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Research papers, University of Canterbury Library

High-quality ground motion records are required for engineering applications including response history analysis, seismic hazard development, and validation of physics-based ground motion simulations. However, the determination of whether a ground motion record is high-quality is poorly handled by automation with mathematical functions and can become prohibitive if done manually. Machine learning applications are well-suited to this problem, and a previous feed-forward neural network was developed (Bellagamba et al. 2019) to determine high-quality records from small crustal events in the Canterbury and Wellington regions for simulation validation. This prior work was however limited by the omission of moderate-to-large magnitude events and those from other tectonic environments, as well as a lack of explicit determination of the minimum usable frequency of the ground motion. To address these shortcomings, an updated neural network was developed to predict the quality of ground motion records for all magnitudes and all tectonic sources—active shallow crustal, subduction intraslab, and subduction interface—in New Zealand. The predictive performance of the previous feed-forward neural network was matched by the neural network in the domain of small crustal records, and this level of predictive performance is now extended to all source magnitudes and types in New Zealand making the neural network applicable to global ground motion databases. Furthermore, the neural network provides quality and minimum usable frequency predictions for each of the three orthogonal components of a record which may then be mapped into a binary quality decision or otherwise applied as desired. This framework provides flexibility for the end user to predict high-quality records with various acceptability thresholds allowing for this neural network to be used in a range of applications.

Audio, Radio New Zealand

Tomorrow will mark four years since a huge 7.8 magnitude earthquake rocked North Canterbury. As well as severely damaging homes and roads, it left some hill country farms in the area with up to 40 percent of their land unusable. Four years on, sheep and beef farmers are finding new ways to work. Rural reporter, Maja Burry and cameraman Nate McKinnon have the story.

Research Papers, Lincoln University

This research investigates creativity in a post-disaster setting. The data explore creativity at the intersection of the affected community of Christchurch, New Zealand and the social processes that followed the earthquakes of 2010 - 2012. Personal and contextual influences on creative ideas implemented for community or commercial benefit are also examined. Viewed as creative, unique approaches to post-disaster problem solving were celebrated locally, nationally and internationally (Bergman, 2014; Wesener, 2015; Cloke & Conradson, 2018). Much has been written about creativity, particularly creativity in organisations and in business. However, little is known with regards to who creates after a disaster, why individuals choose to do so and what impact the post-disaster context has on their creative activity. This exploratory study draws on the literature from the fields of creativity, disasters, psychology, sociology and entrepreneurship to interpret first-hand accounts of people who acted on creative ideas in a physically and socially altered environment. A mixed method - albeit predominantly qualitative - approach to data gathering was adopted that included interviews (n=45) with participants who had been the primary drivers of creative ideas implemented in Christchurch after September 2010 – the first major (7.1 magnitude) earthquake in a prolonged sequence of thousands of aftershocks. Key findings include that a specific type of creativity results from the ‘collision’ between individuals and social processes activated by a disaster situation. This type of creativity could be best categorised as ‘little c’ or socially adaptive and emerges through a prosocial filter. There is wide consensus amongst creativity researchers - principally social psychologists - that for output to be considered creative it must be both novel and useful (Runco & Jaegar, 2012). There is greater tolerance for the novelty component after a disaster as novelty itself has greater utility, either as a distraction or because alternatives are few. Existing creativity models show context as input – an additional component of the creative process – but after a disaster the event itself becomes the catalyst for social processes that result in the creativity seen. Most participants demonstrated characteristics commonly associated with creativity and could be categorised as either a ‘free thinker’ and/or an ‘opportunist’. Some appear preadapted to create and thrive in unstable circumstances. Findings from participants’ completion of a Ten Item Personality Inventory (TIPI) showed an apparent reduced need for extraversion in relation to implementing creative ventures in society. This factor, along with higher levels of agreeableness may indicate a potentially detrimental effect on the success of creative ideas established after a disaster, despite earnest intentions. Three new models are presented to illustrate the key findings of this study. The models imply that disasters enhance both the perceived value of creativity and the desire to act creatively for prosocial ends. The models also indicate that these disaster influenced changes are likely to be temporary.