Open Journal Systems at the Victoria University of Wellington Library
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Reflections on Not In Narrow Seas: The Economic History of Aotearoa New Zealand 1
Get PDFIt is a pleasure to be asked to speak on Brian Easton’s new economic history of New Zealand. I have long admired the breadth and depth of the work Brian has done on New Zealand’s economic history and, as always with his work, the joy of reading the analysis was greatly enhanced by the book’s readability
Minimally Nonstandard K3 and FDE
Get PDFGraham Priest has formulated the minimally inconsistent logic of paradox (MiLP), which is paraconsistent like Priest’s logic of paradox (LP), while staying closer to classical logic. We present logics that stand to (the propositional fragments of) strong Kleene logic (K3) and the logic of first-degree entailment (FDE) as MiLP stands to LP. That is, our logics share the paracomplete and the paraconsistent-cum-paracomplete nature of K3 and FDE, respectively, while keeping these features to a minimum in order to stay closer to classical logic. We give semantic and sequent-calculus formulations of these logics, and we highlight some reasons why these logics may be interesting in their own right
Online Graphics Can Change Conversations About Racism in Aotearoa
Get PDFRacism is endemic in many online spaces, promoted by the structures of social networking sites (SNS), and few initiatives have attempted to counter everyday racism online. This article describes how tauiwi groups collaboratively developed anti-racist graphics, which unpredictably became memes that stimulated online and offline conversations about anti-racism and decolonisation. I outline the difficulties in developing such graphics, suggest where to post them, and argue that the strategies used to develop anti-racist graphics could be useful in combatting other social inequities. The article draws on a larger PhD study in which I interviewed online news editors, analysed racism on SNS, developed and posted anti-racist graphics on two Facebook genres, and analysed the results. It envisions a future where online users commonly see witty images that challenge structural inequities
The Grim Realities of a Doctoral Student in Aotearoa
Get PDFThis article explores the multifaceted challenges confronting PhD students in Aotearoa New Zealand’s universities. In contrast to the advertised three-year completion timelines, evidence reveals extended PhD durations and a disconnect between enrolments and academic opportunities. The often unrecognised hurdles faced by PhD students include financial strains stemming from low stipends that do not cover the local cost of living, difficulty accessing additional income, and ambiguous student status. The complex phase at the completion of PhD represents a separate narrative with new challenges including the end of stipend funding and a significant gap in employment prospects while waiting months for the PhD to be examined. By documenting the poorly documented difficulties and realities, the authors aim to offer insights to stakeholders and prospective PhD students, fostering awareness and advocating for improvements in the doctoral education system
Reflections upon the Drift Away from Democracy in the United States
Get PDFIn this article Sir Geoffrey reflects on democracy in the context of the United States, with special attention to the events of recent years both in the United States and internationally. A drift away from democracy is noted and an agenda for reform of the United States system is advanced for the purpose of strengthening democracy in a country which is a role model for many others
Striptease
Get PDFParashuram’s short story ‘Striptease’, titled ‘Nirmok Nritya’ in Bengali (Bangla), is rather popular for its novel treatment of the female body vis-à-vis the male gaze. In this story, Parashuram (alias Rajshekhar Basu) spotlights the objectification of the female body, but with a wicked twist. However, the dynamics of gender and the binaries of female/male sexuality are expressed in a matrix of Hindu mythology, which initially make the story, especially some of its referents, somewhat inaccessible to not just Western readers but anyone unfamiliar with the Indian milieu. Yet, given Basu’s genius, his treatment of the theme is such that the appeal of the short story is universal, irrespective of the culture the reader belongs to. The gentleness of his satire—without being titillating or obscene—is especially alluring. The Bengali title can be literally translated as ‘The Dance of the Shedding of Shells’, or ‘The Dance in which Skins are Sloughed Off’. This is typical of Parashuram’s understated, elliptical, implicit sense of humour. The Bengali title does contribute to the overall impact of the original story, but it would not be an appropriate one in an English translation. Ergo, the title that naturally suggested itself was ‘Striptease’
NZSS 1900 Model Building By-law: a planned evolution
