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Articles, UC QuakeStudies

An edited copy of the pdf transcript of Laura's second earthquake story, captured by the UC QuakeBox Take 2 project. At the participant's request, parts of this transcript have been redacted. Interviewer: Jennifer Middendorf. Transcriber: Laura Moir.

Images, UC QuakeStudies

Members of the University of Canterbury's E-Learning team in their temporary office in the James Hight building. The photographer comments, "First looks at our new temporary (maybe) office space. Our group will stay here until April or May 2011, then will move to another floor in the Central Library. First briefing. Warren Marett, an acting manager from Deloittes (with tie), discusses our move with Electronic Learning Media staff; Alan Hoskin, Antoine Monti, Herbert Thomas, Paul Nicholls, and Jess Hollis".

Research Papers, Lincoln University

Creativity that is driven by a need for physical or economic survival, which disasters are likely to inspire, raises the question of whether such creativity fits with conventional theories and perspectives of creativity. In this paper we use the opportunity afforded by the 2010-2013 Christchurch, New Zealand earthquakes to follow and assess the creative practices and responses of a number of groups and individuals. We use in-depth interviews to tease out motivations and read these against a range of theoretical propositions about creativity. In particular, we focus on the construct of “elite panic” and the degree to which this appeared to be evident in the Christchurch earthquakes context. Bureaucratic attempts to control or limit creativity were present but they did not produce a completely blanket dampening effect. Certain individuals and groups seemed to be pre-equipped to navigate or ignore potential blocks to creativity. We argue, using Geir Kaufmann’s novelty-creativity matrix and aspects of Teresa Amabile’s and Michael G. Pratt’s revised componential theory of creativity that a special form of disaster creativity does exist.

Videos, UC QuakeStudies

A video of a panel discussion at the 2014 Seismics and the City forum. The theme of this section was Building Momentum, and it addressed panellists' views on the progress of the rebuild, the main obstacles, and how they can be resolved. The panellists are as follows: Christchurch Mayor Lianne Dalziel; Waimakariri Mayor David Ayers; Roger Sutton, CEO of CERA; Ian Simpson, CEO of the NZ Earthquake Commission; Peter Townsend, CEO of Canterbury Employers' Chamber of Commerce; and Joanna Norris, Editor of The Press.

Research papers, University of Canterbury Library

There is a now a rich literature on the connections between digital media, networked computing, and the shaping of urban material cultures. Much less has addressed the post-disaster context, like we face in Christchurch, where it is more a case of re-build rather than re-new. In what follows I suggest that Lev Manovich’s well-known distinction between narrative and database as distinct but related cultural forms is a useful framework for thinking about the Christchurch rebuild, and perhaps urbanism more generally.

Research papers, The University of Auckland Library

This exhibition, eight years in the planning, had the misfortune to open one week before the 22 February 2011 Christchurch earthquake; the exhibition was immediately taken down and never went up again – the Christchurch Art Gallery has still not reopened. Although in my book Fantastica: The World of Leo Bensemann (NRO1) I covered the whole of Bensemann’s career, in the exhibition I took responsibility for the paintings (portraits and landscapes) , while Dr. Noel Waite (University of Otago) looked after Bensemann’s graphic work, book design and printing. This was the most extensive exhibition of Bensemann’s work ever mounted and together with Fantastica will compel a major reassessment of his place in New Zealand culture. Art New Zealand wrote of it: ‘The exhibition (including more than 100 items) is significant in bringing together what has in the past appeared disparate and unrelated; here Bensemann's entire oeuvre - the output of a painter, illustrator, calligrapher, typographer, designer and publisher is given equal billing. Although this exhibition is an important re-assessment and valuable for a new generation unfamiliar with his work, a national touring show would have precipitated an even greater awareness’.

Research papers, University of Canterbury Library

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.

Audio, Radio New Zealand

Highlights from Radio New Zealand National's programmes for the week ending Friday 7th of September. This week......two years after the BIG Earthquake in Christchurch, and the Pike River Mine Disaster, how did the media respond to those events ... Mummies, Cannibals and Vampires; The History of Corpse medicine from the Renaissance to The Victorians ... a primary school project gets back to growing fruit and vegetables ... a Maori carving from A german prisoner of War camp comes back home ... the human side of Google ... and an affectionate look back at Broadcasts To Schools.

