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Design of survey to evaluate the core industrial ecosystem of lean, health and safety, quality, and organisational culture
Get PDFContext: Efficient industrial operations require the integration of lean practices, quality systems, safe methods of work, and a supportive organisational climate.
Need: There is a need to manage work-related risks and ensure the safety and well-being of workers while maintaining operational efficiency and quality. While surveys exist for each of these facets and may be used to evaluate performance, there is no integrated survey of the core industrial ecosystem.
Objectives: The objective was to develop a survey to measure the adoption of effective work practices- lean methodologies, the presence of health and safety in the workplace, the effectiveness of quality systems, and the role of organisational support and culture.
Method: The survey combines extracts from existing surveys with new questions created to capture all the research objectives.
Outcomes: A composite survey was designed to measure workers’ perspectives of lean practices, occupational and health system, quality systems, and organisational support and culture. This is original as there is no holistic survey instrument for this in the literature
Adopting a Purposeful Approach to Hybrid Working integrating notions of place,space and time
Get PDFHybrid working is a prevalent way of working, representing a significant change for public sector organisations. The change management literature brings together the notions of place and space; however, little research on hybrid working has used this framing. In this article, we extend this framing to include time, arguing that key to hybrid working effectiveness is the adoption of a purposeful approach to integrating place, space and time. This article has the potential to assist public sector human resource practitioners, managers, employees and policymakers as they navigate their way through these changing times
Appendix A: William John Dewitt Prouse (1877-1956): Biography
Get PDFThis appendix provides background material on William Prouse of Prouse and Wilson up to the time the University Senate Building was designed. The factual record suggests Prouse's life was experientially rich and unusual. He was a talented musician married to an even more talented musician, who travelled the world. He held partnerships in a string of significant architectural firms in early‐twentieth‐century New Zealand, and shareholdings in building development companies and in what appears to be pioneering ventures in motor camps in the Wellington region. 1940 was not only significant as the year that saw the design of the University Senate building ‐ but it was also the year that his wife Ava died. Helliwell states that c1941, Prouse was "feeling the advance of age and did little at the office," suggesting that his involvement in architecture lessened from this time
Exposure to dust and bioaerosols at GB municipal waste handling sites
Get PDFBackground
Municipal waste in Britain contains organic matter. Handling this material can risk exposure to substances, including airborne dust and bioaerosol (airborne fungi, bacteria and their cellular components) that can impair human respiratory health. This paper combines the main findings of a series of studies conducted by the Health and Safety Executive in Great Britain to assess exposure to bioaerosols in various facilities processing municipal waste.
Methods
Site visits were conducted by a team of occupational hygienists and microbiologists. The key aims of the site visits were to quantify exposures to airborne dust and bioaerosol, to assess how waste processing methods and working practices contributed to worker exposure and to assess the effectiveness of exposure controls. Exposure measurement visits were conducted at materials recovery facilities (MRFs), waste transfer stations (WTS) and mechanical and biological treatment plants (MBTs).
Findings
High bioaerosol exposures, including endotoxin and Aspergillus fumigatus, both of which are associated with specific respiratory health conditions, were measured for several work activities. Higher risk tasks included work around unenclosed, high energy mechanical waste processing plant, cleaning operations using compressed air and high-pressure water jetting and hand sorting of waste at MRFs.
Conclusions
The higher exposures measured during this work could be reduced by increased sorting of waste at source to separate out food waste, a significant source of contamination in unsorted waste, improved plant design to provide greater containment of automated processes, targeted use of well-designed and suitably maintained LEV systems where practical and the adoption of low dust cleaning techniques
Poster: Is Hybrid Working Good for Health, Safety and Wellbeing? An Overview of Systematic Reviews
No full textHybrid working: Working from home or away from an employer’s location, part-time or full-time, using information technology (IT).
