Earlier this year, we excavated a site on Armagh Street that revealed not only a large quantity of artefacts, but also a historical and material narrative set in the swampy bowels of a fledgling city, a tale of politics, commerce, … Continue reading →
An entry from Deb Robertson's blog for 10 October 2015 entitled, "why love is like shallots".The entry was downloaded on 3 November 2016.
The Earthquake Commission is insisting the current model for settling earthquake claims is the right one. That's despite a report from one of the country's largest insurers that says the system is inefficient and is having a significant impact on the timely resolution of claims in Christchurch.
It's five years since the earthquake, and for the first time I feel a sense that the rebuild is taking effect. 113/115 - Natural Framing. In the middle of the rebuild, wall murals are everywhere is Christchurch. The framing is wire fence around ballet dancer, although there is plenty of evidence of framing/boxing around the foundations.
In writing an introduction to this post, I found myself straying unexpectedly into alliteration. This happens sometimes. I decided to run with it. So, as an aside from our accustomed analysis of antiquity, we’ve assembled an array of artefacts for the the … Continue reading →
Abstract The original intention for the Partnership Community Worker (PCW) project in 2006 was for it to be an extension of the Pegasus Health General Practice and furthermore to be a bridge between the community and primary healthcare. It was believed that a close working relationship between the Practice Nurse and the PCW would help the target population of Māori, Pacifica and low income people to address and overcome their perceived barriers to healthcare which included: finance, transport, anxiety, cultural issues, communication, or lack of knowledge. Seven years later although the PCW project has been deemed a success in the Canterbury District Health Board annual reports (2013-14) and community and government agencies, including the Christchurch Resettlement Service (2012), many of the Pegasus Health General Practices have not utilised the project to its full extent, hence the need for this research. I was interested in finding out in the first instance if the model had changed and, if so why, and in the second instance if the promotional material currently distributed by Pegasus Health Primary Health Organisation reflected the daily practice of the PCW. A combination of methods were used including: surveys to the Pegasus Health General Practices, interviews with PCWs, interviews with managers of both the PCW host organisations and referring agencies to the PCW project. All the questions asked of all the participants in this research were focussed on their own perception of the role of the PCW. Results showed that the model has changed and although the publications were not reflecting the original intention of the project they did reflect the daily practice of the PCWs who are now struggling to meet much wider community expectations and needs. Key Results: Partnership Community Worker (PCW) interviews: Seventeen PCWs of the 19 employed were interviewed face to face. A number expressed interest in more culturally specific training and some are pursuing qualifications in social work; for many pay parity is an issue. In addition, many felt overwhelmed by the expectations around clients with mental health issues and housing issues now, post-earthquakes. Medical Practice surveys: Surveys were sent to eighty-two Pegasus Health medical practices and of these twenty five were completed. Results showed the full capacity of the PCW role was not clearly understood by all with many believing it was mostly a transport service. Those who did understand the full complexity of the role were very satisfied with the outcomes. PCW Host Community Manager Interviews: Of the ten out of twelve managers interviewed, some wished for more communication with Pegasus Health management because they felt aspects of both the PCW role and their own role as managers had become blurred over time. Referring organisations: Fifteen of the fifty referring community or government organisations participated. The overall satisfaction of the service was high and some acknowledged the continuing need for PCWs to be placed in communities where they were well known and trusted. Moreover results also showed that both the Canterbury earthquakes 2010-2011 and the amalgamation of Partnership Health PHO and Pegasus Health Charitable Limited in 2013 have contributed to the change of the model. Further future research may also be needed to examine the long term effects on the people of Canterbury involved in community work during the 2011-2014 years.
It's five years since the earthquake, and for the first time I feel a sense that the rebuild is taking effect. In this photo - the left hand building is on the way up, and the right hand building is on the way down.
A photograph of street art on Fitzgerald Avenue, near the On Fitz cafe. On the left is a painting of a waxeye bird. Next to it is written "South bound". On the right is a painting of a blue-skinned figure. Next to the man is written "Li'l Elliot.
Elric Hooper is a recognisable face in Christchurch theatre both on and off stage. He spent his early years with Dame Ngaio Marsh, the influential woman for whom the theatre at The University of Canterbury was named after. The theatre was damaged during the Christchurch earthquakes and is now under threat. But is it worth keeping it?
A photograph of street art on a building in New Brighton. The artwork includes the phrases "No one is superior, everyone is special", "Occupy Equality Street", and "Love is the child of freedom".
A photograph looking north-west along Raven Quay in Kaiapoi. The road is unsealed and the intersection with Black Street is undergoing construction.
