The last few years have seen the emergence of a range of Digital Humanities projects concerned with archiving material related to traumatic events and disasters. The 9/11 Digital Archive, The Hurricane Memory Bank and the CEISMIC Canterbury Earthquakes Digital Archive are a few such projects committed to collecting, curating and making available disaster-related images, stories and media for the purposes of commemoration, teaching and research. In this paper Paul Millar 1. examines the value of such projects in preserving post-disaster memories, 2. explores some differences between passive and active digital memory projects, and 3. asks whether even the most determinedly open and inclusive digital memory project can preserve its values when issues of race, class, gender, politics and economics impact upon its activities.
A Transitional Imaginary: Space, Network and Memory in Christchurch is the outcome and the record of a particular event: the coming together of eight artists and writers in Ōtautahi Christchurch in November 2015, with the ambitious aim to write a book collaboratively over five days. The collaborative process followed the generative ‘book sprint’ method founded by our facilitator for the event, Adam Hyde, who has long been immersed in digital practices in Aotearoa. A book sprint prioritises the collective voice of the participants and reflects the ideas and understandings that are produced at the time in which the book was written, in a plurality of perspectives. Over one hundred books have been completed using the sprint methodology, covering subjects from software documentation to reflections on collaboration and fiction. We chose to approach writing about Ōtautahi Christchurch through this collaborative process in order to reflect the complexity of the post-quake city and the multiple paths to understanding it. The city has itself been a space of intensive collaboration in the post-disaster period. A Transitional Imaginary is a raw and immediate record, as much felt expression as argued thesis. In many ways the process of writing had the character of endurance performance art. The process worked by honouring the different backgrounds of the participants, allowing that dialogue and intensity could be generative of different forms of text, creating a knowledge that eschews a position of authority, working instead to activate whatever anecdotes, opinions, resources and experiences are brought into discussion. This method enables a dynamic of voices that merge here, separate there and interrupt elsewhere again. As in the contested process of rebuilding and reimagining Christchurch itself, the dissonance and counterpoint of writing reflects the form of conversation itself. This book incorporates conflict, agreement and the activation of new ideas through cross-fertilisation to produce a new reading of the city and its transition. The transitional has been given a specific meaning in Christchurch. It is a product of local theorising that encompasses the need for new modes of action in a city that has been substantially demolished (Bennett & Parker, 2012). Transitional projects, such as those created by Gap Filler, take advantage of the physical and social spaces created by the earthquake through activating these as propositions for new ways of being in the city. The transitional is in motion, looking towards the future. A Transitional Imaginary explores the transitional as a way of thinking and how we understand the city through art practices, including the digital and in writing.
In the aftermath of the 2010 and 2011 earthquakes, Christchurch, New Zealand is framed as a ‘transi- tional’ city, moving from its demolished past to a speculative future. The ADA Mesh Cities project asks what role media art and networks may play in the transitional city, and the practices of remembering, and reimagining space.
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
We’ll never know why the thirteen people whose corpses were discovered in Pompeii’s Garden of the Fugitives hadn’t fled the city with the majority of the population when Vesuvius turned deadly in AD79. But surely, thanks to 21st century technology, we know just about everything there is to know about the experiences of the people who went through the Canterbury Earthquakes. Or has the ubiquity of digital technology, combined with seemingly massive online information flows and archives, created a false sense that Canterbury’s earthquake stories, images and media are being secured for posterity? In this paper Paul Millar makes reference to issues experienced while creating the CEISMIC Canterbury Earthquakes Digital Archive (www.ceismic.org.nz) to argue that rather than having preserved all the information needed to fully inform recovery, the record of the Canterbury earthquakes’ impacts, and the subsequent response, is incomplete and unrepresentative. While CEISMIC has collected and curated over a quarter of a million earthquake-related items, Millar is deeply concerned about the material being lost. Like Pompeii, this disaster has its nameless, faceless, silenced victims; people whose stories must be heard, and whose issues must be addressed, if recovery is to be meaningful.
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.
This article 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 February 22, 2011, earthquake, and by the time of the broadcast the stadium at Lancaster Park had been unused for three years and nine months, and its future was 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, postdisaster transitionality, and the impermanence of place.
