title: Chromatic ghost

authors: Soo, Chin-En Keith

abstract: "Chromatic Ghost" delves into the convergence of artificial intelligence and the emotional narrative of cinema, exploring how palettes can AI-generated colour visually express the emotional depth of films. The project aims to assess the capabilities of AI in understanding and translating human emotions into visual representations, questioning how effectively machines, which are increasingly embedded in our "Chromatic Ghost" is a creative experiment designed to investigate how AI can interpret and visualise human emotion in the context of film. In an era where artificial intelligence is increasingly intertwined with our daily lives, this work examines how well these technologies can grasp and reflect the complexities of human emotions, which are often considered too nuanced or abstract for machines to comprehend. lives, can interpret the intricacies of our emotional experiences. By using AI to generate emotion- based colour palettes and applying them to film frames, "Chromatic Ghost" transforms iconic cinematic scenes into layered, ethereal images that evoke the emotional core of the films in a spectral, dreamlike manner. The resulting visual compositions—ghostly, fragmented, and nuanced—invite viewers to contemplate both films' emotional resonance and AI’s role as a mediator of this experience.

text: Chromatic ghost "Chromatic Ghost" delves into the convergence of artificial intelligence and the emotional narrative of cinema, exploring how palettes can AI-generated colour visually express the emotional depth of films. The project aims to assess the capabilities of AI in understanding and translating human emotions into visual representations, questioning how effectively machines, which are increasingly embedded in our "Chromatic Ghost" is a creative experiment designed to investigate how AI can interpret and visualise human emotion in the context of film. In an era where artificial intelligence is increasingly intertwined with our daily lives, this work examines how well these technologies can grasp and reflect the complexities of human emotions, which are often considered too nuanced or abstract for machines to comprehend. lives, can interpret the intricacies of our emotional experiences. By using AI to generate emotion- based colour palettes and applying them to film frames, "Chromatic Ghost" transforms iconic cinematic scenes into layered, ethereal images that evoke the emotional core of the films in a spectral, dreamlike manner. The resulting visual compositions—ghostly, fragmented, and nuanced—invite viewers to contemplate both films' emotional resonance and AI’s role as a mediator of this experience.

year: 2024

title: Community understanding and preparedness for tsunami risk in the eastern North Island, New Zealand

authors: Pishief, Katharine Sophie

subjects: tsunami

abstract: The Indian Ocean tsunami on 26 December 2004 made many New Zealanders more aware of the devastating affects that a tsunami can have on coastal communities, and highlighted the need for people living in the coastal zone to be prepared for natural hazard events. The east coast of New Zealand is at high risk from both local and distantly generated tsunami, and Poverty Bay and Hawke Bay have been identified among the most at risk areas from tsunamis in the country. Three surveys were conducted between January and November 2006 to assess community understanding of, and preparedness for tsunami risk in the eastern North Island, New Zealand. These surveys were a camping ground visitor survey; a tourism sector preparedness survey; and the 2006 National Coastal Survey.
Findings of all three surveys show that the general public does not appear to have sufficient knowledge of tsunami risk in their area. Also, there does not appear to be adequate information on tsunamis available to the public. Understanding of official tsunami warnings was high amongst residents surveyed in the 2006 National Coastal Survey. However, it was low amongst visitors surveyed in the camping grounds, with the majority of camping ground survey respondents indicating that they do not know what makes up the New Zealand public notification system. It is encouraging to find that overall the public are aware of the correct actions to take in the event of a tsunami warning being issued.
Staff in hotels/motels in the Napier area were not well prepared for managing natural hazard events, with the majority of respondents having no training for dealing with emergencies, and none of those who had received training had received training for tsunami hazards.
It is recommended that steps be taken to better educate and prepare the public and tourism managers in eastern North Island communities. This will require not only public education but a range of activities that engage, empower and motivate at-risk communities to respond effectively and appropriately to tsunami warnings.

text: Community understanding and preparedness for tsunami risk in the eastern North Island, New Zealand The Indian Ocean tsunami on 26 December 2004 made many New Zealanders more aware of the devastating affects that a tsunami can have on coastal communities, and highlighted the need for people living in the coastal zone to be prepared for natural hazard events. The east coast of New Zealand is at high risk from both local and distantly generated tsunami, and Poverty Bay and Hawke Bay have been identified among the most at risk areas from tsunamis in the country. Three surveys were conducted between January and November 2006 to assess community understanding of, and preparedness for tsunami risk in the eastern North Island, New Zealand. These surveys were a camping ground visitor survey; a tourism sector preparedness survey; and the 2006 National Coastal Survey.
Findings of all three surveys show that the general public does not appear to have sufficient knowledge of tsunami risk in their area. Also, there does not appear to be adequate information on tsunamis available to the public. Understanding of official tsunami warnings was high amongst residents surveyed in the 2006 National Coastal Survey. However, it was low amongst visitors surveyed in the camping grounds, with the majority of camping ground survey respondents indicating that they do not know what makes up the New Zealand public notification system. It is encouraging to find that overall the public are aware of the correct actions to take in the event of a tsunami warning being issued.
Staff in hotels/motels in the Napier area were not well prepared for managing natural hazard events, with the majority of respondents having no training for dealing with emergencies, and none of those who had received training had received training for tsunami hazards.
It is recommended that steps be taken to better educate and prepare the public and tourism managers in eastern North Island communities. This will require not only public education but a range of activities that engage, empower and motivate at-risk communities to respond effectively and appropriately to tsunami warnings.

year: 2007

title: Imagining our own approaches

authors: Smith, Linda Tuhiwai

abstract: I spent some formative years of my life either in the back of museums or their basements helping my father, a scholar of Māori Studies, and keeping myself out of trouble. In the late 1960s I had one small job in the library basement of the Peabody Museum in Salem, Massachusetts, typing new labels for the captains’ log books of ships that were sailing during the American Revolution. I read most of those journals that consisted of pages and pages of wind directions with the rare glimpse of an encounter with another ship or a list of supplies. Why were we there in Salem when we came from Aotearoa, New Zealand? We were there because Salem was the home base for ships that sailed into the Pacific and returned home with collections of materials from the various Pacific Islands countries they visited. My father was studying elaborately carved items from the Marquesa Islands that looked very much like Māori designs.

text: Imagining our own approaches I spent some formative years of my life either in the back of museums or their basements helping my father, a scholar of Māori Studies, and keeping myself out of trouble. In the late 1960s I had one small job in the library basement of the Peabody Museum in Salem, Massachusetts, typing new labels for the captains’ log books of ships that were sailing during the American Revolution. I read most of those journals that consisted of pages and pages of wind directions with the rare glimpse of an encounter with another ship or a list of supplies. Why were we there in Salem when we came from Aotearoa, New Zealand? We were there because Salem was the home base for ships that sailed into the Pacific and returned home with collections of materials from the various Pacific Islands countries they visited. My father was studying elaborately carved items from the Marquesa Islands that looked very much like Māori designs.

year: 2015