Aside from ferns, my main research interest is the group of trees known as Pseudopanax, for which I collaborate with Lara Shepherd from the Allan Wilson Centre.

Blog posts on ferns

Blog posts on Pseudopanax

Lara at the Allan Wilson Centre

Pseudopanax includes the lancewoods and five-fingers. Several of the species are popular in cultivation, including fierce lancewood (Pseudopanax ferox). This species is so named for having bigger ‘teeth’ along the margins of its juvenile leaves than lancewood (Pseudopanax crassifolius).

Blog post on lancewood and its hybridisation with coastal five-finger

Paper in Molecular Phylogenetics & Evolution about the relationships of Pseudopanax

Fierce lancewood, Pseudopanax ferox. Juveniles (left) and adults (right) have very different leaves and habits. Both images by Leon Perrie, Curator. © Museum of New Zealand Te Papa Tongarewa.

Fierce lancewood, Pseudopanax ferox. Juveniles (left) and adults (right) have very different leaves and habits. Both images by Leon Perrie, Curator. © Museum of New Zealand Te Papa Tongarewa.

 

How are fierce lancewood populations related? In the wild, fierce lancewood has a very discontinuous distribution, with some populations being very isolated. We want to know how the various populations are related to one another. We are using a DNA-fingerprinting method known as “microsatellites” to determine how the various populations are related to one another. The approach is analogous to criminal forensics.

Microsatellites are highly variable regions of DNA. Each microsatellite has a number of variants which differ in length. We determine how many DNA nucleotides long the microsatellite variants are in each individual sampled. This tells us how the individuals and the populations they came from are related.

 

At each different kind of microsatellite, each individual has two copies, one inherited from its mother and the other from its father. The two copies in an individual can be the same or different lengths. This is a figure of one particular kind of microsatellite for two individuals. In the upper individual, the two copies are of different lengths: length 129, which is quite uncommon, and length 135 which is common and widespread. In the lower individual, the two copies are both of length 135, which is why there is only one large peak.

At each different kind of microsatellite, each individual has two copies, one inherited from its mother and the other from its father. The two copies in an individual can be the same or different lengths. This is a figure of one particular kind of microsatellite for two individuals. In the upper individual, the two copies are of different lengths: length 129, which is quite uncommon, and length 135 which is common and widespread. In the lower individual, the two copies are both of length 135, which is why there is only one large peak.

 

Our preliminary analyses suggest there are four principal genetic groups within fierce lancewood. There has probably been very little gene-flow between these groups for some time.

The four principal genetic groups detected by microsatellite DNA-fingerprinting in fierce lancewood are indicated by different colours. The small grey circles are populations that we haven’t sampled, but which are represented by specimens in the herbarium collections of Te Papa, Auckland Museum, and Landcare Research.

The four principal genetic groups detected by microsatellite DNA-fingerprinting in fierce lancewood are indicated by different colours. The small grey circles are populations that we haven’t sampled, but which are represented by specimens in the herbarium collections of Te Papa, Auckland Museum, and Landcare Research.

 

One of the four groups, that in the southern North Island (the brown dot), comprises a single population on one hillside!

On the other hand, another of the four groups encompasses most of the South Island (from Kaikoura southwards; green dots). The absence of strong genetic subdivision within this group suggests its populations have been more recently connected by gene-flow. This may indicate that fierce lancewood has recently been more continuously distributed in the central and southern South Island, perhaps even until the widespread clearance of lowland forests by humans.

Our preliminary analyses also suggest that the central and southern South Island populations of fierce lancewood may have survived the Last Glacial Maximum of the ice-age more or less in situ, rather than being derived from one or a few major refugia. This is consistent with the hypothesis that there was widespread survival of New Zealand’s forests during the ice-age, as we have previously inferred from genetic analyses of the forest fern Asplenium hookerianum.

 Paper in Molecular Ecology about the ice-age survival of New Zealand’s vegetation

Blog post on Asplenium hookerianum

I was very fortunate to assist with the install of some of the Formula One cars – some little facts occured to me as we moving them into place:

The BRM P160 was the heaviest beastie:

The BRM P160. © Te Papa, 2009.

The BRM P160. © Te Papa, 2009.

