Earthquakes pose a major threat to the people of Haiti, as tragically shown by the catastrophic 2010 Mw 7.0 earthquake and more recently by the 2021 Mw 7.2 earthquake. Both events occurred within the transpressional Enriquillo–Plantain Garden fault zone (EPGFZ), which runs through the southern peninsula of Haiti and is a major source of seismic hazard for the region. Satellite-based Interferometric Synthetic Aperture Radar (InSAR) data are used to illuminate the ground deformation patterns associated with the 2021 event. The analysis of Sentinel-1 and Advanced Land Observation Satellite (ALOS)-2 InSAR data shows (1) the broad coseismic deformation field; (2) detailed secondary fault structures as far as 12 km from the main Enriquillo–Plantain Garden fault (EPGF), which are active during and after the earthquake; and (3) postseismic shallow slip, which migrates along an ∼40 km unruptured section of the EPGF for approximately two weeks following the earthquake. The involvement of secondary faults in this rupture requires adjustments to the representation of hazard that assumes a simple segmented strike-slip EPGF. This work presents the first successful use of phase gradient techniques to map postseismic deformation in a vegetated region, which opens the door to future studies of a larger number of events in a wider variety of climates.

<p> This creative research is based on an extensive review of literature that explores both environmental and social concerns in the jewellery industry, relating to the metal mining sector. Issues addressed include the processes and methods of the extraction of metals through mining, to the metal finishing of jewellery manufacturing. Existing studies have revealed that there is a lack of clarity in defining sustainability in the context of a studio practice for Independent Jewellery Designers (Ceschin, and Gaziulusoy, 2016; Fettolini, 2018). This study will be presented through a review of literature that was integrated into a conceptual framework, followed by practice-based activities. </p> <p>I used my own craft education and experience as an example in this practice-based research. Positioning craft practice in a research context can facilitate the reflection and articulation of knowledge generated from within the research-practitioner’s artistic experience. Conducting primary research through making, enables knowledge to become explicit as a means of visual evidence to support the written text. </p> <p>In addition to the paper, a collection of brooches have been produced and will be exhibited as the creative component of this project.  </p>

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