tool and their function in shaping the community(s) in Kirikiriroa/Hamilton through building a sense of place and identity. As a qualitative study, I conducted nine semi- structured interviews with public art artists, art advocates and residents to explore the relational context within which the development and transmission of meaning takes place, a process which is central to culture and identity. The primary purpose of the research interviews was to gain insight into the factors that motivate arts organisers and planners to direct valuable limited resources into public art projects and its observable outcomes. The second purpose of the interviews, conducted while walking to public artworks in the city centre with six participants, was to examine the effect of public art on the public.
My methods also include tracking press reviews, monitoring comments and posts on social media and institutional debates involving residents, artists, and public authorities concerning public arts. I also recorded data by taking photographs and recording field notes of my observations during and after the fieldwork process. Data gathering was also enhanced by the large-scale collection of written materials and resources, including public art publications and HCC policy documents. Taken together, these research methods allowed me to investigate whether Hamilton had achieved its goals in its cultural regeneration efforts. In my analysis, I discuss the role of public art and its association with place and consider how artworks may antagonise Māori-Pākehā relationships or otherwise emphasis residents’ sense of place.
Biculturalism and monoculturalism narratives appear to dominate public arts with the purpose of invoking either a colonial legacy or ancestral legacy while the politics of multiculturalism continue to jockey for place. Colonial legacy refers to the glorifying of colonial achievements while ancestral legacy in this context refers to Māori assertion of history, culture and identity. Particularly, in this research, ancestral legacy belonging to local hapū, Ngāti Wairere. Participants’ narratives reveal four overarching themes, 1) the publics’ resistance to the making of colonial places through public art, 2) Ngāti Wairere struggles to assert ancestral legacy through public arts, 3) the need for ethnically diverse artworks to create and maintain ethnically diverse places, and 4) a yearning for a collective identity represented through public arts. Hamilton’s public artworks are variously perceived as a superficial representation of Māori culture, identity and history, a reminder of a colonial binary discourse, the colonised versus the coloniser, an assertion of either a Māori ancestral legacy or a colonial legacy or, minimally, a nod to multiculturalism. Nevertheless, my research shows that participants engagement with these artworks reveal a yearning for a local collective identity that is still a work in progress.

year: 2021