What do we know about the health and wellbeing of hybrid workers so far
HASANZ in 2024: A brief summary of our achievements
Get PDFThis article provides a brief summary of the first decade of HASANZ
Depiction and Description: Insights into Southern Alps Glaciers Conveyed by John Gully’s Paintings and Julius Haast’s Paper at the Royal Geographical Society
Get PDFIn June 1862, Julius Haast (1822–1887), the Canterbury Provincial Geologist, wrote to Joseph Hooker, Assistant Director of the Royal Botanic Gardens at Kew, informing him that “being now naturalized I think it my duty to offer my work to the scientific societies in England.” Haast informed Hooker that as soon as his topographical map was finished, he would send the botanist “an account of the geological features of the Alps, on deposits of the glacial period, accompanied by maps, sections and sketches,” requesting him to present the account to the Geological Society of London.[i] Although this anticipated initial foray into publishing in British scientific journals did not eventuate until 1865,[ii] on 12 November 1863 Haast sent a copy of his large topographical map of the Southern Alps,[iii] accompanied by extensive notes on the physical geography of that region and a set of 12 watercolour paintings (e.g. fig. 1), to the geologist Sir Roderick Murchison,[iv] President of the Royal Geographical Society. Haast hoped that those landscape paintings would “best enable the members, to gain an insight into the wild mountain masses [of the Southern Alps], with their snowfields, glaciers and lakes [emphasis added].”[v]
[i] Sascha Nolden, Esme Mildenhall and Simon Nathan, The Correspondence of Julius Haast and Joseph Dalton Hooker, 1861–1886 (Wellington: Geoscience Society of New Zealand, 2013), 22. Haast became a British citizen in February 1861.
[ii] See Julius Haast, “Notes to a Sketch-Map of the Province of Canterbury, New Zealand, Showing the Glaciation During the Pleistocene and Recent Periods as Far as Explored,” Quarterly Journal of the Geological Society of London 21, nos. 1–2 (1865): 87–96.
[iii] On 11 June 1863, Haast informed Hooker that he was sending Murchison a large map with a set of watercolour drawings by the next mail (Nolden, Mildenhall and Nathan, Correspondence Haast-Hooker, 42–43).
[iv] Ibid., 57.
[v] Julius Haast, “Notes Accompanying a Map of the Province of Canterbury” (Royal Geographical Society Manuscript Archive, 1862), 1
Spiritualist Art in Early Twentieth-Century Aotearoa New Zealand: Minnie Chapman, Sophia Garland Allan and Berta Sinclair Burns
Get PDFSpirit drawing, as a means of channelling and expressing communications with spirit entities, has been marginalised in definitions of art as well as in art history. This essay contributes to ongoing and historical conversations in which new religious movements are considered in conjunction with histories of feminism and art, exploring the work of three medium artists: Minnie Chapman (1856–1949), Sophia Garland Allan (1867–1959) and Berta Sinclair Burns (1893–1972). This essay shows how the three artists share spiritualist sensibilities and practices and a visual language of abstraction, decorative expression and particular “universal” biomorphic forms, inviting speculation at the intersection of material culture and esoteric thought
Gordon Walters
Get PDFFrancis Pound’s Gordon Walters could be considered the final component and critical analysis of the life and times of four pioneering New Zealand artists whose reputations and legacies acquired prominence in the 1960s. Where Toss Woollaston (1910–1998) and Rita Angus (1908–1970) are given due and comprehensive consideration by Jill Trevelyan (2004 and 2020 respectively), and Colin McCahon (1919–1987) in Peter Simpson’s two-volume magnum opus (2019–2020), Pound’s book on the life and art of Gordon Walters (1919–1995) completes this equation. In making connections between these artists, there is inevitably a sense of the founding of a national art history. Gordon Brown and Hamish Keith’s once highly influential publication, An Introduction to New Zealand Painting 1839–1967 (1969), devoted less attention to Walters’ abstraction than to the more figurative and referential work of his peers. But now Pound’s Gordon Walters comprehensively eliminates the remnants of any possible doubt about Walters’ central importance in New Zealand art history. To paraphrase the writer’s commentary on Walters’ own art and legacy, this is an astonishing publication
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