scholarly journals A Citizen Science Initiative to Understand Community Response to the Kaikōura Earthquake and Tsunami Warning in Petone and Eastbourne, Wellington, Aotearoa/New Zealand

2018 ◽  
Vol 108 (3B) ◽  
pp. 1807-1817 ◽  
Author(s):  
Denise Blake ◽  
David Johnston ◽  
Graham Leonard ◽  
Lisa McLaren ◽  
Julia Becker
Keyword(s):  
New Zealand ◽  
Citizen Science ◽  
Community Response ◽  
Tsunami Warning ◽  
Aotearoa New Zealand ◽  
Kaikoura Earthquake ◽  
Science Initiative

scholarly journals COVID 19 and the Pedagogy of Culture-centered Community Radical Democracy: A Response from Aotearoa New Zealand

2020 ◽  
Vol 3 ◽  
pp. 11-19
Author(s):  
Mohan Dutta ◽  
Gayle Moana-Johnson ◽  
Christine Elers
Keyword(s):  
New Zealand ◽  
Community Response ◽  
Radical Democracy ◽  
Advisory Group ◽  
Learning To Learn ◽  
Aotearoa New Zealand ◽  
Ongoing Work ◽  
Creative Pedagogy ◽  
Culture Centered ◽  
Community Advisory Group

In this essay, drawing on our ethnographic work at the “margins of the margins” in Aotearoa New Zealand, we depict the role of communicative pedagogy for radical democracy in sustaining spaces for community participation in pandemic response. Based on accounts offered by community advisory group members and observations of emergent community spaces of co-operation amidst the pandemic, we suggest that the ongoing work of building co-creative pedagogy for “habits of democracy” is vital to community response. The work of learning to learn together the habits of radical democracy in communities is permanent work that prepares communities for crises, simultaneously building anchors for imagining radically transformative futures.

Archiving Social Media at the Alexander Turnbull Library, Te Puna Mātauranga o Aotearoa National Library of New Zealand

2019 ◽  
Vol 48 (3-4) ◽  
pp. 129-134
Author(s):  
Gillian Lee ◽  
Valerie Love ◽  
Jessica Moran
Keyword(s):  
Social Media ◽  
New Zealand ◽  
General Public ◽  
General Election ◽  
National Library ◽  
Aotearoa New Zealand ◽  
The Pacific ◽  
Archive Project ◽  
Kaikoura Earthquake

AbstractThis article explores projects by the Alexander Turnbull Library to collect social media materials that reflect contemporary New Zealand culture and life. The article focuses on projects to harvest Twitter content relating to the 2016 Kaikōura earthquake and the 2017 New Zealand General election, and the ATL100 Facebook Archive project, which piloted collecting personal Facebook account archives relating to Aotearoa New Zealand and the Pacific from the general public.

scholarly journals The Impact of Earthquakes on Apartment Owners and Renters in Te Whanganui-a-Tara (Wellington) Aotearoa New Zealand

2021 ◽  
Vol 11 (15) ◽  
pp. 6818
Author(s):  
Denise Blake ◽  
Julia S. Becker ◽  
Darrin Hodgetts ◽  
Kenneth J. Elwood
Keyword(s):  
New Zealand ◽  
Disaster Management ◽  
Management Practices ◽  
Structural Safety ◽  
Central Concern ◽  
Aotearoa New Zealand ◽  
Evacuation Plans ◽  
Kaikoura Earthquake ◽  
The Impact

Apartment dwelling is on the increase in many cities in Aotearoa New Zealand, including those in earthquake-prone regions. Hence it is important that people working in disaster management and housing improve their understanding on how the living situations of apartment dwellers influence their disaster management practices. This knowledge is crucial for efforts to promote safety and preparedness. This paper explores what enables and constrains apartment dwellers in their ability to prepare for an earthquake. Eighteen people were interviewed who resided in Te Whanganui-a-Tara (Wellington) two years after the 2016 7.8 magnitude (Mw) Kaikōura earthquake. Of central concern was people’s ability to prepare for disasters and access knowledge about building and structural safety and how this knowledge mattered to what apartment dwellers were able to prepare for. We found that the agency to prepare was dependent on whether people owned or rented their dwellings. We report on participant accounts of dealing with body corporations, landlords, emergency kits, other emergency items, and evacuation plans.

Forecasting for a Fractured Land: A Case Study of the Communication and Use of Aftershock Forecasts from the 2016 Mw 7.8 Kaikōura Earthquake in Aotearoa New Zealand

2020 ◽  
Vol 91 (6) ◽  
pp. 3343-3357
Author(s):  
Julia S. Becker ◽  
Sally H. Potter ◽  
Sara K. McBride ◽  
Emma E. H. Doyle ◽  
Matthew C. Gerstenberger ◽  
...  
Keyword(s):  
Decision Making ◽  
New Zealand ◽  
Land Use Planning ◽  
Earthquake Hazard ◽  
The Public ◽  
Aotearoa New Zealand ◽  
Future Earthquake ◽  
Hazard And Risk ◽  
Additional Support ◽  
Kaikoura Earthquake

