Photograph of Gap Filler project 11 (33)

Images, UC QuakeStudies

Three of Gap Filler's painted pianos painted by student at the University of Canterbury.

Photograph of Gap Filler project 11 (26)

Images, UC QuakeStudies

A sign on one of Gap Filler's painted pianos in New Brighton. The sign reads, "The Painted Piano Project. This piano has been donated by the Christchurch School of Music and painted by students from the University of Canterbury. Please feel free to play the piano to you heart's content".

Photograph of Gap Filler project 11 (12)

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Director of Gap Filler, Coralie Winn, playing one of Gap Filler's painted pianos with a member of the Student Volunteer Army.

Photograph of Gap Filler project 11 (28)

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A boy playing one of Gap Filler's painted pianos. This has been placed on the site of a demolished building in New Brighton.

Photograph of Gap Filler project 11 (46)

Images, UC QuakeStudies

A volunteer with paint samples used to paint one of Gap Filler's painted pianos.

Photograph of Gap Filler project 11 (29)

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A woman playing one of Gap Filler's painted pianos on the site of a demolished building.

Photograph by Paul Corliss 1841

Images, UC QuakeStudies

A photograph of a painted piano. The photograph is captioned by Paul Corliss, "Gap Fillers, post earthquake. Woolston".

Elizabeth Ackermann Photograph 198

Images, UC QuakeStudies

A photograph of the inside of a fridge in a flat on Poplar Street taken during the Residential Access Project. The project gave residents temporary access within the red-zone cordon in order to retrieve items from their homes. The contents of the fridge have gone mouldy after being left in there for three weeks.

Photograph of Gap Filler project 11 (34)

Images, UC QuakeStudies

Students from the University of Canterbury photographed in front of the pianos which they painted.

Elizabeth Ackermann Photograph 200

Images, UC QuakeStudies

A photograph of Elizabeth Ackermann removing a poster from the kitchen of a flat on Poplar Street. This was part of the Residential Access Project which gave residents temporary access within the red-zone cordon in order to retrieve items from their homes after the 22 February 2011 earthquake.

Photograph of Gap Filler project 11 (24)

Images, UC QuakeStudies

Members of the New Brighton Community photographed in front of one of Gap Filler's painted pianos. A cat has been painted on the front of the piano, with the keys serving as the cat's teeth.

Photograph of Gap Filler project 11 (42)

Images, UC QuakeStudies

A band performing on the site of a demolished building in Sydenham. A member of the band is playing one of Gap Filler's painted pianos.

Photograph of Gap Filler project 11 (27)

Images, UC QuakeStudies

One of Gap Filler's painted pianos on the site of the demolished TJ's Kazbah in New Brighton. A cat has been painted on the front of the piano, with the keys serving as the cat's teeth.

Paul and Sam Corliss's Street Art Photograph (2015:02:20 14:08:23)

Images, UC QuakeStudies

A photograph of street art on the side of the toilet block at Waltham Park and Pool. The artwork is part of Project Legit.

Photograph by Paul Corliss 1848

Images, UC QuakeStudies

A photograph of a painted piano. The photograph is captioned by Paul Corliss, "Gap Fillers, post earthquake. Woolston".

Photograph of Gap Filler project 11 (1)

Images, UC QuakeStudies

Volunteers setting up one of the painted pianos on the site of a demolished building.

Do You, Don't You, Want my Trauma?: Some Issues Facing Post-Disaster Memor…

Research papers, University of Canterbury Library

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.

Learning From Disasters

Research papers, University of Canterbury Library

Two projects are documented within this MEM Report: I. The first project examined what was learnt involving the critical infrastructure in the aftermath of natural disasters in the Canterbury region of New Zealand – the most prominent being the series of earthquakes between 2010 and 2011. The project identified several learning gaps, leading to recommendations for further investigations that could add significant value for the lifeline infrastructure community. II. Following the Lifeline Lesson Learnt Project, the Disaster Mitigation Guideline series was initiated with two booklets, one on Emergency Potable Water and a second on Emergency Sanitation. The key message from both projects is that we can and must learn from disasters. The projects described are part of the emergency management, and critical infrastructure learning cycles – presenting knowledge captured by others in a digestible format, enabling the lessons to be reapplied. Without these kinds of projects, there will be fewer opportunities to learn from other’s successes and failures when it comes to preparing for natural disasters.

Photograph of Gap Filler project 14 (42)

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A film being projected onto the wall of a building at Gap Filler's cycle-powered cinema.

Photograph of Gap Filler project 16 (2)

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A man cutting up lengths of rebar from demolished buildings for Gap Filler's Playtime project.

Photograph of Gap Filler project 3 (84)

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Lyttelton band, Runaround Sue, performing at Gap Filler's "Film in the Gap!" project in Beckenham.

Gap Filler Project 22: Terms and Conditions of Hire

Articles, UC QuakeStudies

A documented outling the terms and conditions of hiring Gap Filler project 22, the Pallet Pavilion.

Photograph of Gap Filler project 3 (28)

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Christchurch musician Ed Muzik and his band performing at Gap Filler's "Film in the Gap!" project.

Photograph of Gap Filler project 3 (2)

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Lyttelton-based musician, Delaney Davidson, performing at Gap Filler's "Film in the Gap!" project in Beckenham.

Photograph of Gap Filler project 1 (41)

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People waiting for a film to start at Gap Filler's first project at 832 Colombo Street.

Photograph of Gap Filler project 1 (42)

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People waiting for a film to start at Gap Filler's first project at 832 Colombo Street.

Photograph of Gap Filler project 3 (62)

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The audience enjoying Runaround Sue's performance at Gap Filler's "Film in the Gap!" project in Beckenham.

Photograph of Gap Filler project 3 (50)

Images, UC QuakeStudies

Lyttelton band, Runaround Sue, setting up at Gap Filler's "Film in the Gap!" project in Beckenham.

Photograph of Gap Filler project 5 (23)

Images, UC QuakeStudies

A bookcase with lights in the shelves, part of the Words of Hope project.

Photograph of Gap Filler project 3 (19)

Images, UC QuakeStudies

The Gap Filler logo on the wire fence outside the "Film in the Gap!" project.