Eye patients in South Auckland face threats to their eyesight because of long waits for treatment. But patients in central Auckland do not. The Auckland DHB doesn't have a backlog, but Counties Manukau has 4000 people waiting to see a specialist. Why is there such a difference? Simon Dean is head of ophthalmology at Counties Manukau. He tells Susie Ferguson the size of their department is the main problem at Counties-Manukau DHB. It was due for an upgrade in 2013 but was sidelined because of the needs around the Christchurch earthquake.
A lawyer who is suing Southern Response on behalf of earthquake claimants says he was intimidated by private investigators for another government agency in 2013. Southern Response is in charge of settling the outstanding quake claims of former AMI customers in Christchurch, but is now under investigation by the public sector watchdog, the State Services Commission. The Commission is looking at whether standards of integrity and conduct for state servants have been breached in its hiring of security company, Thompson and Clark. Southern Response says it hired the firm in 2014 to assess the level of risk some customers posed to staff. Lawyer Grant Shand tells Guyon Espiner he's waiting to see the results of the inquiry.
Creativity that is driven by a need for physical or economic survival, which disasters are likely to inspire, raises the question of whether such creativity fits with conventional theories and perspectives of creativity. In this paper we use the opportunity afforded by the 2010-2013 Christchurch, New Zealand earthquakes to follow and assess the creative practices and responses of a number of groups and individuals. We use in-depth interviews to tease out motivations and read these against a range of theoretical propositions about creativity. In particular, we focus on the construct of “elite panic” and the degree to which this appeared to be evident in the Christchurch earthquakes context. Bureaucratic attempts to control or limit creativity were present but they did not produce a completely blanket dampening effect. Certain individuals and groups seemed to be pre-equipped to navigate or ignore potential blocks to creativity. We argue, using Geir Kaufmann’s novelty-creativity matrix and aspects of Teresa Amabile’s and Michael G. Pratt’s revised componential theory of creativity that a special form of disaster creativity does exist.
