title: A dead ordinary woman

authors: Pears, Kim Susan

subjects: Women

abstract: Muriel Murdoch died in 1961 yet she asked  – bullied me more like – into telling her story. ‘Write it all down – all of it,’ she insisted from her an unmarked Essex grave that Mum never let me visit. She was furious to be dead at thirty-five, and wanted me to be her voice. I was reluctant. And curious.  
The veil between us lifted as Muriel shared her childhood losses, and her adult struggles with 1940s Essex as the backdrop. Muriel’s tales mirror, dovetail, and blend with mine. My doubts morph into enthusiasm; irritations settle and across time and space, a loving, playful connection forges between us.

The story needed to be told because Muriel said it did. She was a dead ordinary woman with a life cut short, yet she represented women labelled in 1940s Britain not just as difficult: but as ‘good-time girls’ and ‘home wreckers.’ She was hot-headed, loving, resilient, and principled: she thought that war was stupid; and was unafraid to call out the misogyny of some opinionated men in the chip shop queue: ‘Got herself pregnant? Never heard of that before. You’d better ring the papers.’ 
	I was influenced by Kate Atkinson’s Behind the Scenes at the Museum, whose protagonist starts her narrative from inside her mother’s womb, providing a poignant, witty story of her unfolding life using the omnipresent point of view. Alice Sebold’s Lovely Bones helped me to think about writing about the impact of loss from beyond the grave, and Doireann Ni Ghroifa’s  A Ghost in the Throat gave me a taste of a piece where the author included herself in her journey of researching and writing about a long-dead poet, doubting herself at times. This story was also about a woman who had been forgotten and overlooked.
	The story needed to be told for the adventure of the telling. In its writing, I trusted myself, the process, and the connection with my ancestor. Each day I sat at my desk with the loosest of plans listening to Muriel and putting her words to the page. The more I committed the more the stories came. Why her? Why this? Why now? I agree with Gurprakash, the Dutch, guitar-strumming yogi when he says, ‘The meaning is the experience.’
	Lastly, it needed to be told for my own growth. Writing as Muriel with her flaws and foibles has helped me to accept, love, and even revere, my ordinary self. To accept oneself fully, as Matt Haig writes in The Midnight Library ‘like the way you accept nature, a glacier or a puffin or the breach of a whale. And in so doing you find freedom.’ 
Above all, I wrote this because I wanted people to feel for Muriel, to feel for me, and for themselves.  To feel with compassion. And, as Matt Haig says: ‘Just to say your own truth out loud, is enough to find others like you.’

text: A dead ordinary woman Muriel Murdoch died in 1961 yet she asked  – bullied me more like – into telling her story. ‘Write it all down – all of it,’ she insisted from her an unmarked Essex grave that Mum never let me visit. She was furious to be dead at thirty-five, and wanted me to be her voice. I was reluctant. And curious.  
The veil between us lifted as Muriel shared her childhood losses, and her adult struggles with 1940s Essex as the backdrop. Muriel’s tales mirror, dovetail, and blend with mine. My doubts morph into enthusiasm; irritations settle and across time and space, a loving, playful connection forges between us.

The story needed to be told because Muriel said it did. She was a dead ordinary woman with a life cut short, yet she represented women labelled in 1940s Britain not just as difficult: but as ‘good-time girls’ and ‘home wreckers.’ She was hot-headed, loving, resilient, and principled: she thought that war was stupid; and was unafraid to call out the misogyny of some opinionated men in the chip shop queue: ‘Got herself pregnant? Never heard of that before. You’d better ring the papers.’ 
	I was influenced by Kate Atkinson’s Behind the Scenes at the Museum, whose protagonist starts her narrative from inside her mother’s womb, providing a poignant, witty story of her unfolding life using the omnipresent point of view. Alice Sebold’s Lovely Bones helped me to think about writing about the impact of loss from beyond the grave, and Doireann Ni Ghroifa’s  A Ghost in the Throat gave me a taste of a piece where the author included herself in her journey of researching and writing about a long-dead poet, doubting herself at times. This story was also about a woman who had been forgotten and overlooked.
	The story needed to be told for the adventure of the telling. In its writing, I trusted myself, the process, and the connection with my ancestor. Each day I sat at my desk with the loosest of plans listening to Muriel and putting her words to the page. The more I committed the more the stories came. Why her? Why this? Why now? I agree with Gurprakash, the Dutch, guitar-strumming yogi when he says, ‘The meaning is the experience.’
	Lastly, it needed to be told for my own growth. Writing as Muriel with her flaws and foibles has helped me to accept, love, and even revere, my ordinary self. To accept oneself fully, as Matt Haig writes in The Midnight Library ‘like the way you accept nature, a glacier or a puffin or the breach of a whale. And in so doing you find freedom.’ 
Above all, I wrote this because I wanted people to feel for Muriel, to feel for me, and for themselves.  To feel with compassion. And, as Matt Haig says: ‘Just to say your own truth out loud, is enough to find others like you.’

