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Global Catholic Education and Integral Human Development: Setting a Social Science Research Agenda
Wed Apr 25, 2018
Rome, Italy
Location: Rome, Italy
As the role of faith-based—and especially Catholic—education expands globally, it is increasingly important to understand its impact on students' academic achievement and identity formation and, more broadly, on civic and religious participation and attitudes of tolerance. However, there has been no integrated research effort that aims to generate a historically informed and empirically robust narrative of the contributions of and challenges for Catholic education internationally.
Bringing together scholars and practitioners from around the world, this conference will explore the relationship between Catholic education and development outcomes, focusing on Latin America, South Asia, and East Africa.
The conference aims to:
- Map the landscape of Catholic primary and secondary schooling in the world today, including actors, scale, scope, demographics, trends, and finances.
- Identify gaps and areas of opportunity within the existing research.
- Build a common research agenda and foster the development of a field of international faith-based education.
Sponsored by the Research Cluster on International Education, a joint project of the Kellogg Institute and the Institute for Educational Initiatives, this conference is supported by the Pontifical Academy of Social Sciences and Congregation for Catholic Education.
Additional information can be found here.


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Nassau County Nurse Pleads Guilty to Receiving Child Pornography Over the Internet
JACKSONVILLE, FL—United States Attorney A. Lee Bentley, III announces today that Ronald Eugene Mabrey, Jr. (34, Callahan) has pleaded guilty to receiving child pornography over the Internet. He faces a mandatory minimum penalty of five years, up to 20 years, in federal prison. A sentencing hearing has not yet been set. Mabrey has been in custody since his arrest.
According to court documents, on July 28, 2015, FBI agents and other law enforcement officers executed a federal search warrant at Mabrey's residence. During an interview, Mabrey admitted that he had searched for, downloaded, and viewed "all types" of child pornography, and he stated that his addiction to child pornography had started about four years ago. A subsequent forensic examination of Mabrey's laptop and a thumb drive revealed more than 190 videos and at least 4,000 images depicting child pornography.
This case was investigated by the Federal Bureau of Investigation, the Nassau County Sheriff's Office, the Florida Department of Law Enforcement, and the Jacksonville Sheriff's Office. It is being prosecuted by Assistant United States Attorney D. Rodney Brown.
This is another case brought as part of Project Safe Childhood, a nationwide initiative launched in May 2006 by the Department of Justice to combat the growing epidemic of child sexual exploitation and abuse. Led by United States Attorneys' Offices and the Criminal Division's Child Exploitation and Obscenity Section, Project Safe Childhood marshals federal, state, and local resources to locate, apprehend, and prosecute individuals who sexually exploit children, and to identify and rescue victims. For more information about Project Safe Childhood, please visit www.justice.gov/psc.

subset: commoncrawl


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Review- In less than 12 months, I have sort of heard 3 Queensryche new releases. I heard the Geoff Tate solo record, and now the battling bands with their new efforts. If you fans loved that last solo record from Tate, you will be in heaven with this cd. Now, for all you fans of Queensryche like me that thought this band should have quit recording around 2003, will have more fuel for that fire. This band and this cd is doomed before you even get the cd in your player, because Geoff has really let his mouth run a lot. Geoff bragged how fast this record took to get written and recorded, that you just know that the reason he rushed was to beat his former band-mates and try to get the fans to bite first. That is one thing you can get from listening to this record is that it was a rushed effort, and that it felt halfhearted throughout. As a diehard fan of the old school band I think it was cheap of Geoff to re-release some of the classics and do these crappy lazy new versions. Bands in the past do these latest and greatest cds and not one of them really did anything special but damn their past recordings and now Geoff joins that crowd with this desperate attempt to get fans to buy into this band by doing these songs. Where is that metal, heavy and progressive cd that we been promised? In its place is this underwritten, soft and neutered band that sounds like they are trying to sound like a cohesive band and it comes across as almost a dead effort. There is little to no energy in the music and even less heart. The guitars sound so uninspired and flat, the drums sound lazy and the bass is almost invisible, but no need to worry Geoff's ego and vocals are all over this cd, and half of the time he sounds like he is falling asleep. The new version of Empire is the worst song I ever listened to all the way in my life. I will be honest, the other 3 new versions of the classics are just as bad, but Geoff sounds on Empire like he has a sinus infection and trying to remember the lyrics. I would never pay a dime to see this band live do this shit. I will give the other Ryche some credit at least they did not try to rip the listeners off, and tried to reinvent the sound and direction. With Tate, he is so dead-set to show them and us, this and that, that he forgets it is about putting out quality music. This cd is just horrible and almost unlistenable. There is not one positive thing to say about this cd.