The Williams FW14B was the widest – very thoughtful moments as to which path to take it from the lift to the gallery…

The Williams wideboy.© Te Papa, 2009.

The Williams wideboy.© Te Papa, 2009.

The lovely Lotus 16 is the most elderly – 1958, with the 2006 McLaren MP4-21 being the youngest whippersnapper

Unloading the Lotus 16. © Te Papa, 2009.

Unloading the Lotus 16. © Te Papa, 2009.

And the car that required the least amount of manoeuvring around was another of my favs – the Cooper T51. In fact it went around the corner past Inspiration Station in one go – a treat! :)

The Cooper T51 cornering nicely.© Te Papa, 2009.

The Cooper T51 cornering nicely.© Te Papa, 2009.

Go to our Formula One™ – The Great Design Race website for the full list and basic specs of the cars

When making exhibitions here at Te Papa, teams have to install a wide variety of objects. You, the visitor, generally only get to see the polished final product – everything all beautifully laid out, ready for viewing.

Have you ever wondered how we get the big stuff in? All I can say is – thank goodness for the goods lift. Now, I know it’s big and has had cars in it in the past but you never fully appreciate this ability until you see it for yourself…

The Williams FW14B going into the goods lift.  © Te Papa, 2009.

The Williams FW14B going into the goods lift from the ground-level dockway. © Te Papa, 2009.

And so the Formula One cars were moved, one by one, from the dockway up to Level Four.

Various objects get moved to their respective gallery’s usually by trolley – but with the installation of these Formula One cars it was a different kettle of fish…. a different road to follow you could say :)

Those responsible for the safety of the cars decided on wheeling them through Level Four from the lift…

The Williams coming out of the goods lift on level four. © Te Papa, 2009.

The Williams coming out of the goods lift on level four. © Te Papa, 2009.

These cars are designed to operate beautifully at very high speeds – which meant  turning corners at very slow speeds very tricky. There was no such thing as a perfectly executed 3-point turn! More like five or six-point shimmying to get them around corners and into the Visa Platinum Gallery… there was a lot of maths…

Wheeling sedately past the Britten bike. © Te Papa, 2009.

Wheeling sedately past the Britten bike. © Te Papa, 2009.

Backing the Williams into the gallery. © Te Papa, 2009.

Backing the Williams into the gallery. © Te Papa, 2009.

You may have noticed that we backed it all the way – this is so it ended up facing the right way on its plinth inside the gallery – told you maths was involved :)

Putting the nosecone back onto the Williams FW14B. © Te Papa, 2009.

Putting the nosecone back onto the Williams FW14B. © Te Papa, 2009.

You may also be thinking that the Williams FW14B is not looking that flash – it’s nose-cone had been removed in England so it didn’t get damaged in transit. So we’ve made Nigel Mansell’s 1992 car look gorgeous again… rhinoplasty does wonders!

The Williams on its final resting place in the Visa Platinum Gallery. © Te Papa, 2009.

The Williams on its final resting place in the Visa Platinum Gallery. © Te Papa, 2009.

DigitalNZ is a collaborative project led by the National Library of New Zealand that has been around for a few months now. They have already done fantastic things with providing tools for searching across New Zealand digital content from a range organisations, including from Te Papa’s Collections Online, as well as providing access for developers  (via an API)  to create new ways for people to engage with that content.

Today they launched the Make It Digital service. From their blog:

1. The Guides and Ask a Question sections are designed to help people who are trying to create new digital content, or digitise their stuff. A lot of you will have questions on how to go about digitisation and this is the place where you can ask. We hope that some of you will be able to share your expertise by answering others’ questions, and helping us to write and update the guides.

2. The Voting section – It’s a public forum for people to share their ideas for new NZ digital content, with voting and commenting functions. There’s some great ideas in there already that you can vote on, for example, School Journal, New Zealand music artwork and Appendices to the Journals of the House of Representatives.

As with all DigitalNZ work so far, Make It Digital has the makings of a fantastic service, and we’re really looking forward to see it grow, and watching people contribute, ask, share and create! Check it out here http://makeit.digitalnz.org/

These are the years of the cars that were unloaded today and are now safely inside the building… two of my favourites included:

The 2006 McLaren MP4-21. Copyright Museum of New Zealand Te Papa Tongarewa.