Abstract Operational earthquake forecasts (OEFs) are represented as time-dependent probabilities of future earthquake hazard and risk. These probabilities can be presented in a variety of formats, including tables, maps, and text-based scenarios. In countries such as Aotearoa New Zealand, the U.S., and Japan, OEFs have been released by scientific organizations to agencies and the public, with the intent of providing information about future earthquake hazard and risk, so that people can use this information to inform their decisions and activities. Despite questions being raised about the utility of OEF for decision-making, past earthquake events have shown that agencies and the public have indeed made use of such forecasts. Responses have included making decisions about safe access into buildings, cordoning, demolition safety, timing of infrastructure repair and rebuild, insurance, postearthquake building standards, postevent land-use planning, and public communication about aftershocks. To add to this body of knowledge, we undertook a survey to investigate how agencies and GNS Science staff used OEFs that were communicated following the Mw 7.8 2016 Kaikōura earthquake in Aotearoa New Zealand. We found that agencies utilized OEFs in many of the ways listed previously, and we document individual employee’s actions taken in their home-life context. Challenges remain, however, regarding the interpretation of probabilistic information and applying this to practical decision-making. We suggest that science agencies cannot expect nontechnical users to understand and utilize forecasts without additional support. This might include developing a diversity of audience-relevant OEF information for communication purposes, alongside advice on how such information could be utilized.

scholarly journals Drawing Canyon: Sfumato presences in drawing and landscape

2020 ◽  
Author(s):  
Simon Twose ◽  
Jules Moloney
Keyword(s):  
Virtual Reality ◽  
New Zealand ◽  
Scientific Data ◽  
Digital Models ◽  
Spatial Presence ◽  
Architectural Drawing ◽  
Aotearoa New Zealand ◽  
Drawing Technique ◽  
Kaikoura Earthquake ◽  
Venice Biennale

Drawings are fields of multiple, hovering presences. A rapidly sketched line in an architectural drawing, of say, a landscape, describes its form but can also record its presence, evoking vastness or a dynamic material potential. Yet the sketch is itself imbued with presence; smudges, blurs and erasures record the rapid actions of pencil over paper in the draughtsperson’s pursuit of an architectural idea. The blurs of graphite are evidence of hand and mind moving over paper and, at the same time, massive atmospheric potentials of rock, mud and sea. In this way, the sketched mark continually hovers between being a smudge of graphite and an immense landscape, the presences in both inflecting one another as if sfumato lights and darks in a painting. This paper reports on Canyon, an experimental drawing project that intensifies drawing’s capacity for sfumato presences by sketching a submarine landscape using a multi-modal technique. Canyon attempts to develop an ever-emergent, nascent architecture from presences in drawing and landscape through analogue sketches, VR and soundscapes. The first stage of Canyon was exhibited at the Palazzo Bembo in the XVI Venice Biennale, 2018. Canyon draws presences from the dynamic undersea landscape of Kaikōura Canyon, Aotearoa/New Zealand. A series of hand sketches, soundscapes and virtual reality (VR) distils an architectural sense of the bathymetry and vast body of water of the canyon, recently jolted by huge forces in the 2016 Kaikōura earthquake. This submarine landscape is known through instrumental descriptions: sonic scans, digital models and scientific data, yet its powerful and ominous spatial presence is less easy to record. The Canyon drawings project into this unseen, imagined space, drawing its ominous presence through smudged and irresolute sketches that are intensified in a VR environment and in a series of immersive soundscapes. This hybrid, multi-sensorial drawing technique attempts to make presences in drawing and in the Kaikōura Canyon share the same space, as an inhabitable, open sketch. This work proposes hybrid drawing as an open medium figured by presences in drawing and in landscape. It resonates with Jean Luc Nancy’s notion of drawing as the opening of form, indicating “the traced figure’s ‘essential incompleteness, a non-closure or non-totalizing of form’” (Nancy 2013: 1). We extend the openness of gestural, analogue sketching to the digital and sensorial, and argue that VR, and sound, can be sketch-like: they too are figured by “recalcitrant, ‘meaningless’ smears and blotches” (Elkins 1995: 860). We argue these hybrid, “non-semiotic” marks draw presences, from material, scale and sense in drawing and landscape: presences that hover in sfumato relation, pointing to a sketch-like, ever-emergent architecture.

scholarly journals Drawing Canyon: Sfumato presences in drawing and landscape

2019 ◽  
Author(s):  
Simon Twose ◽  
Jules Moloney
Keyword(s):  
Virtual Reality ◽  
New Zealand ◽  
Scientific Data ◽  
Digital Models ◽  
Spatial Presence ◽  
Architectural Drawing ◽  
Aotearoa New Zealand ◽  
Drawing Technique ◽  
Kaikoura Earthquake ◽  
Venice Biennale

