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Images, UC QuakeStudies

A photograph of Martin Trusttum, CPIT Faculty of Creative Arts, giving a talk about ArtBox on the corner of St Asaph Street and Madras Street. The photograph was taken during a public talk about the temporary studio and gallery space. The event was part of FESTA 2012.

Images, UC QuakeStudies

A photograph of Martin Trusttum, CPIT Faculty of Creative Arts, giving a public talk about ArtBox on the corner of St Asaph Street and Madras Street. The photograph was taken during a public talk about the temporary studio and gallery space. The event was part of FESTA 2012.

Research papers, University of Canterbury Library

INTRODUCTION: There is little research on the role of creative arts and craft in disaster recovery. This article reports findings about the emergent role of crafting from research conducted after the 2010–2011 series of earthquakes in Christchurch and surrounding districts in Aotearoa New Zealand. In particular, the article focuses on the significance and differing interpretations of the notion of place expressed by participants through their craftwork, in this case led by women and mediated by the post-earthquake geographic and temporal context. METHOD: This qualitative research included nine individual interviews and five focus group interviews with crafters from Christchurch and surrounding districts. There were 35 participants in total, 33 were women. Applied thematic analysis was used to code the data and identify themes. These themes included connection to place, the symbolism of craft, the healing experience of craft groups and places for women. The notion of place was evident across all three themes. FINDINGS: The findings from the research demonstrate differing ways in which the significance of place was reflected in the craftwork. Participants interpreted the concept of place in descriptive, symbolic, and therapeutic ways. IMPLICATIONS: More understanding about the way creative endeavours like crafting can be used to help ameliorate the impact of natural disasters is needed. Social work practitioners are encouraged to explore place-based wellbeing during their work with service users and to include aspects of artistry, craft and creativity.

Images, UC QuakeStudies

A photograph of Andrew Just from F3 Design (left) and Martin Trusttum, CPIT Faculty of Creative Arts, on the corner of St Asaph Street and Madras Street where the temporary ArtBox gallery is to be constructed. The photograph was taken during a public talk, which was part of FESTA 2012.

Images, eqnz.chch.2010

This statue of the Virgin Mary stood in the south tower of The Cathedral of the Blessed Sacrament and had been facing inside from when she was placed there and through the September 2010 earthquake. That changed on February 22 2010 at 12.51pm when Christchurch was rocked by a 6.3 magnitude earthquake. During the violent shaking motion Mary was t...

Research papers, The University of Auckland Library

This thesis is a creative and critical exploration of how transmedia storytelling meshes with political documentary’s nature of representing social realities and goals to educate and promote social change. I explore this notion through Obrero (“worker”), my independently produced transmedia and transjournalistic documentary project that explores the conditions and context of the Filipino rebuild workers who migrated to Christchurch, New Zealand after the earthquake in 2011. While the project should appeal to New Zealanders, it is specifically targeted at an audience from the Philippines. Obrero began as a film festival documentary that co-exists with strategically refashioned Web 2.0 variants, a social network documentary and an interactive documentary (i-doc). Using data derived from the production and circulation of Obrero, I interrogate how the documentary’s variants engage with differing audiences and assess the extent to which this engagement might be effective. This thesis argues that contemporary documentary needs to re-negotiate established film aesthetics and practices to adapt in the current period of shifting technologies and fragmented audiences. Documentary’s migration to new media platforms also creates a demand for filmmakers to work with a transmedia state of mind—that is, the capacity to practise the old canons of documentary making while comfortably adjusting to new media production praxis, ethics, and aesthetics. Then Obrero itself, as the creative component of this thesis, becomes an instance of research through creative practice. It does so in two respects: adding new knowledge about the context, politics, and experiences of the Filipino workers in New Zealand; and offering up a broader model for documentary engagement, which I analyse for its efficacy in the digital age.

Images, UC QuakeStudies

A photograph of Struan Ashby from Tape Art NZ creating the 'Dream Machine'. The 'Dream Machine' was a 9-day long creative project that used dream stories from the audience to turn a shipping container into a 40 foot mural. The photograph was taken at the 2014 SCIRT World Buskers Festival in Hagley Park.

Images, UC QuakeStudies

A photograph of Andrew Just from F3 Design (left), Jessica Halliday, Director of FESTA, and Martin Trusttum, CPIT Faculty of Creative Arts, on the corner of St Asaph Street and Madras Street where the temporary ArtBox gallery is to be constructed. The photograph was taken during a public talk about the temporary studio and gallery space. The event was part of FESTA 2012.