The 2006 McLaren MP4-21. Copyright Museum of New Zealand Te Papa Tongarewa.

They’ve been travelling by sea for weeks all alone in their containers… waiting for you to come and see them :)

The 1992 Williams FW14B. Copyright Museum of New Zealand Te Papa Tongarewa

The 1992 Williams FW14B. Copyright Museumof New Zealand Te Papa Tongarewa

I went to a very interesting Wellington Botanical Society talk last night, by Paul Blaschke of Friends of Owhiro Stream. Paul was talking about their work revegetating the catchment of the Owhiro Stream in southern Wellington.

It stimulated an intriguing discussion about how and what we should be restoring, which in turn relates to what our goals for conserving biodiversity are.

Ecological restoration is a vexed issue, with many controversial aspects, so it was good to discuss, learn, debate, and think.

For instance, some people believe that only plants present in an area before humans arrived should be used in restoration.

Collections of plant specimens, like that held by Te Papa, can play an important role in establishing where plants are/were distributed.

Houpara, coastal five-finger, Pseudopanax lessonii, is native to the northern North Island, but not to Wellington. However, after being introduced by people, it now grows wild in Wellington (and many other parts of New Zealand outside its native range [http://blog.tepapa.govt.nz/2009/06/10/our-promiscuous-pseudopanax-plants/]). There are now a reasonable number of New Zealand plants occurring wild outside their indigenous distributions, entirely as a result of human activities. Photo by Leon Perrie. (c) Leon Perrie, Wellington.

Houpara, coastal five-finger, Pseudopanax lessonii, is native to the northern North Island, but not to Wellington. However, after being introduced by people, it now grows wild in Wellington (and many other parts of New Zealand outside its native range). There are now a significant number of New Zealand plants occurring wild outside their indigenous distributions, entirely as a result of human activities. Photo by Leon Perrie. (c) Leon Perrie, Wellington.

Other people go even further when considering restoration, saying that only locally-derived material should be used.

 Photo by Leon Perrie. (c) Leon Perrie, Wellington.

Mahoe, Melicytus ramiflorus, occurs indigenously throughout most of New Zealand. For restorations in, say, Wellington, should only material derived from local-Wellington sources be used? Or, is it okay to use mahoe plants from anywhere? Photo by Leon Perrie. (c) Leon Perrie, Wellington.

But, is it practically possible to ensure such ‘eco-sourcing’? Do the costs outweigh the benefits?

And, what geographic scale is appropriate for eco-sourcing? Should plants be from the same province, river-catchment, …, or hillside?

Is it already too late, at least for some species/communities/regions, to even attempt to ensure that pre-human patterns are preserved? Has the colloquial horse already bolted? Are the ‘genes’ out of the bottle?

And, on a temporal scale, what are the implications from past and future climate-change? Many lowland New Zealand plants were more widespread during past warmer periods (and, similarly, much restricted when it was colder). Indeed, many warmth-loving plants were eliminated completely from New Zealand during the Ice-Age. Given the dynamism of biodiversity, what are appropriate parameters for restoration targets?

Managing ‘nature’ is often a tricky business…

by WaitokiSchool

by WaitokiSchool

In partnership with TelstraClear and NZ Post, this year’s Matariki festivities include a unique photography event utilising the existing OurSpace infrastructure as well as the newly developed OurSpace TelstraClear Screen, scheduled for installation on the front exterior of the building in the coming month.  The purpose of the showcase is to not only generate contributions to the longterm OurSpace experience, but to invite New Zealanders to take part in a digital conversation specifically on the significance of Matariki.

We are asking the questions, ‘what does Matariki mean to you?’ and ‘what is important to you this Matariki?’  We are soliciting images through several already existing relationships with schools, online communities, and corporate partnerships, as well as through national appeals to the wider public.

by nativ flavas | photography

by nativ flavas | photography

A group of prominent selectors will choose images to be viewed on the Screen during Matariki, with an on-site event showcasing these images.