0 out of 10


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So the rest of the weekend is going to be blog-free...we've got some reading to do! Last night, we finished selling Harry Potter books at about 12:20 a.m., but stayed open another hour for the stragglers. Some of us (poor Cristin) still had quite a drive to get home. So we're all a bit ragged today, but the sales must go on. In between working and sleeping, we've been reading. It's like a race. "How many pages so far?" is how we've been greeting each other today.
Saturday, July 21, 2007
Friday, July 20, 2007
It's Finally Here...Harry Potter and the Deathly Hallows
Tonight at midnight the final Harry Potter book goes on sale. We've been fielding questions all week about what we are planning, but mostly about whether we still have copies available.
Yes, we ordered plenty of books and are still accepting pre-orders.
The Inkwell will reopen Friday night at 10:30 PM after closing at our normal time of 9 PM. We need that hour and a half to prepare the store for the midnight sales rush. We will have extra staff on hand to keep the lines to a minimum. We are fast at processing sales, and you will have your precious copy of Harry Potter with very little wait. We will be serving free coffee to all those waiting in our line.
Come join the final book festivities on Main Street starting at 4 PM and continuing until midnight!
Posted by Michelle at 12:07 AM Links to this post
Labels: book news
Thursday, July 19, 2007
Harry Potter Embargo Broken! Review Appears in the New York Times
Booksellers all had to sign several documents by a deadline promising not to sell (or even open the boxes of) Harry Potter and the Deathly Hallows before July 21, 2007. So imagine the furor that has been sparked by an early review posted by Michiko Kakutani on the New York Times Website. As reported by Reuters, she says the book was bought in an undisclosed store in New York City on Wednesday, July 18th. J.K. Rowling is sorely disappointed.
Posted by Michelle at 11:26 AM Links to this post
Labels: book news
New books set on Cape Cod
The Maytrees
By Annie Dillard
HarperCollins, $24.95
In this beautiful, powerfully moving novel, Pulitzer Prize-winning author Dillard displays penetrating insight into the human condition. Evocative, engrossing, and profound, this is a remarkable story about the unknowable, unbreakable bonds of love and family. Toby Maytree first sees Lou Bigelow on her bicycle in postwar Provincetown, Massachusetts. Her laughter and loveliness catch his breath. Maytree is a Provincetown native, an educated poet of thirty. In spare, elegant prose, Dillard traces the Maytrees' decades of loving and longing. They live among the nonconformist artists and writers that the bare tip of Cape Cod attracts.
We gathered a rich assortment of articles about Annie Dillard previously on the Inkwell Blog.
By Elin Hilderbrand
Little Brown and Company, $24.99
Another perfect beach read from the bestselling author of The Love Season. Its summer on Nantucket, and as the season begins, three women arrive at the local airport, observed by Josh, a local boy home from college. They're all trying to escape their problems, when Josh enters their lives and becomes a confidant and, eventually, something more. What a perfect summer pleasure Elin Hilderbrand provides..." - Nancy Thayer, author of The Hot Flash Club
Soaring With FidelBy David Gessner
Beacon Press, $24.95
An irreverent, absorbing, and insightful tale of one man' s adventures following the great 7,000-mile osprey migration across two continents. One September, after writing about ospreys on Cape Cod for years, David Gessner impulsively decided to follow the birds on their annual migration. Each fall these graceful raptors, with wingspans of up to six feet, cruise over the eastern United States, then soar over Cuba and winter in South America, returning north with the spring. In 2004, Gessner went along for the ride, traveling illegally into the mountains of Cuba and deep into Venezuela as he competed with the crew of a BBC documentary to be the first to follow the full migration, trailing the birds by car, boat, foot, and plane. He called his favorite osprey Fidel.
Soaring with Fidel is about the exhilaration of migration, but it is also a deeper meditation on the nature of human happiness. In describing the thrill of travel, the antics of these swashbuckling birds, and the cast of characters he meets (and drinks with) along the way- including scientists, students, tour guides, and an online group of birders- Gessner gives us a profound lesson in the importance of following what you love.
"From the tidal marshes of Cape Cod to jungle lakes in Venezuela, David Gessner lets nothing- not language barriers, not empty pockets, not steely-eyed Cuban bureaucrats or American embargoes- stop him from following the migration of the osprey. Just reckless enough to be lucky, Gessner wins over everyone he meets. Soaring with Fidel has wings."
- Scott Weidensaul, author of Living on the Wind
Visit David Gessner's website for more about his books.