Audio, Radio New Zealand

A review of the week's news including: The Labour Party's capital gains tax policy announcement, Act's creative director resigns over newspaper ad, day two and three reports from the Pike River Mine tragedy Royal Commission Of Inquiry, the treatment of Crete veterans during recent 70th anniversary commemorations, Sydenham recovery following Christchurch earthquake, Lonely Planet puts Christchurch back on it's visit list and small brewers angry over Radler beer trademark ruling.

Images, UC QuakeStudies

A photograph of a crowd watching Struan Ashby from Tape Art NZ create the 'Dream Machine'. The 'Dream Machine' was a 9-day long creative project that used dream stories from the audience to turn a shipping container into a 40-foot mural. The photograph was taken at the 2014 SCIRT World Buskers Festival in Hagley Park.

Images, UC QuakeStudies

A photograph of Erica Duthy and Struan Ashby from Tape Art NZ creating the 'Dream Machine'. The 'Dream Machine' was a 9-day long creative project that used dream stories from the audience to turn a shipping container into a 40-foot mural. The photograph was taken at the 2014 SCIRT World Buskers Festival in Hagley Park.

Audio, Radio New Zealand

The beloved Christchurch Arts Centre - built in the 1870s - has slowly been reopening after repairs and restoration. An open day last weekend saw the public getting their first look into the complex's school of art building since the earthquakes. One beneficiary has been singer-songwriter Bic Runga, who has kick-started the Arts Centre Te Matatiki Toi Ora's revived Creative Residencies programme. She tells Mark Amery she's been trying out all sorts of new things. Applications for Bic's song-writing workshop in Christchurch in early July close on Friday 31 May.

Research papers, The University of Auckland Library

In 2013 Becca Wood, Spatial Performance Practitioner, and Molly Mullen, Applied Theatre Practitioner, collaborated to create a short ambulatory performance with audio score for a group of drama educators attending a conference workshop on the possibilities of walking as performance. The performance was created remotely from the intended site: Rangi Ruru Girls’ School, in Christchurch, New Zealand. Following the destruction of the 2012 earthquake, this site was in a state of transformation and recovery. The performance walk attended to the histories, geographies and politics of this place, somatically, architecturally and socially. This paper engages with three critical questions: How might mediated listening and walking activate the coming together of bodies and place? What performative shifts occurred for the participants in the walk and workshop? How might we come to our senses? Through a performative practice of mediated site-based listening and walking, this paper is a reflection on the creative process and performance. We consider the potential for technologically mediated performance to offer new modes for learning and creative practice through interdisciplinary and evolving intermedial practices. http://www.tandfonline.com/toc/crde20/current AM - Accepted Manuscript

Research papers, The University of Auckland Library

The Canterbury earthquake sequence of 2010-2011 wrought ruptures in not only the physical landscape of Canterbury and Christchurch’s material form, but also in its social, economic, and political fabrics and the lives of Christchurch inhabitants. In the years that followed, the widespread demolition of the CBD that followed the earthquakes produced a bleak landscape of grey rubble punctuated by damaged, abandoned buildings. It was into this post-earthquake landscape that Gap Filler and other ‘transitional’ organisations inserted playful, creative, experimental projects to bring life and energy back into the CBD. This thesis examines those interventions and the development of the ‘Transitional Movement’ between July 2013 and June 2015 via the methods of walking interviews and participant observation. This critical period in Christchurch’s recovery serves as an example of what happens when do-it-yourself (DIY) urbanism is done at scale across the CBD and what urban experimentation can offer city-making. Through an understanding of space as produced, informed by Lefebvre’s thinking, I explore how these creative urban interventions manifested a different temporality to orthodox planning and demonstrate how the ‘soft’ politics of these interventions contain the potential for gentrification and also a more radical politics of the city, by creating an opening space for difference.

Research Papers, Lincoln University

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.

Articles, UC QuakeStudies

A PDF copy of a poster like those created on the All Right? Poster Generator. The poster features the responses from a number of Christchurch residents about what makes them feel good, such as "When I see the remarkable creative spirit and energy in my quake-damaged seaside suburb. Andrew, New Brighton." The posters were placed around the city at locations such as cafes, doctors surgeries and fish and chip shops. All Right? posted this poster on their Facebook Timeline on 10 May 2013 at 4:06pm.

