Artificial Neural Networks (ANN) as a tool offers opportunities for modeling the inherent complexity and uncertainty associated with socio-environmental systems. This study draws on New Zealand ski
fields (multiple locations) as socio- environmental systems while considering their perceived resilience to low
probability but potential high consequences catastrophic natural events (specifically earthquakes). We gathered
data at several ski fields using a mixed methodology including: geomorphic assessment, qualitative interviews,
and an adaptation of Ozesmi and Ozesmi’s (2003) multi-step fuzzy cognitive mapping (FCM) approach. The data
gathered from FCM are qualitatively condensed, and aggregated to three different participant social groups. The
social groups include ski fields users, ski industry workers, and ski field managers. Both quantitative and
qualitative indices are used to analyze social cognitive maps to identify critical nodes for ANN simulations. The
simulations experiment with auto-associative neural networks for developing adaptive preparation, response and
recovery strategies. Moreover, simulations attempt to identify key priorities for preparation, response, and
recovery for improving resilience to earthquakes in these complex and dynamic environments. The novel mixed
methodology is presented as a means of linking physical and social sciences in high complexity, high uncertainty
socio-environmental systems. Simulation results indicate that participants perceived that increases in Social
Preparation Action, Social Preparation Resources, Social Response Action and Social Response Resources have
a positive benefit in improving the resilience to earthquakes of ski fields’ stakeholders.
To the casual observer, community gardens may look like places where people just come to grow fruit and vegetables. Through digging beneath surface appearances, however, the research literature suggests that there is more to the creation of and participation in community gardens than that which is immediately apparent.
The overall aim of this research was to explore and interpret the meaning of community gardens in terms of the sought and experienced well-being of the individuals who participate, and their associated communities. This research was undertaken in the Christchurch/Selwyn district, in the aftermath of the Christchurch earthquakes of 2010-2011.
This research utilised the technique of photo-elicitation interviews to study the meanings attributed to community gardening, in the post-earthquake environment. Five gardens were investigated. Results show that a range of meanings, and well-being outcomes are experienced through a combination of physical, educational, aesthetic appreciation, contemplative, creative and social connections within the garden and within the overall context of nature. Significantly, within the post-earthquake environment, the community gardens can offer participants the opportunity to appreciate life and what it means for them.
The city of Christchurch, New Zealand, was until very recently a “Junior England”—a small city that still bore the strong imprint of nineteenth-century British colonization, alongside a growing interest in the underlying biophysical setting and the indigenous pre-European landscape. All of this has changed as the city has been subjected to a devastating series of earthquakes, beginning in September 2010, and still continuing, with over 12,000 aftershocks recorded. One of these aftershocks, on February 22, 2011, was very close to the city center and very shallow with disastrous consequences, including a death toll of 185. Many buildings collapsed, and many more need to be demolished for safety purposes, meaning that over 80 percent of the central city will have gone. Tied up with this is the city’s precious heritage—its buildings and parks, rivers, and trees. The threats to heritage throw debates over economics and emotion into sharp relief. A number of nostalgic positions emerge from the dust and rubble, and in one form is a reverse-amnesia—an insistence of the past in the present. Individuals can respond to nostalgia in very different ways, at one extreme become mired in it and unable to move on, and at the other, dismissive of nostalgia as a luxury in the face of more pressing crises. The range of positions on nostalgia represent the complexity of heritage debates, attachment, and identity—and the ways in which disasters amplify the ongoing discourse on approaches to conservation and the value of historic landscapes.
This research investigates creativity in a post-disaster setting. The data explore creativity at the intersection of the affected community of Christchurch, New Zealand and the social processes that followed the earthquakes of 2010 - 2012. Personal and contextual influences on creative ideas implemented for community or commercial benefit are also examined.
Viewed as creative, unique approaches to post-disaster problem solving were celebrated locally, nationally and internationally (Bergman, 2014; Wesener, 2015; Cloke & Conradson, 2018). Much has been written about creativity, particularly creativity in organisations and in business. However, little is known with regards to who creates after a disaster, why individuals choose to do so and what impact the post-disaster context has on their creative activity. This exploratory study draws on the literature from the fields of creativity, disasters, psychology, sociology and entrepreneurship to interpret first-hand accounts of people who acted on creative ideas in a physically and socially altered environment.
A mixed method - albeit predominantly qualitative - approach to data gathering was adopted that included interviews (n=45) with participants who had been the primary drivers of creative ideas implemented in Christchurch after September 2010 – the first major (7.1 magnitude) earthquake in a prolonged sequence of thousands of aftershocks.
Key findings include that a specific type of creativity results from the ‘collision’ between individuals and social processes activated by a disaster situation. This type of creativity could be best categorised as ‘little c’ or socially adaptive and emerges through a prosocial filter. There is wide consensus amongst creativity researchers - principally social psychologists - that for output to be considered creative it must be both novel and useful (Runco & Jaegar, 2012). There is greater tolerance for the novelty component after a disaster as novelty itself has greater utility, either as a distraction or because alternatives are few. Existing creativity models show context as input – an additional component of the creative process – but after a disaster the event itself becomes the catalyst for social processes that result in the creativity seen. Most participants demonstrated characteristics commonly associated with creativity and could be categorised as either a ‘free thinker’ and/or an ‘opportunist’. Some appear preadapted to create and thrive in unstable circumstances.
