In 2010 and 2011 a series of earthquakes hit the central region of Canterbury, New Zealand, triggering widespread and damaging liquefaction in the area of Christchurch. Liquefaction occurred in natural clean sand deposits, but also in silty (fines-containing) sand deposits of fluvial origin. Comprehensive research efforts have been subsequently undertaken to identify key factors that influenced liquefaction triggering and severity of its manifestation. This research aims at evaluating the effects of fines content, fabric and layered structure on the cyclic undrained response of silty soils from Christchurch using Direct Simple Shear (DSS) tests. This poster outlines preliminary calibration and verification DSS tests performed on a clean sand to ensure reliability of testing procedures before these are applied to Christchurch soils.
The combination of music and disaster has been the subject of much study, especially starstudded telethons and songs that commemorate tragedy. However, there are many other ways that music can be used after disaster that provide benefits far greater than money or memorials but are not necessarily as prominent in the worldwide media landscape. Beginning in September 2010, the city of Christchurch, New Zealand, has been struck by several major earthquakes and over 11,000 aftershocks, the most destructive of which caused 185 deaths. As with many other disasters, music has been used as a method of fundraising and commemoration, but personal experience suggests many other ways that music can be used as a coping mechanism and aid to personal and community recovery. Therefore, in order to uncover the connections, context, and strategies behind its use, this thesis addresses the question: Since the earthquakes began, how has popular music been beneficial for the city and people of Christchurch? As well as documenting a wide variety of musical ‘earthquake relief’ events and charitable releases, this research also explores some of the more intangible aspects of the music-aid relationship. Two central themes are presented – fundraising and psychosocial uses – utilising individual voices and case studies to illustrate the benefits of music use after disaster at a community or city-wide level. Together the disparate threads and story fragments weave a detailed picture of the ways in which music as shared experience, as text, as commodity, and as a tool for memory and movement has been incorporated into the fabric of the city during the recovery phase.