Videos, UC QuakeStudies

A video of a conversation between John Hamilton, National Controller of the Civil Defence Emergency Response, and Dr Sonia Giovinazzi, Research Fellow at the Department of Civil and Natural Resource Engineering at the University of Canterbury. Hamilton and Giovinazzi discuss the Civil Defence's response to the 22 February 2011 earthquake and the lessons that they learned.The video includes footage from the Ministry of Civil Defence (licenced under Creative Commons Attribute 3.0 New Zealand).

Research papers, Victoria University of Wellington

Architecture and music have a long intertwining history.These respective creative forces many times have collaborated into monumental place, harboured rich occasion, been catalyst for cultural movement and defined generations. Together they transcend their respective identities. From dinky local church to monstrous national stadia, together they are an intense concentration, a powerfully addictive dosage where architecture is the place, music is the faith, and people are the reason.  Music is a programme that architecture often celebrates in poetic and grand fashion; a superficial excuse to symbolise their creative parallels. But their relationship is much richer and holds more value than just the opportunity to attempt architectural metaphor.While music will always overshadow the architecture in the sense of a singular event, architecture is like the soundman behind the mixing desk. It’s not the star front and centre grabbing your attention, but is responsible for framing the star. It is the foundational backdrop, a critical pillar. Great architecture can help make great music. In this sense music is a communication of architecture, it is the ultimate creative function.  Christchurch, New Zealand, is a city whose story changed in an instant. The seismic events of 2010 and 2011 have become the overriding subject of its historical narrative, as it will be for years to come. Disaster redefines place (the town of Napier, struck by an earthquake in 1931, exemplifies this). There is no quantifiable justification for an exploration of architecture and music within the context of Christchurch. The Town Hall, one of New Zealand’s most architecturally significant buildings, is under repair. The Christ Church Cathedral will more than likely be rebuilt to some degree of its former self. But these are echoes of the city that Christchurch was.They are saved because they are artefact. Evidence of history.This thesis makes the argument for the new, the better than before, and for the making of opportunity from disaster, by proposing a ‘new’ town hall, conceived from the sound of old.

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, University of Canterbury Library

The UC CEISMIC Canterbury Earthquakes Digital Archive contains tens of thousands of high value cultural heritage items related to a long series of earthquakes that hit Canterbury, New Zealand, from 2010 - 2012. The archive was built by a Digital Humanities team located at the center of the disaster in New Zealand's second largest city, Christchurch. The project quickly became complex, not only in its technical aspects but in its governance and general management. This talk will provide insight into the national and international management and governance frameworks used to successfully build and deliver the archive into operation. Issues that needed to be managed included human ethics, research ethics, stakeholder management, communications, risk management, curation and ingestion policy, copyright and content licensing, and project governance. The team drew heavily on industry-standard project management methods for the basic approach, but built their ecosystem and stakeholder trust on principles derived directly form the global digital humanities community.

Videos, UC QuakeStudies

A video of Ladi6 and All Right? staff member Ciaran Fox "getting out and about", being shown around the Chart BeatBox Studio by Deanne Simmonds, CHART/BeatBox manager. BeatBox is located on the corner of St Asaph St and Madras St, and it has provided a studio space in the CBD for musicians and other creatives. BeatBox has also received support from government agencies and community organisations for providing an essential central city project in transitional Christchurch. All Right? uploaded the video to YouTube on 21 April 2015 and posted a link to the video on their Facebook Timeline on 4 May 2015 at 7:00pm.

Research papers, University of Canterbury Library

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.

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

The UC CEISMIC Canterbury Earthquakes Digital Archive was built following the devastating earthquakes that hit the Canterbury region in the South Island of New Zealand from 2010 – 2012. 185 people were killed in the 6.3 magnitude earthquake of February 22nd 2011, thousands of homes and businesses were destroyed, and the local community endured over 10,000 aftershocks. The program aims to document and protect the social, cultural, and intellectual legacy of the Canterbury community for the purposes of memorialization and enabling research. The nationally federated archive currently stores 75,000 items, ranging from audio and video interviews to images and official reports. Tens of thousands more items await ingestion. Significant lessons have been learned about data integration in post-disaster contexts, including but not limited to technical architecture, governance, ingestion process, and human ethics. The archive represents a model for future resilience-oriented data integration and preservation products.