This article presents a subset of findings from a larger mixed methods CEISMIC1 funded study of twenty teachers’ earthquake experiences and post-earthquake adjustment eighteen months after a fatal earthquake struck Christchurch New Zealand, in the middle of a school day (Geonet Science, 2011; O’Toole & Friesen, 2016). This earthquake was a significant national and personal disaster with teachers’ emotional self-management as first responders being crucial to the students’ immediate safety (O’Toole & Friesen, 2016). At the beginning of their semi-structured interviews conducted eighteen months later, the teachers shared their earthquake stories (O’Toole & Friesen, 2016). They recalled the moment it struck in vivid detail, describing their experiences in terms of what they saw (destruction), heard (sonic boom, screaming children) and felt (fright and fear) as though they were back in that moment similar to flashbulb memory (Brown & Kulik, 1977). Their memories of the early aftermath were similarly vivid (Rubin & Kozin, 1984). This article focuses on how the mood meter (Brackett & Kremenitzer, 2011) was then used (with permission) to further explore the teachers’ perceived affect to enlighten their lived experiences.
This article examines the representation of Christchurch, New Zealand, student radio station RDU in the exhibition Alternative Radio at the Canterbury Museum in 2016. With the intention of ‘making visible what is invisible’ about radio broadcasting, the exhibition articulated RDU as a point of interconnection between the technical elements of broadcasting, the social and musical culture of station staff and volunteers, and the broader local and national music scenes. This paper is grounded in observations of the exhibitions and associated public programmes, and interviews with the key participants in the exhibition including the museum's exhibition designer and staff from RDU, who acted as independent practitioners in collaboration with the museum. Alternative Radio also addressed the aftermath of the major earthquake of 22 February 2011, when RDU moved into a customised horse truck after losing its broadcast studio. The exhibition came about because of the cultural resonance of the post-quake story, but also emphasised the long history of the station before that event, and located this small student radio station in the broader heritage discourse of the Canterbury museum, activating the historical, cultural, and personal memories of the station's participants and audiences.
War and natural disasters share many features including great loss of life, traumatised populations and haunting memories. The Christchurch earthquakes were the third most costly event of 2011 with total costs of up to $NZ30 billion. Many homes, communities, families and an established way of life have gone for ever. The paper comes from the Women’s Voices project that documents women’s narratives of earthquake trauma and loss and examines their profiles of emotional expression associated with coping. For these women in Christchurch, solace is not about talking experiences of suffering but by doing practical things that inform and are shaped by existing personal narratives. As they relayed this common arc, they also entered into national (and gendered) narrative themes of being practical, stoic, independent and resourceful in the face of tragedy and loss and so embody communal aspects of coping with loss and grief particular to the New Zealand even ‘the South Island settler’ identity narrative. These narratives suggest it useful to rethink key concepts that inform our understanding of coping with disaster and loss.
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.
On the second day of teaching for 2011, the University of Canterbury (UC) faced the most significant crisis of its 138-year history. After being shaken severely by a magnitude 7.1 earthquake on 4 September 2010, UC felt it was well along the pathway to getting back to ‘normal’. That all changed at 12:51pm on 22 February 2011, when Christchurch city was hit by an even more devastating event. A magnitude 6.3 (Modified Mercalli intensity ten – MM X) earthquake, just 13km south-east of the Christchurch city centre, caused vertical peak ground accelerations amongst the highest ever recorded in an urban environment, in some places more than twice the acceleration due to gravity. The earthquake caused immediate evacuation of the UC campus and resulted in significant damage to many buildings. Thankfully there were no serious injuries or fatalities on campus, but 185 people died in the city and many more suffered serious injuries. At the time of writing, eighteen months after the first earthquake in September, Christchurch is still experiencing regular earthquakes. Seismologists warn that the region may experience heightened seismicity for a decade or more. While writing this report we have talked with many different people from across the University. People’s experiences are different and we have not managed to talk with everyone, but we hope that by drawing together many different perspectives from across the campus that this report will serve two purposes; to retain our institutional memory of what we have learnt over the past eighteen months, and also to share our learnings with other organisations in New Zealand and around the world who, we hope, will benefit from learning about our experience.