year: 2022

title: Ground Plane Segmentation of Time-of-Flight Images for Asparagus Harvesting

authors: Peebles, Matthew Christopher Scott

subjects: Science & Technology

abstract: A key task in processing time-of-flight images for the detection of asparagus spears is the identification and segmentation of the ground plane. In this paper, we aim to compare the performance of RANSAC with a modified version of an existing deterministic method, namely Hyun’s method. Each method is tested on scenes with varying amounts of field clutter. Additionally, a variety of camera angles are investigated. We find that both RANSAC and the proposed method produce ground plane predictions with a root mean square error of less than 0.05m and execute at a rate of approximately 0.056s per frame. However, RANSAC was shown to be much less reliable in high clutter scenes. The camera mounting angle is found to significantly affect the density and noise of points in time-of-flight images. These factors translate to significantly worse performance for both methods at low camera angles.

text: Ground Plane Segmentation of Time-of-Flight Images for Asparagus Harvesting A key task in processing time-of-flight images for the detection of asparagus spears is the identification and segmentation of the ground plane. In this paper, we aim to compare the performance of RANSAC with a modified version of an existing deterministic method, namely Hyun’s method. Each method is tested on scenes with varying amounts of field clutter. Additionally, a variety of camera angles are investigated. We find that both RANSAC and the proposed method produce ground plane predictions with a root mean square error of less than 0.05m and execute at a rate of approximately 0.056s per frame. However, RANSAC was shown to be much less reliable in high clutter scenes. The camera mounting angle is found to significantly affect the density and noise of points in time-of-flight images. These factors translate to significantly worse performance for both methods at low camera angles.

year: 2018

title: The Research Data Landscape in Aotearoa New Zealand: A report undertaken in partnership with the Aotearoa New Zealand Committee on Data in Research (CoDiR)

authors: Sterling, Rogena

abstract: Data and datasets are often described as a core strategic asset for Aotearoa New Zealand (Aotearoa) and indispensable for the government’s ambition of being a small nation with an advanced, adaptive, and inclusive economy. In the context of our research, science and innovation (RSI) ecosystem, the value of data cannot be overstated. 
The purpose of this report is to provide a review (the Review) of Aotearoa’s research data landscape. Research data are data that are used as primary sources to support technical or scientific enquiry, research, or artistic activity; as evidence in the research process; and/or are commonly accepted in the
research community as necessary to provide a foundation for, or validate research findings and results. The Review covers four core areas:

• Te Tiriti o Waitangi and data sovereignty
• research data ecosystems
• research data infrastructure
• research data cultures.

Although informed by international data landscape reviews, this Review emphasises the unique considerations and structural features of the Aotearoa data landscape. Based on our analysis and observations from a series of targeted workshops, we provide a set of recommendations on how to strengthen the system and advance shared aspirations for better outcomes. The recommendations are organised under the five headings from Nosek’s Pyramid of Social Change, setting out a phased strategy for culture and behaviour change. In implementing these recommendations, we recognise that the articles of Te Tiriti should be embedded throughout, consistent with sector requirements (MBIE, 2023d).

text: The Research Data Landscape in Aotearoa New Zealand: A report undertaken in partnership with the Aotearoa New Zealand Committee on Data in Research (CoDiR) Data and datasets are often described as a core strategic asset for Aotearoa New Zealand (Aotearoa) and indispensable for the government’s ambition of being a small nation with an advanced, adaptive, and inclusive economy. In the context of our research, science and innovation (RSI) ecosystem, the value of data cannot be overstated. 
The purpose of this report is to provide a review (the Review) of Aotearoa’s research data landscape. Research data are data that are used as primary sources to support technical or scientific enquiry, research, or artistic activity; as evidence in the research process; and/or are commonly accepted in the
research community as necessary to provide a foundation for, or validate research findings and results. The Review covers four core areas:

• Te Tiriti o Waitangi and data sovereignty
• research data ecosystems
• research data infrastructure
• research data cultures.

Although informed by international data landscape reviews, this Review emphasises the unique considerations and structural features of the Aotearoa data landscape. Based on our analysis and observations from a series of targeted workshops, we provide a set of recommendations on how to strengthen the system and advance shared aspirations for better outcomes. The recommendations are organised under the five headings from Nosek’s Pyramid of Social Change, setting out a phased strategy for culture and behaviour change. In implementing these recommendations, we recognise that the articles of Te Tiriti should be embedded throughout, consistent with sector requirements (MBIE, 2023d).

year: 2023