We have already seen a diverse pool of submissions on what New Zealanders hold dear to their hearts when considering the overarching theme of whakawhanaungatanga – relationships and bringing people together.  From hangi to hikoi to hip-hop dancers, the range of perspectives is exciting, and there are still a couple of weeks remaining for submission.

by Pieter ten Broek

by Pieter ten Broek

To take part, simply visit ourspace.tepapa.com , establish a user account, and upload images to the OurSpace database.  We only ask that you include the tags, ‘Matariki 09’ to ensure that your images are clearly associated and available for selection.

Folding camera, Thomas Girvan, 1870s

Folding camera, Thomas Girvan, 1870s

Te Papa’s collections have been built over nearly 150 years and range from miniscule lice and molluscs through to caravans, 22m long artworks and colossal squid.   The collection is estimated to be approximately 2 million artworks, photographs, objects and specimens.

Headaches
A collection this diverse can create a number of headaches when it comes to digitisation. Some objects require specialist imaging techniques. Some objects may require conservation or stabilisation first. Some objects are too large and may need to wait until the object is installed in an exhibition. Some of our collections are not yet catalogued in digital form at all, so before we can image these, we must catalogue them. And of course like most heritage institutions, we have finite resources in terms of people power, space, technology, time and… money.

Rights
Victoria has already written briefly about some of the rights clearance work that goes on helping us provide access to the collections online. Sometimes we have images for things we don’t have rights clearances for; sometimes we have rights clearances for objects not imaged. Sometimes we have permission from an artist or estate for one work, but not others. We try to align our digitisation projects with rights clearances, but the overlap doesn’t always happen straight away.

Information
Digitisation is also more than just digital photographs. We also think catalogue information, even without an image, is useful for many people, and can answer simple questions such as “how many works by artist X do you have?”. So, we are also spending time upgrading our catalogue records to make them findable and useful.

Drivers
In the past our main drivers for digitisation have been objects going on exhibition, those needed for publications or images ordered through the Picture Library. Over recent years, Collections Online has changed the way many people access our collections, and so our digitisation priorities and procedures have changed too.

We are identifying groups of objects across the collections that are suitable for imaging, and have also begun spreading the workload across the organisation.  The selection of these groupings varies from collection to collection, but usually we target significant sub-collections; or a group of objects that we have the technology and space to image now.  Usually, “inventory” work is conducted at the same time, so we can improve our information and reduce the need for additional handling of objects.

We have also been trialling some upcoming tools from DigitalNZ around digitisation selection and hope these will help us and other institutions with the future prioritisation. Watch this space.

Rainbow Springs, Rotorua, 1981, Peter Black, Gift of the artist, 1983

Rainbow Springs, Rotorua, 1981, Peter Black; Gift of the artist, 1983

Imaging
Our small imaging team work to the highest standards and with all collections (click on the image to zoom at these links James Bragge, Monrad collection, korowai).

Recently our curators and collection managers have begun imaging and have done  some great work in areas across the collections such as international history, pounamu, pacific cultures and ceramics.

Our specialist Natural Environment imaging team uses techniques such as automontage for extended depth-of-field photography to image the minute specimens in the collection. This process is time consuming but offers a view of the specimens not previously possible. It can also make some quite striking images. Other imaging techniques such as Scanning Electron Microscope are sometimes required. Currently this team is concentrating on imaging type specimens and the Botany team have done great work imaging specimens collected by Banks and Solander on Cook’s first voyage.

Always more to do
We’ve been able to add around 10000 more images to Collections Online over the last 12 months, taking the total to 40000 images. There’s still a long way to go, and some collections are better represented than others.  However, judging by the visitation to Collections Online and the feedback we are getting through the site and Twitter, many of you out there are enjoying and appreciating this new access to the collections.

… especially for Sam :)

The McLaren MP4-4 on display in the Design Museum, London

On display in the Design Museum, London. Image reproduced courtesy of the Design Museum, London.

Formula One™ – The Great Design Race will have 9 cars on display – so I thought I’d give you a taster of what you’ll see when you come. Of course an image on a blog doesn’t come close to seeing the real thing!

This car seriously rocks – it dominated the 1988 season, and of course owes some of its success to its driver, the legendary Ayrton Senna. Together they won the Drivers’ Championship for that year.

