A video of an address by Brian Parker, Project Manager of Canterbury Communities' Earthquake Recovery Network (CanCERN) and Managing Director of Sharp Teaching, at the 2015 Seismics and the City forum. This talk is about learning from complex claims and local knowledge.
1. PHIL TWYFORD to the Minister for State Owned Enterprises: What reports, if any, has he received about KiwiRail's plans to get rid of electric locomotives on the North Island Main Trunk Line and replace them with diesel locomotives? 2. JULIE ANNE GENTER to the Minister for State Owned Enterprises: Is he considering replacing the electric locomotives with diesel locomotives on the Main Trunk Line, and would this mean removing electrification on that line. 3. DAVID BENNETT to the Minister of Finance: What reports has he received on the New Zealand economy and business sentiment? 4. Rt Hon WINSTON PETERS to the Minister for Primary Industries: Does he believe the Dairy Industry Restructuring Amendment Act 2012 has achieved "a stable, permanent capital base for the Co-operative, secures our future and will support progress with our strategy to grow volumes and value"; if so, why? 5. MATT DOOCEY to the Minister for Social Development: What announcements has she made to improve statutory child protection in New Zealand? 6. Dr DAVID CLARK to the Minister for Economic Development: What lessons, if any, on regional economic development has he drawn from his recent ministerial visits to Northland? 7. CATHERINE DELAHUNTY to the Minister for State Owned Enterprises: Will he stop any further work on dairy conversions by Landcorp, in light of the drop in the dairy price yesterday and concerns about the impact that those conversions will have on water quality; if not, why not? 8. MARK MITCHELL to the Minister of Trade: What recent steps has the Government taken to promote and support New Zealand exporters? 9. Hon DAVID PARKER to the Minister of Trade: What monetary and other assistance was provided by the New Zealand Government in support of his bid for appointment as Director-General of the World Trade Organisation? 10. BARBARA KURIGER to the Minister for Small Business: How are small businesses benefiting from the Better for Business - Result 9 Programme? 11. POTO WILLIAMS to the Minister for Social Housing: Why are Christchurch's social housing organisations facing increased homelessness four years after the last major earthquake? 12. MAHESH BINDRA to the Minister of Corrections: Does he stand by all his answers given to the House on 1 April 2015?
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.