Images, UC QuakeStudies

A photograph of the former site of Westende Jewellers and Alva Rados, on the corner of Manchester Street and Worcester Street. The building was badly-damaged in the 4 September earthquake and was demolished soon afterwards. A two-storey building was built on the site and completed in July 2012. The building then had to be removed when the decision was made to widen Manchester Street as part of the draft transport plan for central Christchurch. The photograph was modelled after an image taken by Ian McGregor from Fairfax Media in September 2010.

Images, UC QuakeStudies

A photograph of the former site of Westende Jewellers and Alva Rados, on the corner of Manchester Street and Worcester Street. The building was badly-damaged in the 4 September earthquake and was demolished soon afterwards. A two-storey building was built on the site and completed in July 2012. The building then had to be removed when the decision was made to widen Manchester Street as part of the draft transport plan for central Christchurch. The photograph was modelled after an image taken by Ian McGregor from Fairfax Media in September 2010.

Videos, UC QuakeStudies

A video run-through of the interactive documentary Obrero. Obrero ('worker') is an independent multi-platform documentary project. It tells the stories of Filipino rebuild workers temporarily migrating to Christchurch, Aotearoa New Zealand after the earthquake in 2011. The interactive documentary can be explored at https://www.obrerofilm.com/. Norman Zafra is a Filipino journalist-documentary maker and currently a doctoral candidate at the University of Auckland's Media and Communication Department. He has worked as producer, writer, and director of award-winning Philippine TV documentary programmes such as Reporter’s Notebook and I-Witness.

Audio, Radio New Zealand

Media commentator Andrew Holden joins Kathryn to talk about the move by Discovery Inc to buy Mediaworks' TV operations. When it comes to the TV news, why does TVNZ keep out-rating Newshub? And Munted, Stuff's video series for the 10th anniversary of the Christchurch earthquake, revisits 200 hours of original video footage in a new series narrated by Philip Matthews. Andrew Holden is a journalist for more than 30 years including five as Editor of The Press (in Christchurch) and four as Editor-in-Chief of The Age in Melbourne.

Research papers, University of Canterbury Library

On 15 August 1868, a great earthquake struck off the coast of the Chile-Peru border generating a tsunami that travelled across the Pacific. Wharekauri-Rekohu-Chatham Islands, located 800 km east of Christchurch, Aotearoa-New Zealand (A-NZ) was one of the worst affected locations in A-NZ. Tsunami waves, including three over 6 metres high, injured and killed people, destroyed buildings and infrastructure, and impacted the environment, economy and communities. While experience of disasters, and advancements in disaster risk reduction systems and technology have all significantly advanced A-NZ’s capacity to be ready for and respond to future earthquakes and tsunami, social memory of this event and other tsunamis during our history has diminished. In 2018, a team of scientists, emergency managers and communication specialists collaborated to organise a memorial event on the Chatham Islands and co-ordinate a multi-agency media campaign to commemorate the 150th anniversary of the 1868 Arica tsunami. The purpose was to raise awareness of the disaster and to encourage preparedness for future tsunami. Press releases and science stories were distributed widely by different media outlets and many attended the memorial event indicating public interest for commemorating historical disasters. We highlight the importance of commemorating disaster anniversaries through memorial events, to raise awareness of historical disasters and increase community preparedness for future events – “lest we forget and let us learn.”

Audio, Radio New Zealand

Academics have done some number crunching and decided where 10, 000 words sit on a happiness index. What the Panelists Tim Watkin and Selwyn Manning have been thinking about. Ros Rowe of the Leg Up Trust talks about funding cuts which are affecting her horse therapy business which helps disadvantaged young people. The Cathedral has been in a state of limbo since the Christchurch earthquakes. Now roosting pigeons are adding to the damage. Are you keen on the Pokemon Go craze? Pakistani social media celebrity Qandeel Baloch has been killed by her brother in a so-called honour killing.

Images, UC QuakeStudies

A photograph of a sign on a lamp post on Bealey Avenue. The sign reads, "Attention Public, there is a cordon in effect. From the timings of 0600 to 1800 only personal with legitimate reasons and home owners are permitted to enter the cordon. Home owners, please have proof of address and identification ready for inspection. At 1800 to 0600 the cordoned area is under curfew. The only personnel permitted to enter are: health professionals, Canterbury Council staff, contractors, media. No exceptions. If you have any questions, please approach police or NZDF personnel. Thank you for your co-operation".

