BeckerFraserPhotos December 2011 photograph 2327

Images, UC QuakeStudies

A photograph captioned by BeckerFraserPhotos, "This used to be someone's garden on Kirsten Place in New Brighton. Liquefaction creates interesting patterns".

BeckerFraserPhotos December 2011 photograph 2330

Images, UC QuakeStudies

A photograph captioned by BeckerFraserPhotos, "Drainage worker monitoring what the robotic camera sees as it moves along the drain beneath Kirsten Place in New Brighton".

BeckerFraserPhotos December 2011 photograph 2326

Images, UC QuakeStudies

A photograph captioned by BeckerFraserPhotos, "We counted eight trucks and one digger in this short street - Kirsten Place, New Brighton".

BeckerFraserPhotos December 2011 photograph 2328

Images, UC QuakeStudies

A photograph of trucks parked in a residential street, captioned by BeckerFraserPhotos, "Kirsten Place, New Brighton".

BeckerFraserPhotos December 2011 photograph 2329

Images, UC QuakeStudies

A photograph captioned by BeckerFraserPhotos, "City Care working on drains in Kirsten Place, New Brighton".

BeckerFraserPhotos December 2011 photograph 2331

Images, UC QuakeStudies

A photograph of workers clearing drains along Kirsten Place in New Brighton".

BeckerFraserPhotos December 2011 photograph 2325

Images, UC QuakeStudies

A photograph of a road cone decorated with tinsel, captioned by BeckerFraserPhotos, "A view looking south along Bower Avenue in New Brighton".

Fragments, Lyotard, and Earthquakes: a mosaic of memory and broken pieces

Research papers, The University of Auckland Library

This paper explores the responses by a group of children to an art project that was undertaken by a small school in New Zealand after the September 2010 and February 2011 Christchurch earthquakes. Undertaken over a period of two years, the project aimed to find a suitable form of memorialising this significant event in a way that was appropriate and meaningful to the community. Alongside images that related directly to the event of the earthquakes, the art form of a mosaic was chosen, and consisted of images and symbols that clearly drew on the hopes and dreams of a school community who were refusing to be defined by the disaster. The paper 'writes' the mosaic by placing fragments of speech spoken by the children involved in relation to ideas about memory, affect, and the 'sublime', through the work of Jean-Francois Lyotard. The paper explores the mosaic as constituted by the literal and metaphorical 'broken pieces' of the city of Christchurch in ways that confer pedagogic value inscribed through the creation of a public art space by children. AM - Accepted Manuscript