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Research papers, University of Canterbury Library

Disasters that significantly affect people typically result in the production of documents detailing disaster lessons. This was the case in the 2010 and 2011 Canterbury earthquakes, as government and emergency response agencies, community organisations, and the media, engaged in the practice of producing and reporting disaster lessons. This thesis examines the disaster lessons that were developed by emergent groups following the Canterbury earthquakes (4 September 2010 and 22 February 2011). It adopts a Foucauldian analysis approach to investigate both the construction of disaster lessons and to document how this practice has come to dominate postdisaster activity following the Canterbury earthquakes. The study involved an analysis of academic literature, public documents and websites and interviews with key members of a range of Canterbury based emergent community groups. This material was used to generate a genealogy of disaster lessons, which was given in order to generate an account of how disaster lessons emerged and have come to dominate as a practice of disaster management. The thesis then examines the genealogy through the concept of governmentality so as to demonstrate how this discourse of disaster lessons has come to be used as a governing rationale that shapes and guides the emergent groups conduct in postdisaster New Zealand.

Research papers, University of Canterbury Library

This paper explores the scope of small-scale radio to create an auditory geography of place. It focuses on the short term art radio project The Stadium Broadcast, which was staged in November 2014 in an earthquake-damaged sports stadium in Christchurch, New Zealand. Thousands of buildings and homes in Christchurch have been demolished since the Februrary 22, 2011 earthquake, and while Lancaster Park sports stadium is still standing, it has been unused since that date and its future remains uncertain. The Stadium Broadcast constructed a radio memorial to the Park’s 130 year history through archival recordings, the memories of local people, observation of its current state, and a performed site-specificity. The Stadium Broadcast reflected on the spatiality of radio sounds and transmissions, memory, post-disaster transitionality, and the im-permanence of place.