In practice, several competing liquefaction evaluation procedures (LEPs) are used to compute factors of safety against soil liquefaction, often for use within a liquefaction potential index (LPI) framework to assess liquefaction hazard. At present, the influence of the selected LEP on the accuracy of LPI hazard assessment is unknown, and the need for LEP-specific calibrations of the LPI hazard scale has never been thoroughly investigated. Therefore, the aim of this study is to assess the efficacy of three CPT-based LEPs from the literature, operating within the LPI framework, for predicting the severity of liquefaction manifestation. Utilising more than 7000 liquefaction case studies from the 2010–2011 Canterbury (NZ) earthquake sequence, this study found that: (a) the relationship between liquefaction manifestation severity and computed LPI values is LEP-specific; (b) using a calibrated, LEP-specific hazard scale, the performance of the LPI models is essentially equivalent; and (c) the existing LPI framework has inherent limitations, resulting in inconsistent severity predictions against field observations for certain soil profiles, regardless of which LEP is used. It is unlikely that revisions of the LEPs will completely resolve these erroneous assessments. Rather, a revised index which more adequately accounts for the mechanics of liquefaction manifestation is needed.
A photograph of street art in the central city. The artwork depicts an excited blue alien positioned next to the letters "DTR!". Next to that, is artwork depicting Doctor Who and his Tardis. Above, is pink tag text with a Dalek in it. A section of the path in front of the artwork is sectioned off by road barriers.
A photograph of street art on several clothing bins on Battersea Street. The middle bin has a tag which reads, "Prove ANSR Morris". Above this are two doves on either side of a yellow flower. One dove is white and the other is pink. Another tag is on the bin to the right. The second tag reads, "ARK".
A photograph of street art on several clothing bins on Battersea Street. The middle bin has a tag which reads, "Prove ANSR Morris". Above this are two doves on either side of a yellow flower. One dove is white and the other is pink. Another tag is on the bin to the right. The second tag reads, "ARK".
An entry from Deb Robertson's blog for 21 May 2015 entitled, "Nothing is permenant in this world, even our troubles (Charlie Chaplin)".The entry was downloaded on 2 November 2016.
It is a truth universally acknowledged that a man or woman in possession of natural body odour is most definitely in want of something to cover it up. At least, in today’s society, it certainly seems to be considered unacceptable … Continue reading →
A photograph of street art titled, "Maybe sorrow was the thing". The work is on Battersea Street in Sydenham. The artist is Rita Vovna.
A photograph of street art depicting a weta. The artwork is at the Waltham Park and Pool on Waltham Road. The artwork is part of Project Legit.
A photograph of part of a collaborative artwork by DAEK, Wongi Wilson, Yikes, and Wheels Tupuhi. This section of the artwork is titled "Last Chance Lumberjack" and is by DAEK.
A photograph of street art titled, "Maybe sorrow was the thing". The work is on Battersea Street in Sydenham. The artist is Rita Vovna.
A photograph of a detail of street art titled, "Maybe sorrow was the thing". The work is on Battersea Street in Sydenham. The artist is Rita Vovna.
A photograph of a detail of street art titled, "Maybe sorrow was the thing". The work is on Battersea Street in Sydenham. The artist is Rita Vovna.
A photograph of street art titled, "Maybe sorrow was the thing". The work is on Battersea Street in Sydenham. The artist is Rita Vovna.
A photograph of a mural on a wall in the former site of a building on Norwich Quay in Lyttelton. There is a portacom on the site, and construction material is leaning against the mural.
This thesis focuses attention on the ongoing effects of the earthquakes on children in Christchurch. It identifies the learning and behavioural difficulties evident in an increasing number of students and cautions the use of the word 'resilient' to describe children who may be just managing. This assumption has a significant impact on the wellbeing of many Christchurch children who, disaster literature warns, are likely to be under-served. This thesis suggests that, because of the scale of need, schools are the best place to introduce practices that will foster wellbeing. Mindfulness practices are identified as a potential tool for ameliorating the vulnerabilities experienced by children, while at the same time working to increase their capabilities. This thesis argues that, through mindful practices, children can learn to be more reflective of their emotions and respond in more considered ways to different situations. They can become more relational, having a greater understanding of others through a deeper understanding of themselves, and they can build resilience by developing the protective factors that promote more adaptive functioning. This thesis identifies the strong links between mindfulness and the holistic wellbeing concept of Te Whare Tapa Whã and a Mãori worldview. Strong links are also identified with the vision, values and key competencies of the New Zealand Curriculum and 21st Century learners. Both short and long term recommendations are made for the introduction of mindfulness practices in schools to enhance the wellbeing of children.
A photograph of a section of a mural on one side of the Shoreline Fitness Centre on Hawke Street. A message painted in this section reads, "No one is superior. Everyone is special. Occupy Equality Street".
A photograph of a section of a mural on one side of the Shoreline Fitness Centre on Hawke Street. A message painted in this section reads, "No one is superior. Everyone is special. Occupy Equality Street".
A photograph of street art on the side of a house. The artwork shows plants, kowhai flowers, two tui, and their eggs. A woman is standing in front of the artwork and a stepladder is set up nearby.
A photograph of street art on a clothing bin on Battersea Street. Part of the street art reads, "Prove ANSR". Above this are two doves on either side of a yellow flower. One of the doves is light pink and the other is white.