Get PDFTwenty-five years after its publication, NZSS 95:1935 "Model Building By-law" was starting to show its age. The 1961 City Engineers conference requested it be reorganised to put general requirements first and design requirements later. The NZ Standards Institute's (NZSI) Bylaw Sectional Committee thought this a good idea, although to avoid confusion changed the designation of the new series to NZSS 1900. From late 1963 to mid-1964, NZSS 95 was reissued as NZSS 1900. The 14 parts of NZSS 95 became 11 chapters of NZSS 1900, initially by reprinting with new covers. Over the next 20 years the chapters were modified, revised, split, or amalgamated.On 1 April 1966 NZSI became the Standards Association of New Zealand (SANZ), and 'New Zealand Standard Specifications" (NZSS) became "New Zealand Standards" (NZS). By late 1966 the revision and publication of NZS 1900 was nearly complete. For the future a five yearly review cycle was planned. However, storm clouds were ahead. NZS 1900 had a mixture of: legal requirements; design and construction requirements; quantitative requirements; and codes of practice. The resultant documents were considered to be hard to: use; inspect on site; and revise. In late 1969 the Standards Council was looking forward to a revision separating requirements (fixed, unchanging and rarely alternative) from solutions (changing as technology develops, often with alternatives). The "means of compliance" could be provided for the majority of users, while other solutions were available as desired or required. This set the scene for the Building Act 1991 and New Zealand Building Code.The paper reviews the development of NZS 1900, exploring the similarities and differences to NZSS 95. As an example of the process, the evolution of the requirement for windows for ventilation will be examined
Simplicity of Form: a tale of two cathedrals and interiors lost?: Hamilton Founders Memorial Theatre (1962) and St Joseph's Catholic Church Morrinsville (1964)
No full textSt Joseph's Catholic Church, Morrinsville, was designed in 1958-62 by Doug Angus of Angus, Flood & Griffiths of Hamilton. Built in 1964-65, the design was radical, had simplicity in form both externally and internally. The simple external upturned parabola defied the level of innovation and detailing, creating both the exterior and interior form with the use of pre-stressed concrete ribs, and pre-cast panels between. The parabolic form was 49' 6" in height, designed by engineer Thomas Flood. The 8,000 sqft church accommodated 600 people. It was said to be New Zealand's largest single-pour concrete roof of the time. The Modernist interior was of a grand scale with the specially-designed fittings - only seen by parishioners. And this was part of its demise. The scale was for a cathedral not small-town New Zealand. Regionally significant in terms of architecture and engineering technology, an iconic Waikato church, and the work of an important Modernist architect and engineer, yet it was demolished in 2014. In the Waikato, at the same time as the church was being designed, the new regional theatre and "town hall" was on the drawing board of architect Aubrey de Lisle, of White, de Lisle and Jenkins of Hamilton. The Founders Memorial Theatre opened in November 1962, inspired by Coventry's Belgrade Theatre, which was the first civic theatre built in Great Britain after World War Two. The 1,249-seat theatre, built a decade before Christchurch Town Hall, has hosted international performers of note to local theatre and music productions within its "gently sloping wood panelled confines." Jazz great Louis Armstrong arrived for shows on 20 March 1963, but due to payment issues he almost didn't play at all. From Louis Armstrong to Cilla Black in 1965, to the home of the Finns, the theatre for over 60 years has been the focus of many from the new teenagers of the 1960s to classical music and the performance of the young ballet students. Closed in 2016 from lack of maintenance and ongoing strengthening, with the Hotere mural removed for the new Waikato Theatre, the interior now only used in the dark for police exercises as its fate awaits. Two very different cultural interiors – a cathedral for faith and a "cathedral" for performance – a church and a theatre
Gardening the interior: Odo Strewe inside the 1980s
Get PDFOdo Strewe arrived in New Zealand in 1938, a refugee from Nazi Germany. After release from internment on Matiu (Somes Island) as an Enemy Alien during World War Two, he married and moved to Auckland where he started a landscape design and construction business. Strewe had explored the idea of plants inside buildings in the very first house that he had made for his family in Glen Eden, Auckland in 1949. An Australian journalist writing about the house described the interior "with tropical paw paws almost coming indoors to join forces with the banana that is really growing and fruiting, right inside the house." Strewe continued to advocate for this disciplinary contest in subsequent years by writing about indoor gardening in New Zealand Modern Homes and Gardens and designing gardens that challenged the boundaries between landscape and the interior. This paper will explore the design strategies of two of Strewe's interior gardens in the 1960s as he developed this aspect of his landscape design practice
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