Alain Prost drove the other MP4-4 that year. The team racked up 15 out of 16 Grand Prix wins, 10 second places, 15 pole positions, 10 fastest laps, and the Constructors’ Championship…phew!

So what was its advantage? Well, Senna and Prost were mighty fine drivers but it was also partially due to the car’s turbocharged Honda RA168E V6 engine which deliver up to 900 bhp. 1988 was the final year that turbocharged engines were permitted in Formula One.

You can come and see this beastie here at Te Papa from July 15.

New Zealand’s plants have a bit of a reputation for pronounced promiscuity. There is supposedly a high rate of hybridisation, or individuals of one species breeding with individuals of a different species.

I’m not entirely sure that this reputation is nationally deserved. Nevertheless, a striking example of hybridisation occurs in Pseudopanax, which is one of the groups I am researching; indeed, their hybridisation is what attracted me to them!

Two of the species – Pseudopanax crassifolius, horoeka, lancewood, and Pseudopanax lessonii, houpara, coastal five-finger – hybridise wherever they occur together, be this in the wild or in cultivation. 

The leaf on the left is of coastal five-finger, that on the right is from a juvenile lancewood, and the three in between are from different hybrid individuals. Photos by Leon Perrie. Montage (c) Museum of New Zealand Te Papa Tongarewa.

The leaf on the left is of coastal five-finger, that on the right is from a juvenile lancewood, and the three in between are from different hybrid individuals. Photos by Leon Perrie. Montage (c) Museum of New Zealand Te Papa Tongarewa.

More images of leaves from hybrids are here.

There are several other five-finger and lancewood Pseudopanax species in New Zealand. However, despite their very different appearance, most of the hybridisation I have seen appears to be between lancewood and coastal five-finger, and we are using genetic analyses to determine just how much gene-flow occurs between them.

 

Juvenile lancewood, horoeka, Pseudopanax crassifolius. Photo by Leon Perrie. (c) Leon Perrie, Wellington.

Juvenile lancewood, horoeka, Pseudopanax crassifolius. Photo by Leon Perrie. (c) Leon Perrie, Wellington.

Adult lancewood, horoeka, Pseudopanax crassifolius. Photo by Leon Perrie, Curator. (c) Museum of New Zealand Te Papa Tongarewa.

Adult lancewood, horoeka, Pseudopanax crassifolius. Photo by Leon Perrie, Curator. (c) Museum of New Zealand Te Papa Tongarewa.

 

Coastal five-finger, houpara, Pseudopanax lessonii. Photo by Leon Perrie. (c) Leon Perrie, Wellington.

Coastal five-finger, houpara, Pseudopanax lessonii. Photo by Leon Perrie. (c) Leon Perrie, Wellington.

Some of the hybrids are easy to identify, but others closely resemble one or other of the parental species. Any individual with leaves that look like those of lancewood but with two or more leaflets is actually a hybrid. Coastal five-finger always has broad leaflets.

Wellington’s Otari-Wilton’s Bush has a garden display of lancewood, coastal five-finger, and their hybrids, for 2009.

Lancewood occurs naturally throughout New Zealand. Coastal five-finger and the hybrids are native only to the coasts of the northern North Island (about Raglan and Gisborne northwards), but are frequently cultivated elsewhere. Coastal five-finger and the hybrids have escaped from cultivation, effectively becoming weeds, in many places outside their native distribution.  They can be very invasive.

Distribution maps for (A) lancewood, (B) coastal five-finger, and (C) their hybrids. Circles indicate natural distributions, and were compiled using data from the AK (Auckland Museum), CHR (Landcare Research), NZFRI (Scion), and WELT (Te Papa) herbaria. Squares for coastal five-finger and the hybrids indicate their ‘weedy’ distribution, this being a preliminary assessment based on my observations.

Distribution maps for (A) lancewood, (B) coastal five-finger, and (C) their hybrids. Circles indicate natural distributions, and were compiled using data from the AK (Auckland Museum), CHR (Landcare Research), and WELT (Te Papa) herbaria. Squares for coastal five-finger and the hybrids indicate their ‘weedy’ distribution, this being a preliminary assessment based on my observations.

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