This is an ethnographic case study, tracking the course of arguments about the future of a city’s central iconic building, damaged following a major earthquake sequence. The thesis plots this as a social drama and examines the central discourses of the controversy. The focus of the drama is the Anglican neo-Gothic Christ Church Cathedral, which stands in the central square of Christchurch, New Zealand. A series of major earthquakes in 2010/2011 devastated much of the inner city, destroying many heritage-listed buildings. The Cathedral was severely damaged and was declared by Government officials in 2011 to be a dangerous building, which needed to be demolished. The owners are the Church Property Trustees, chaired by Bishop Victoria Matthews, a Canadian appointed in 2008. In March 2012 Matthews announced that the Cathedral, because of safety and economic factors, would be deconstructed. Important artefacts were to be salvaged and a new Cathedral built, incorporating the old and new. This decision provoked a major controversy, led by those who claimed that the building could and should be restored. Discourses of history and heritage, memory, place and identity, ownership, economics and power are all identified, along with the various actors, because of their significance. However, the thesis is primarily concerned with the differing meanings given to the Cathedral. The major argument centres on the symbolic interaction between material objects and human subjects and the various ways these are interpreted. At the end of the research period, December 2015, the Christ Church Cathedral stands as a deteriorating wreck, inhabited by pigeons and rats and shielded by protective, colourfully decorated wooden fences. The decision about its future remains unresolved at the time of writing.
Research on human behaviour during earthquake shaking has identified three main influences of behaviour: the environment the individual is located immediately before and during the earthquake, in terms of where the individual is and who the individual is with at the time of the earthquake; individual characteristics, such as age, gender, previous earthquake experience, and the intensity and duration of earthquake shaking. However, little research to date has systematically analysed the immediate observable human responses to earthquake shaking, mostly due to data constraints and/or ethical considerations. Research on human behaviour during earthquakes has relied on simulations or post-event, reflective interviews and questionnaire studies, often performed weeks to months or even years following the event. Such studies are therefore subject to limitations such as the quality of the participant's memory or (perceived) realism of a simulation. The aim of this research was to develop a robust coding scheme to analyse human behaviour during earthquake shaking using video footage captured during an earthquake event. This will allow systematic analysis of individuals during real earthquakes using a previously unutilized data source, thus help develop guidance on appropriate protective actions. The coding scheme was developed in a two-part process, combining a deductive and inductive approach. Previous research studies of human behavioral response during earthquake shaking provided the basis for the coding scheme. This was then iteratively refined by applying the coding scheme to a broad range of video footage of people exposed to strong shaking during the Canterbury earthquake sequence. The aim of this was to optimise coding scheme content and application across a broad range of scenarios, and to increase inter-coder reliability. The methodology to code data will enhance objective observation of video footage to allow cross-event analysis and explore (among others): reaction time, patterns of behaviour, and social, environmental and situational influences of behaviour. This can provide guidance for building configuration and design, and evidence-based recommendations for public education about injury-preventing behavioural responses during earthquake shaking.
The potential for a gastroenteritis outbreak in a post-earthquake environment may increase because of compromised infrastructure services, contaminated liquefaction (lateral spreading and surface ejecta), and the presence of gastroenteritis agents in the drinking water network. A population in a post-earthquake environment might be seriously affected by gastroenteritis because it has a short incubation period (about 10 hours). The potential for a gastroenteritis outbreak in a post-earthquake environment may increase because of compromised infrastructure services, contaminated liquefaction (lateral spreading and surface ejecta), and the presence of gastroenteritis agents in the drinking water network. A population in a post-earthquake environment might be seriously affected by gastroenteritis because it has a short incubation period (about 10 hours). The aim of this multidisciplinary research was to retrospectively analyse the gastroenteritis prevalence following the February 22, 2011 earthquake in Christchurch. The first focus was to assess whether earthquake-induced infrastructure damage, liquefaction, and gastroenteritis agents spatially explained the recorded gastroenteritis cases over the period of 35 days following the February 22, 2011 earthquake in Christchurch. The gastroenteritis agents considered in this study were Escherichia coli found in the drinking water supply (MPN/100mL) and Non-Compliant Free Associated Chlorine (FAC-NC) (less than <0.02mg/L). The second focus was the protocols that averted a gastroenteritis outbreak at three Emergency