essential systems upon which the well-being and functioning of societies depend. They deliver a service or a good to the population using a network, a combination of spatially-distributed links and nodes. As they are interconnected, network elements’ functionality is also interdependent. In case of a failure of one component, many others could be momentarily brought out-of-service. Further problems arise for buried infrastructure when it comes to buried infrastructure in earthquake and liquefaction-prone areas for the following reasons: • Technically more demanding inspections than those required for surface horizontal infrastructure • Infrastructure subject to both permanent ground displacement and transient ground deformation • Increase in network maintenance costs (i.e. deterioration due to ageing material and seismic hazard) These challenges suggest careful studies on network resilience will yield significant benefits. For these reasons, the potable water network of Christchurch city (Figure 1) has been selected for its well-characterized topology and its extensive repair dataset.
We present ground motion simulations of the Porters Pass (PP) fault in the Canterbury region of New Zealand; a major active source near Christchurch city. The active segment of the PP fault has an inferred length of 82 km and a mostly strike-slip sense of movement. The PP fault slip makes up approximately 10% of the total 37 mm/yr margin-parallel plate motion and also comprises a significant proportion of the total strain budget in regional tectonics. Given that the closest segment of the fault is less than 45 km from Christchurch city, the PP fault is crucial for accurate earthquake hazard assessment for this major population centre. We have employed the hybrid simulation methodology of Graves and Pitarka (2010, 2015), which combines low (f<1 Hz) and high (f>1 Hz) frequencies into a broadband spectrum. We have used validations from three moderate magnitude events (𝑀𝑤4.6 Sept 04, 2010; 𝑀𝑤4.6 Nov 06, 2010; 𝑀𝑤4.9 Apr 29, 2011) to build confidence for the 𝑀𝑤 > 7 PP simulations. Thus far, our simulations include multiple rupture scenarios which test the impacts of hypocentre location and the finite-fault stochastic rupture representation of the source itself. In particular, we have identified the need to use location-specific 1D 𝑉𝑠/𝑉𝑝 models for the high frequency part of the simulations to better match observations.
This article discusses the use of radio after major earthquakes in Christchurch, New Zealand, in 2010 and 2011. It draws on archival sources to retrospectively research post-quake audiences in the terms people used during and soon after the earthquakes through personal narratives and Twitter. Retrospective narratives of earthquake experiences affirm the value of radio for communicating the scale of disaster and comforting listeners during dislocation from safe home spaces. In the narratives radio is often compared with television, which signifies electricity supply and associated comfort but also visually confirms the city’s destruction. Twitter provides insights into radio use from within the disaster period, but its more global reach facilitates reflection on online and international radio from outside the disaster-affected area. This research demonstrates the value of archival audience research, and finds that the combination of online radio and Twitter enables a new form of participatory disaster spectatorship from afar.
This thesis considers the presence and potential readings of graffiti and street art as part of the wider creative public landscape of Christchurch in the wake of the series of earthquakes that significantly disrupted the city physically and socially. While documenting a specific and unprecedented period of time in the city’s history, the prominence of graffiti and street art throughout the constantly changing landscape has also highlighted their popularity as increasingly entrenched additions to urban and suburban settings across the globe. In post-quake Christchurch, graffiti and street art have often displayed established tactics, techniques and styles while exploring and exposing the unique issues confronting this disrupted environment, illustrating both a transposable nature and the entwined relationship with the surrounding landscape evident in the conception of these art forms. The post-quake city has afforded graffiti and street art the opportunity to engage with a range of concepts: from the re-activation and re-population of the empty and abandoned spaces of the city, to commentaries on specific social and political issues, both angry and humorous, and notably the reconsideration of entrenched and evolving traditions, including the distinction between guerrilla and sanctioned work. The examples of graffiti and street art within this work range from the more immediate post-quake appearance of art in a group of affected suburbs, including the increasingly empty residential red-zone, to the use of the undefined spaces sweeping the central city, and even inside the Canterbury Museum, which housed the significant street art exhibition Rise in 2013-2014. These settings expose a number of themes, both distinctive and shared, that relate to both the post-disaster landscape and the concerns of graffiti and street art as art movements unavoidably entangled with public space.
Social media have changed disaster response and recovery in the way people inform themselves, provide community support and make sense of unfolding and past events online. During the Canterbury earthquakes of 2010 and 2011 social media platforms such as Facebook and Twitter became part of the story of the quakes in the region, as well as a basis for ongoing public engagement during the rebuild efforts in Christchurch. While a variety of research has been conducted on the use of social media in disaster situations (Bruns & Burgess, 2012; Potts, Seitzinger, Jones, & Harrison, 2011; Shklovski, Palen, & Sutton, 2008), studies about their uses in long-term disaster recovery and across different platforms are underrepresented. This research analyses networked practices of sensemaking around the Canterbury earthquakes over the course of disaster response, recovery and rebuild, focussing on Facebook and Twitter. Following a mixed methodological design data was gathered in interviews with people who started local Facebook pages, and through digital media methods of data collection and computational analysis of public Facebook pages and a historical Twitter dataset gathered around eight different earthquake-related events between 2010 and 2013. Data is further analysed through discursive and narrative tools of inquiry. This research sheds light on communication practices in the drawn-out process of disaster recovery on the ground in connecting different modes of discourse. Examining the ongoing negotiation of networked identities through technologically mediated social practices during Canterbury’s rebuild, the connection between online environments and the city of Christchurch, as a physical place, is unpacked. This research subsequently develops a new methodology to study social media platforms and provide new and detailed information on both the communication practices in issue-based online publics and the ongoing negotiation of the impact of the Canterbury earthquakes through networked digital means.