Drawings are fields of multiple, hovering presences. A rapidly sketched line in an architectural drawing, of say, a landscape, describes its form but can also record its presence, evoking vastness or a dynamic material potential. Yet the sketch is itself imbued with presence; smudges, blurs and erasures record the rapid actions of pencil over paper in the draughtsperson’s pursuit of an architectural idea. The blurs of graphite are evidence of hand and mind moving over paper and, at the same time, massive atmospheric potentials of rock, mud and sea. In this way, the sketched mark continually hovers between being a smudge of graphite and an immense landscape, the presences in both inflecting one another as if sfumato lights and darks in a painting. This paper reports on Canyon, an experimental drawing project that intensifies drawing’s capacity for sfumato presences by sketching a submarine landscape using a multi-modal technique. Canyon attempts to develop an ever-emergent, nascent architecture from presences in drawing and landscape through analogue sketches, VR and soundscapes. The first stage of Canyon was exhibited at the Palazzo Bembo in the XVI Venice Biennale, 2018. Canyon draws presences from the dynamic undersea landscape of Kaikōura Canyon, Aotearoa/New Zealand. A series of hand sketches, soundscapes and virtual reality (VR) distils an architectural sense of the bathymetry and vast body of water of the canyon, recently jolted by huge forces in the 2016 Kaikōura earthquake. This submarine landscape is known through instrumental descriptions: sonic scans, digital models and scientific data, yet its powerful and ominous spatial presence is less easy to record. The Canyon drawings project into this unseen, imagined space, drawing its ominous presence through smudged and irresolute sketches that are intensified in a VR environment and in a series of immersive soundscapes. This hybrid, multi-sensorial drawing technique attempts to make presences in drawing and in the Kaikōura Canyon share the same space, as an inhabitable, open sketch. This work proposes hybrid drawing as an open medium figured by presences in drawing and in landscape. It resonates with Jean Luc Nancy’s notion of drawing as the opening of form, indicating “the traced figure’s ‘essential incompleteness, a non-closure or non-totalizing of form’” (Nancy 2013: 1). We extend the openness of gestural, analogue sketching to the digital and sensorial, and argue that VR, and sound, can be sketch-like: they too are figured by “recalcitrant, ‘meaningless’ smears and blotches” (Elkins 1995: 860). We argue these hybrid, “non-semiotic” marks draw presences, from material, scale and sense in drawing and landscape: presences that hover in sfumato relation, pointing to a sketch-like, ever-emergent architecture.

scholarly journals Drawing Canyon: Sfumato presences in drawing and landscape

2020 ◽  
Author(s):  
Simon Twose ◽  
Jules Moloney
Keyword(s):  
Virtual Reality ◽  
New Zealand ◽  
Scientific Data ◽  
Digital Models ◽  
Spatial Presence ◽  
Architectural Drawing ◽  
Aotearoa New Zealand ◽  
Drawing Technique ◽  
Kaikoura Earthquake ◽  
Venice Biennale

Drawings are fields of multiple, hovering presences. A rapidly sketched line in an architectural drawing, of say, a landscape, describes its form but can also record its presence, evoking vastness or a dynamic material potential. Yet the sketch is itself imbued with presence; smudges, blurs and erasures record the rapid actions of pencil over paper in the draughtsperson’s pursuit of an architectural idea. The blurs of graphite are evidence of hand and mind moving over paper and, at the same time, massive atmospheric potentials of rock, mud and sea. In this way, the sketched mark continually hovers between being a smudge of graphite and an immense landscape, the presences in both inflecting one another as if sfumato lights and darks in a painting. This paper reports on Canyon, an experimental drawing project that intensifies drawing’s capacity for sfumato presences by sketching a submarine landscape using a multi-modal technique. Canyon attempts to develop an ever-emergent, nascent architecture from presences in drawing and landscape through analogue sketches, VR and soundscapes. The first stage of Canyon was exhibited at the Palazzo Bembo in the XVI Venice Biennale, 2018. Canyon draws presences from the dynamic undersea landscape of Kaikōura Canyon, Aotearoa/New Zealand. A series of hand sketches, soundscapes and virtual reality (VR) distils an architectural sense of the bathymetry and vast body of water of the canyon, recently jolted by huge forces in the 2016 Kaikōura earthquake. This submarine landscape is known through instrumental descriptions: sonic scans, digital models and scientific data, yet its powerful and ominous spatial presence is less easy to record. The Canyon drawings project into this unseen, imagined space, drawing its ominous presence through smudged and irresolute sketches that are intensified in a VR environment and in a series of immersive soundscapes. This hybrid, multi-sensorial drawing technique attempts to make presences in drawing and in the Kaikōura Canyon share the same space, as an inhabitable, open sketch. This work proposes hybrid drawing as an open medium figured by presences in drawing and in landscape. It resonates with Jean Luc Nancy’s notion of drawing as the opening of form, indicating “the traced figure’s ‘essential incompleteness, a non-closure or non-totalizing of form’” (Nancy 2013: 1). We extend the openness of gestural, analogue sketching to the digital and sensorial, and argue that VR, and sound, can be sketch-like: they too are figured by “recalcitrant, ‘meaningless’ smears and blotches” (Elkins 1995: 860). We argue these hybrid, “non-semiotic” marks draw presences, from material, scale and sense in drawing and landscape: presences that hover in sfumato relation, pointing to a sketch-like, ever-emergent architecture.

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