Centres (ECs): Burnside High School Emergency Centre (BEC); Cowles Stadium Emergency Centre (CEC); and Linwood High School Emergency Centre (LEC). Using a mixed-method approach, gastroenteritis point prevalence and the considered factors were quantitatively analysed. The qualitative analysis involved interviewing 30 EC staff members. The data was evaluated by adopting the Grounded Theory (GT) approach. Spatial analysis of considered factors showed that highly damaged CAUs were statistically clustered as demonstrated by Moran’s I statistic and hot spot analysis. Further modelling showed that gastroenteritis point prevalence clustering could not be fully explained by infrastructure damage alone, and other factors influenced the recorded gastroenteritis point prevalence. However, the results of this research suggest that there was a tenuous, indirect relationship between recorded gastroenteritis point prevalence and the considered factors: earthquake-induced infrastructure damage, liquefaction and FAC-NC. Two ECs were opened as part of the post-earthquake response in areas with severe infrastructure damage and liquefaction (BEC and CEC). The third EC (CEC) provided important lessons that were learnt from the previous September 4, 2010 earthquake, and implemented after the February 22, 2011 earthquake. Two types of interwoven themes identified: direct and indirect. The direct themes were preventive protocols and indirect themes included type of EC building (school or a sports stadium), and EC staff. The main limitations of the research were Modifiable Areal Units (MAUP), data detection, and memory loss. This research provides a practical method that can be adapted to assess gastroenteritis risk in a post-earthquake environment. Thus, this mixed method approach can be used in other disaster contexts to study gastroenteritis prevalence, and can serve as an appendage to the existing framework for assessing infectious diseases. Furthermore, the lessons learnt from qualitative analysis can inform the current infectious disease management plans, designed for a post-disaster response in New Zealand and internationally Using a mixed-method approach, gastroenteritis point prevalence and the considered factors were quantitatively analysed. A damage profile was created by amalgamating different types of damage for the considered factors for each Census Area Unit (CAU) in Christchurch. The damage profile enabled the application of a variety of statistical methods which included Moran’s I , Hot Spot (HS) analysis, Spearman’s Rho, and Besag–York–Mollié Model using a range of software. The qualitative analysis involved interviewing 30 EC staff members. The data was evaluated by adopting the Grounded Theory (GT) approach. Spatial analysis of considered factors showed that highly damaged CAUs were statistically clustered as demonstrated by Moran’s I statistic and hot spot analysis. Further modelling showed that gastroenteritis point prevalence clustering could not be fully explained by infrastructure damage alone, and other factors influenced the recorded gastroenteritis point prevalence. However, the results of this research suggest that there was a tenuous, indirect relationship between recorded gastroenteritis point prevalence and the considered factors: earthquake-induced infrastructure damage, liquefaction and FAC-NC. Two ECs were opened as part of the post-earthquake response in areas with severe infrastructure damage and liquefaction (BEC and CEC). The third EC (CEC) provided important lessons that were learnt from the previous September 4, 2010 earthquake, and implemented after the February 22, 2011 earthquake. The ECs were selected to represent the Christchurch area, and were situated where potential for gastroenteritis was high. BEC represented the western side of Christchurch; whilst, CEC and LEC represented the eastern side, where the potential for gastroenteritis was high according to the outputs of the quantitative spatial modelling. Qualitative analysis from the interviews at the ECs revealed that evacuees were arriving at the ECs with gastroenteritis-like symptoms. Participants believed that those symptoms did not originate at the ECs. Two types of interwoven themes identified: direct and indirect. The direct themes were preventive protocols that included prolific use of hand sanitisers; surveillance; and the services offered. Indirect themes included the EC layout, type of EC building (school or a sports stadium), and EC staff. Indirect themes governed the quality and sustainability of the direct themes implemented, which in turn averted gastroenteritis outbreaks at the ECs. The main limitations of the research were Modifiable Areal Units (MAUP), data detection, and memory loss. It was concluded that gastroenteritis point prevalence following the February 22, 2011 earthquake could not be solely explained by earthquake-induced infrastructure damage, liquefaction, and gastroenteritis causative agents alone. However, this research provides a practical method that can be adapted to assess gastroenteritis risk in a post-earthquake environment. Creating a damage profile for each CAU and using spatial data analysis can isolate vulnerable areas, and qualitative data analysis provides localised information. Thus, this mixed method approach can be used in other disaster contexts to study gastroenteritis prevalence, and can serve as an appendage to the existing framework for assessing infectious diseases. Furthermore, the lessons learnt from qualitative analysis can inform the current infectious disease management plans, designed for a post-disaster response in New Zealand and internationally.