Images, Alexander Turnbull Library

Depicts Christchurch Mayor Bob Parker striking a pose under a spotlight while standing astride broken masonry. He is being interviewed by media. On the right of frame, Progressive Party leader and MP Jim Anderton is under dark clouds and caught under the Beehive. Refers to the 2010 Christchurch mayoral elections in which Parker won over Anderton. Prior to the 2010 Canterbury earthquake, Anderton was ahead in the polls. The quake devastation was said to have given Parker a bigger profile than Anderton and been a factor in his win (TV3 9 October 2010). Quantity: 1 digital cartoon(s).

Research papers, University of Canterbury Library

The University of Canterbury CEISMIC Canterbury Earthquake Digital Archive draws on the example of the Centre for History and New Media’s (CHNM) September 11 Archive, which was used to collect digital artefacts after the bombing of the World Trade Centre buildings in 2001, but has gone significantly further than this project in its development as a federated digital archive. The new University of Canterbury Digital Humanities Programme – initiated to build the archive – has gathered together a Consortium of major national organizations to contribute content to a federated archive based on principles of openness and collaboration derived directly from the international digital humanities community.

Research papers, University of Canterbury Library

Geological research in the immediate aftermath of the 2016 Kaikōura Earthquake, New Zealand, was necessary due to the importance and perishability of field data. It also reflects a real desire on the part of researchers to contribute not only to immediate scientific understanding but also to the societal recovery effort by enhancing knowledge of the event for the benefit of affected communities, civil defence organizations and regional and national decision makers. This commitment to outreach and engagement is consistent with the recent IAPG statement of Geoethics. More immediately, it was informed by experience of the 2010-2011 Canterbury Earthquake sequence. After that earlier disaster, intense interactions between researchers and various response agencies as well as local communities informed the development and dissemination of a set of ethical guidelines for researchers immediately following the Mw7.8 14 November 2016 Kaikōura Earthquake. In this presentation, I argue that ethical engagement of this kind is the key to gathering high quality research data immediately after the event. Creating trusting and mutually respectful, mutually beneficial relationships is also vital to ongoing engagement to facilitate further “in depth” research in collaboration with communities.

Audio, Radio New Zealand

After the magnitude 7.1 earthquake struck Canterbury on 4 September 2010, most media reports claimed that no lives had been lost. But In fact, this first earthquake killed at least 3000 chickens, eight cows, one dog, a lemur and 150 aquarium fish. University of Canterbury associate professor Annie Potts, along with co-author Donelle Gadenne, wrote Animals in Emergencies: Learning from the Christchurch Earthquakes, revealing what happened to the animals during and after the series of quakes. Annie Potts will give a public lecture, 'Animals and natural disasters: Learning from recent earthquakes', on Thursday 16 March, 7pm at UC Ilam campus, Christchurch. Register to attend free at: www.canterbury.ac.nz/ucconnect

Images, UC QuakeStudies

Members of the University of Canterbury's Digital Media Group in their temporary office in KB02 in Kirkwood Village, the complex of prefabs set up after the earthquakes to provide temporary office and classroom space for the university. The photographer comments, "The e-learning group and the video conferencing team are now located in the Kirkwood Village at the University of Canterbury. It's a very impressive project, about 60 buildings arranged in various configurations with some used for teaching or computer labs, and others as staff offices. We will probably stay here for several years now. Looking across the centre desks to the advisers' area".

Images, UC QuakeStudies

The entrance to KB02, the University of Canterbury's Digital Media Group temporary office in Kirkwood Village, the complex of prefabs set up after the earthquakes to provide temporary office and classroom space for the university. The photographer comments, "The e-learning group and the video conferencing team are now located in the Kirkwood Village at the University of Canterbury. It's a very impressive project, about 60 buildings arranged in various configurations with some used for teaching or computer labs, and others as staff offices. We will probably stay here for several years now. The front doors. We'll need to advertise our presence once we're settled in".