Findings from participants’ completion of a Ten Item Personality Inventory (TIPI) showed an apparent reduced need for extraversion in relation to implementing creative ventures in society. This factor, along with higher levels of agreeableness may indicate a potentially detrimental effect on the success of creative ideas established after a disaster, despite earnest intentions.
Three new models are presented to illustrate the key findings of this study. The models imply that disasters enhance both the perceived value of creativity and the desire to act creatively for prosocial ends. The models also indicate that these disaster influenced changes are likely to be temporary.
There is strong consensus in the civil defence and emergency management literature that public participation is essential for a 'good' recovery. However, there is a paucity of research detailing how this community-led planning should be carried out in the real world. There are few processes or timelines for communities to follow when wanting to plan for themselves, nor is there a great deal of advice for communities who want to plan for their own recovery. In short, despite this consensus that community involvement is desireable, there is very little information available as to the nature of this involvement or how communities might facilitate this. It is simply assumed that communities are willing and able to participate in the recovery process and that recovery authorities will welcome, encourage, and enable this participation. This is not always the case, and the result is that community groups can be left feeling lost and ineffective when trying to plan for their own recovery.
In attempting to address this gap, my study contributes to a better understanding of community involvement in recovery planning, based on research with on particular a community group (SPRIG), who has undertaken their own form of community-led planning in a post-disaster environment. Through group observations and in-depth interviews with members of SPRIG, I was able to identify various roles for such groups in the post-disaster recovery process. My research also contributes to an enhanced understanding of the process a community group might follow to implement their own form of post-disaster recovery planning, with the main point being that any planning should be done side by side with local authorities. Finally, I discovered that a community group will face organisational, community and institutional challenges when trying to plan for their area; however, despite these challenges, opportunities exist, such as the chance to build a better future.
The earthquakes that struck Ōtautahi/Christchurch began September 2010 and continued throughout2012 with the worse shock being February 22, 2011. The extended ‘seismic event’ radically altered thegeophysical and socio-cultural environments of the city. This working paper presents a broad array of datadescribing the impacts of the disaster on Māori. These data frame the results of small email surveyconducted 18 months after the most destructive February 22, 2011. This survey followed two projectsinvestigating the resilience of Māori to the disaster (Lambert & Mark-Shadbolt, 2011; Lambert & Mark-Shadbolt, 2012; Lambert, Mark-Shadbolt, Ataria, & Black, 2012). Results show that while the termresilience has become common to the point of cliché, the Māori experience thus far is best described asendurance.
Oarai is a coastal town in Ibaraki Prefecture, Japan, affected by the Great East Japan Earthquake in 2011. The disaster severely damaged local industries, and the local tourism sector faced a sharp decline followed the event. To overcome the conundrum, the local tourism businesses have taken the opportunity to collaborate with an anime called Girls und Panzer, which has been developed by an external animation production studio. This collaboration has resulted in huge success, and the drop in the local tourism industry had been largely reversed, but has resulted in a significant change to the tourism system. This thesis explores the activities and outcomes of this tourism industry reimagining. A mixed-method approach was used to investigate the perception of local tourism businesses to the current Oarai tourism system, and examine the transformative effect of the disaster and its aftermath. Perceptions of disaster impact and anime tourism development were analysed through surveys (n=73) and interviews (n=2) which focused on tourism business operators, while participant observation was conducted to create the image of anime tourism operation in Oarai. Results show that the development of anime tourism in Oarai successfully helped the local tourism businesses to recover from the disaster. As new agencies and organisations joined the anime tourism network, anime tourism increased communication between stakeholders, and improved the resilience of the community. The new tourism development has transformed the local tourism industry, to some extent, however. the future trajectory of anime tourism in Oarai is difficult to forecast, and there is scope for longitudinal research of this tourism system.
This thesis is a theoretical exploration of ‘remembrance’ and its production in the interactions between people/s and the landscape. This exploration takes place in the broad context of post earthquake Christchurch with a focus on public spaces along the Ōtākaro – Avon river corridor. Memory is universal to human beings, yet memories are subjective and culturally organized and produced - the relationship between memory and place therefore operates at individual and collective levels. Design responses that facilitate opportunities to create new memories, and also acknowledge the remembered past of human – landscape relationships are critical for social cohesion and wellbeing. I draw on insights from a range of theoretical sources, including critical interpretive methodologies, to validate subjective individual and group responses to memory and place. Such approaches also allowed me, as the researcher, considerable freedom to apply memory theory through film to illustrate ways we can re-member ourselves to our landscapes. The Ōtākaro-Avon river provided the site through and in which film strategies for remembrance are explored. Foregrounding differences in Māori and settler cultural orientations to memory and landscape, has highlighted the need for landscape design to consider remembrance - those cognitive and unseen dimensions that intertwine people and place. I argue it is our task to make space for such diverse relationships, and to ensure these stories and memories, embodied in landscape can be read through generations. I do not prescribe methods or strategies; rather I have sought to encourage thinking and debate and to suggest approaches through which the possibilities for remembrance may be enhanced.
