This paper explores the responses by a group of children to an art project that was undertaken by a small school in New Zealand after the September 2010 and February 2011 Christchurch earthquakes. Undertaken over a period of two years, the project aimed to find a suitable form of memorialising this significant event in a way that was appropriate and meaningful to the community. Alongside images that related directly to the event of the earthquakes, the art form of a mosaic was chosen, and consisted of images and symbols that clearly drew on the hopes and dreams of a school community who were refusing to be defined by the disaster. The paper 'writes' the mosaic by placing fragments of speech spoken by the children involved in relation to ideas about memory, affect, and the 'sublime', through the work of Jean-Francois Lyotard. The paper explores the mosaic as constituted by the literal and metaphorical 'broken pieces' of the city of Christchurch in ways that confer pedagogic value inscribed through the creation of a public art space by children. AM - Accepted Manuscript
The suburb of New Brighton in Christchurch Aotearoa was once a booming retail sector until the end of its exclusivity to Saturday shopping in 1980 and the aftermath of the devastating 2011 Christchurch earthquake. The suburb of New Brighton was hit particularly hard and fell into economic collapse, partly brought on by the nature of its economic structure. This implosion created an urban crisis where people and businesses abandoned the suburb and its once-booming commercial economy. As a result, New Brighton has been left with the residue of abandoned infrastructure and commercial propaganda such as billboards, ATM machines, commercial facades, and shopping trolleys that as abandoned fragments, no longer contribute to culture, society and the economy. This design-led research investigation proposes to repurpose the broken objects that were left behind. By strategically selecting objects that are symbols of the root cause of the economic devastation, the repurposed and re-contextualised fragments will seek to allegorically expose the city’s destructive economic narrative, while providing a renewed sense of place identity for the people. This design-led thesis investigation argues that the seemingly innocuous icons of commercial industry, such as billboards, ATM machines, commercial facades, and shopping trolleys, are intended to act as lures to encourage people to spend money; ultimately, these urban and architectural lures can contribute to economic devastation. The aim of this investigation is to repurpose abandoned fragments of capitalist infrastructure in ways that can help to unveil new possibilities for a disrupted community and enhance their awareness of what led to the urban disruption. The thesis proposes to achieve this research aim by exploring three principal research objectives: 1) to assimilate and re-contextualise disconnected urban fragments into new architectural interventions; 2) to anthropomorphise these new interventions so that they are recognisable as architectural ‘inhabitants’, the storytellers of the urban context; and 3) to curate these new architectural interventions in ways that enable a community-scale allegorical and didactic experience to be recognised.
This article is a critical commentary of how political documentary embodies the traits and functions of alternative journalism. I explore this notion through Obrero (‘worker’) my independent documentary project about the labour migration of Filipino workers to Christchurch, Aotearoa New Zealand, after the earthquake in 2011. This article maps out the points at where the theories and practices of alternative media and documentary intersect. Analysing political documentary as a format of alternative journalism has links to the long tradition of film and video production as a tool for social critique. As a form of practice-based research, Obrero falls under the rubric of alternative journalism—able to represent the politically marginal sectors of the polity and report on issues underreported in the mainstream press. This article concludes that a distribution plan that is responsive to fragmenting audiences works best when alternative journalism no longer targets a niche but transborder audiences.
The combination of music and disaster has been the subject of much study, especially starstudded telethons and songs that commemorate tragedy. However, there are many other ways that music can be used after disaster that provide benefits far greater than money or memorials but are not necessarily as prominent in the worldwide media landscape. Beginning in September 2010, the city of Christchurch, New Zealand, has been struck by several major earthquakes and over 11,000 aftershocks, the most destructive of which caused 185 deaths. As with many other disasters, music has been used as a method of fundraising and commemoration, but personal experience suggests many other ways that music can be used as a coping mechanism and aid to personal and community recovery. Therefore, in order to uncover the connections, context, and strategies behind its use, this thesis addresses the question: Since the earthquakes began, how has popular music been beneficial for the city and people of Christchurch? As well as documenting a wide variety of musical ‘earthquake relief’ events and charitable releases, this research also explores some of the more intangible aspects of the music-aid relationship. Two central themes are presented – fundraising and psychosocial uses – utilising individual voices and case studies to illustrate the benefits of music use after disaster at a community or city-wide level. Together the disparate threads and story fragments weave a detailed picture of the ways in which music as shared experience, as text, as commodity, and as a tool for memory and movement has been incorporated into the fabric of the city during the recovery phase.