Images, UC QuakeStudies

Members of the University of Canterbury's Digital Media Group in their temporary office in KB02 in Kirkwood Village, the complex of prefabs set up after the earthquakes to provide temporary office and classroom space for the university. The photographer comments, "The e-learning group and the video conferencing team are now located in the Kirkwood Village at the University of Canterbury. It's a very impressive project, about 60 buildings arranged in various configurations with some used for teaching or computer labs, and others as staff offices. We will probably stay here for several years now. Looking along the south wall, Herbert Thomas and Susan Tull already settled in and working".

Images, UC QuakeStudies

Members of the University of Canterbury's Digital Media Group in their temporary office in KB02 in Kirkwood Village, the complex of prefabs set up after the earthquakes to provide temporary office and classroom space for the university. The photographer comments, "The e-learning group and the video conferencing team are now located in the Kirkwood Village at the University of Canterbury. It's a very impressive project, about 60 buildings arranged in various configurations with some used for teaching or computer labs, and others as staff offices. We will probably stay here for several years now. Nikki Saunders, Lei Zhang (on the far wall), Nathan Gardiner and Blair - unpacking and settling in".

Images, UC QuakeStudies

A photograph of All Right? Campaign Manager Sue Turner (left), Crusaders coach Todd Blackadder (centre) and Scape Public Art Director Deborah McCormick (right). The photograph was taken at a promotional photo-shoot for #ThatTimeYouHelped. #ThatTimeYouHelped was a social media campaign created in collaboration between All Right? and SCAPE Public Art. The campaign encouraged people to reflect on the people in their lives who have helped them out, by uploading a photograph of them to Instagram or Facebook with the hashtag #ThatTimeYouHelped. Some of the best uploads were part of an installation at the 2015 SCAPE8 Public Art festival.

Images, UC QuakeStudies

A photograph of All Right? Campaign Manager Sue Turner (left), Crusaders coach Todd Blackadder (centre) and Scape Public Art Director Deborah McCormick (right). The photograph was taken at a promotional photo-shoot for #ThatTimeYouHelped. #ThatTimeYouHelped was a social media campaign created in collaboration between All Right? and SCAPE Public Art. The campaign encouraged people to reflect on the people in their lives who have helped them out, by uploading a photograph of them to Instagram or Facebook with the hashtag #ThatTimeYouHelped. Some of the best uploads were part of an installation at the 2015 SCAPE8 Public Art festival.

Images, UC QuakeStudies

A photograph of All Right? Campaign Manager Sue Turner (left), Crusaders coach Todd Blackadder (centre) and Scape Public Art Director Deborah McCormick (right). The photograph was taken at a promotional photo-shoot for #ThatTimeYouHelped. #ThatTimeYouHelped was a social media campaign created in collaboration between All Right? and SCAPE Public Art. The campaign encouraged people to reflect on the people in their lives who have helped them out, by uploading a photograph of them to Instagram or Facebook with the hashtag #ThatTimeYouHelped. Some of the best uploads were part of an installation at the 2015 SCAPE8 Public Art festival.

Images, UC QuakeStudies

A photograph of All Right? Campaign Manager Sue Turner (left), Crusaders coach Todd Blackadder (centre) and Scape Public Art Director Deborah McCormick (right). The photograph was taken at a promotional photo-shoot for #ThatTimeYouHelped. #ThatTimeYouHelped was a social media campaign created in collaboration between All Right? and SCAPE Public Art. The campaign encouraged people to reflect on the people in their lives who have helped them out, by uploading a photograph of them to Instagram or Facebook with the hashtag #ThatTimeYouHelped. Some of the best uploads were part of an installation at the 2015 SCAPE8 Public Art festival.

Images, UC QuakeStudies

A photograph of All Right? Campaign Manager Sue Turner (left), Crusaders coach Todd Blackadder (centre) and Scape Public Art Director Deborah McCormick (right). The photograph was taken at a promotional photo-shoot for #ThatTimeYouHelped. #ThatTimeYouHelped was a social media campaign created in collaboration between All Right? and SCAPE Public Art. The campaign encouraged people to reflect on the people in their lives who have helped them out, by uploading a photograph of them to Instagram or Facebook with the hashtag #ThatTimeYouHelped. Some of the best uploads were part of an installation at the 2015 SCAPE8 Public Art festival.