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.
For some people, religion, spirituality and faith (RSF) serves an important function, helping them deal with difficult everyday life challenges. This qualitative ethnographic study examines how and in what ways a group of Cantabrians engaged with RSF in dealing with diverse forms of significant trauma – from moments of crisis through to more extended processes of recovery. The research is located within the context of post-earthquake Christchurch, and is based on fieldwork undertaken in 2012–2013. It explores the experiences of respondents representing traditional Christian and non-orthodox, non-Christian faith paths. The thesis draws on data from participant stories to emphasise the subjective experience of RSF and trauma. It argues that in times of crisis, some people draw on RSF to help them address difficult life challenges. The study demonstrates the breadth, diversity and significance of such resourcing, as well as the sometimes surprising, unanticipated forms that this engagement with RSF may take. Contrary to theories that emphasise the marginalisation of religion during times of intense distress, the thesis shows that in varying moments of crisis, people for whom RSF is important, may draw on diverse forms of RSF as a matter of priority to help them.