This thesis is a creative and critical exploration of how transmedia storytelling meshes with political documentary’s nature of representing social realities and goals to educate and promote social change. I explore this notion through Obrero (“worker”), my independently produced transmedia and transjournalistic documentary project that explores the conditions and context of the Filipino rebuild workers who migrated to Christchurch, New Zealand after the earthquake in 2011. While the project should appeal to New Zealanders, it is specifically targeted at an audience from the Philippines. Obrero began as a film festival documentary that co-exists with strategically refashioned Web 2.0 variants, a social network documentary and an interactive documentary (i-doc). Using data derived from the production and circulation of Obrero, I interrogate how the documentary’s variants engage with differing audiences and assess the extent to which this engagement might be effective. This thesis argues that contemporary documentary needs to re-negotiate established film aesthetics and practices to adapt in the current period of shifting technologies and fragmented audiences. Documentary’s migration to new media platforms also creates a demand for filmmakers to work with a transmedia state of mind—that is, the capacity to practise the old canons of documentary making while comfortably adjusting to new media production praxis, ethics, and aesthetics. Then Obrero itself, as the creative component of this thesis, becomes an instance of research through creative practice. It does so in two respects: adding new knowledge about the context, politics, and experiences of the Filipino workers in New Zealand; and offering up a broader model for documentary engagement, which I analyse for its efficacy in the digital age.
Global biodiversity is threatened by human actions, including in urban areas. Urbanisation has removed and fragmented indigenous habitats. As one of the 25 biodiversity ’hot spots’, New Zealand is facing the problems of habitat loss and indigenous species extinction. In New Zealand cities, as a result of the land clearance and imported urban planning precepts, many urban areas have little or no original native forest remaining. Urbanisation has also been associated with the introduction of multitudes of species from around the world.
Two large earthquakes shook Christchurch in 2010 and 2011 and caused a lot of damage. Parts of the city suffered from soil liquefaction after the earthquakes. In the most damaged parts of Christchurch, particularly in the east, whole neighbourhoods were abandoned and later demolished except for larger trees.
Christchurch offers an excellent opportunity to study the biodiversity responses to an urban area with less intensive management, and to learn more about the conditions in urban environments that are most conducive to indigenous plant biodiversity.
This study focuses on natural woody plant regeneration of forested sites in Christchurch city, many of which were also surveyed prior to the earthquakes. By repeating the pre-earthquake surveys, I am able to describe the natural regeneration occurring in Christchurch forested areas. By combining this with the regeneration that has occurred in the Residential Red Zone, successional trajectories can be described under a range of management scenarios. Using a comprehensive tree map of the Residential Red Zone, I was also able to document minimum dispersal distances of a range of indigenous trees in Christchurch. This is important for planning reserve connectivity. Moreover, I expand and improve on a previous analysis of the habitat connectivity of Christchurch (made before the earthquakes) to incorporate the Residential Red Zone, to assess the importance for habitat connectivity of restoring the indigenous forest in this area. In combination, these data sets are used to provide patch scenarios and some management options for biodiversity restoration in the Ōtākaro-Avon Red Zone post-earthquake.
The Acheron rock avalanche is located in the Red Hill valley almost 80 km west of Christchurch and is one of 42 greywacke-derived rock avalanches identified in the central Southern Alps. It overlies the Holocene active Porters Pass Fault; a component of the Porters Pass-Amberley Fault Zone which extends from the Rakaia River to beyond the Waimakariri River. The Porters Pass Fault is a dextral strike-slip fault system viewed as a series of discontinuous fault scarps. The location of the fault trace beneath the deposit suggests it may represent a possible source of seismic shaking resulting in the formation of the Acheron rock avalanche. The rock mass composition of the rock avalanche source scar is Torlesse Supergroup greywacke consisting of massive sandstone and thinly bedded mudstone sequences dipping steeply north into the centre of the source basin. A stability analysis identified potential instability along shallow north dipping planar defects, and steep south dipping toppling failure planes. The interaction of the defects with bedding is considered to have formed conditions for potential instability most likely triggered by a seismic event. The dTositional area of the rock avalanche covers 7.2 x 105 m2 with an estimated volume of 9 x 10 m3 The mobilised rock mass volume was calculated at 7.5 x 106 m3• Run out of the debris from the top of the source scar to the distal limit reached 3500m, descending over a vertical fall of almost 700m with an estimated Fahrboschung of 0.2. The run out of the rock avalanche displayed moderate to high mobility, travelling at an estimated maximum velocity of 140-160 km/hour. The rapid emplacement of the deposit is confirmed by highly fragmented internal composition and burial of forest vegetation New radiocarbon ages from buried wood retrieved from the base of Acheron rock avalanche deposit represents an emplacement age closely post-dating (Wk 12094) 1152 ± 51 years B.P. This differs significantly from a previous radiocarbon age of (NZ547) 500 ± 69 years B.P. and modal lichenometry and weathering-rind thickness ages of approximately 460 ± 10 yrs and 490 ± 50 years B.P. The new age shows no resemblance to an earthquake event around 700- 500 years B.P. on the Porters Pass-Amberley Fault Zone. The DAN run out simulation using a friction model rheology successfully replicated the long run out and velocity of the Acheron rock avalanche using a frictron angle of 27° and high earth pressure coefficients of 5.5, 5.2, and 5.9. The elevated earth pressure coefficients represent dispersive pressures derived from dynamic fragmentation of the debris within the mobile rock avalanche, supporting the hypothesis of Davies and McSaveney (2002). The DAN model has potential applications for areas prone to large-scale instability in the elevated slopes and steep waterways of the Southern Alps. A paleoseismic investigation of a newly identified scarp of the Porters Pass Fault partially buried by the rock avalanche was conducted to identify any evidence of a coseismic relationship to the Acheron rock avalanche. This identified three-four fault traces striking at 078°, and a sag pond displaying a sequence of overbank deposits containing two buried soils representing an earthquake event horizon. A 40cm vertical offset of the ponded sediment and lower buried soil horizqn was recorded, which was dated to (Wk 13112 charcoal in palosol) 653 ± 54 years B.P. and (Wk 13034 palosol) 661 ± 34 years B.P. The evidence indicates a fault rupture occurred along the Porters Pass Fault, west of Porters Pass most likely extending to the Red Lakes terraces, post-dating 700 years B.P., resulting in 40cm of vertical displacement and an unknown component of dextral strike slip movement. This event post dates the event one (1000 ± 100 years B.P) at Porters Pass previously considered to represent the most recent rupture along the fault line. This points to a probable source for resetting of the modal weathering-rind thicknesses and lichen size populations in the Red Hill valley and possibly the Red Lakes terraces. These results suggest careful consideration must be given to the geomorphic and paleoseismic history of a specific site when applying surface dating techniques and furthermore the origin of dates used in literature and their useful range should be verified. An event at 700-500 years B.P did not trigger the Acheron rock avalanche as previously assumed supporting Howard's conclusions. The lack of similar aged rupture evidence in either of the Porters Pass and Coleridge trenches supports Howard's hypothesis of segmentation of the Porters Pass Fault; where rupture occurs along one fault segment but not along another. The new rock avalanche age closely post-dating 1200-1100 years B.P. resembles the poorly constrained event one rupture age of 1700-800 years B.P for the Porters Pass Fault and the tighter constrained Round Top event of 1010 ± 50 years B.P. on the Alpine Fault. Eight other rock avalanche deposits spread across the central Southern Alps also resemble the new ages however are unable to be assigned specific earthquake events due to the large associated error bars of± 270 years. This clustering of ages does represent compelling lines of evidence for large magnitude earthquake events occurring over the central Southern Alps. The presence of a rock avalanche deposit does not signify an earthquake based on the historical evidence in the Southern Alps however clustering of ages does suggest that large Mw >7 earthquakes occurred across the Southern Alps between 1200-900 years BP.