The Lavender Hour
By Anne D. LeClaire
Ballantine, $13.95
Downsized from her teaching job, Jessie longs for a sense of renewal and decides to spend a year on Cape Cod, seeking to be cleansed by rushing ocean waters and comforted by the lavender hues of the setting sun. While there she volunteers with a local hospice program, where she meets Luke, a once proud fisherman whose life and body have been ravaged by cancer. Jessie' s presence is a great help to Luke' s mother, who has moved in to take care of her son.
After initial misgivings Jessie and Luke forge a deep friendship, and the former teacher is surprised to find herself opening up about her life, the loss of her father when she was a girl, her often difficult relationship with her mother, and her own battle with illness. When Luke makes a critical request of his new friend, Jessie must look deep within herself for an answer, knowing that her actions will have far-reaching effects on Luke' s family and forever change the bonds within her own.
Anne has many insights about the writing process. Visit her website to read more.
Posted by Inkwell Bookstore at 12:40 AM Links to this post
Labels: book reviews, reading lists
Wednesday, July 18, 2007
Only the strong survive....
...or should it be, only the strong, serious reader may click on this link::: Bibliochaise!
Posted by Wendell at 11:14 PM Links to this post
Labels: Editorial
Carrie Fisher vs. Steve Martin
(an interview about writing, not acting)
Carrie Fisher and Steve Martin have a Mormon's couple of things in common. They're both well-known movie stars, both acclaimed writers of thinly veiled fiction, and both failed to respond to the fan letters I wrote to them as a child. Now, I understand Martin's reticence. Back in the late 80's he was probably getting truckloads of fan mail from boys eager to hear his thoughts on comedy writing. But, c'mon, Carrie -- how many other straight, 15 year old boys were praising you for Postcards From The Edge while purposefully neglecting to mention how hot you looked in the 'Slave Leia' outfit? Your (publicist's?) cold shoulder hurt me until I realized that it wasn't me personally that you were rejecting, but the outside world in general. I mean, the cocaine, the booze, the pills...it was the outside world in general, wasn't it?
I'm sorry. My therapist said that these confrontations would be healthy and helpful. So why am I shouting at you in all-caps while trying to burn your name into my arm using only the dim red laser from my cordless mouse?
Save me, Carrie Fisher. You're my only hope.
The following interview is reprinted without permission from The Los Angeles Times, July 25, 1999.
Carrie Fisher: I slept with Steve Martin once and once only, 20 some years ago. And I interviewed Steve Martin once and once only 20 some days ago. You do the math.
But I remember saying to him all that time ago that if he ever had occasion to be interviewed by the L.A. Times in future (I frequently said "in future" in those days), would he keep me in mind as the interviewer? He told me that he would, and as you see, he was as good as his word. All this is either true or not true. Like life.
But what is patently true is that Mr. Martin (yes, he makes journalists like myself call him Mr. Martin) has written another funny film, "Bowfinger." Directed by Frank Oz, produced by Brian Grazer, written by Mr. Martin, and starring Eddie Murphy, Heather Graham and himself, the Universal Pictures film opens Aug. 13. It's about fly by night filmmaker Bobby Bowfinger (Mr. Martin), who tries to make a movie with paranoid action star Kit Ramsey (Murphy), who doesn't even know he's in the film, with the help of a hapless crew (whose members include Graham and Christine Baranski) and clueless stand in Jiff (also Murphy).
Steve and I spoke of how we first met (the Improv more than 25 years ago); how I did an episode of the George Burns comedy show that he directed perhaps 15 years ago, how we both have the same lawyer and how we both had been in therapy, although we weren't unhappy people. Steve told me, "I'm not unhappy, I'm not unhappy at all. I mean, we all have a dark side. Normal dark. If you didn't, you wouldn't be alive."
Steve was born in Waco, Texas, and his family moved to California when he was 4. He has an older sister. His father sold real estate in Orange County, and his mother was a housewife. His sister went north to college, got married and raised two kids. Their 87 year old mother is still living in Orange County. When Steve's father realized Steve was going to be in show business, he wrote to actor Raymond Massey, whom he'd known when he was younger.
"Like Raymond Massey would be able to help me," Steve says. "It was sweet of him, you know?"
Steve started out writing for the "The Smothers Brothers Comedy Hour," for which he won an Emmy in 1968. He continued writing for television for Glen Campbell, Sonny & Cher and Pat Paulsen's shows. He made two comedy albums, "Let's Get Small" and "A Wild and Crazy Guy," which became hits in the '70s. Then, he says, "I was on 'Saturday Night Live.' "
Though he wrote the material for his act and for those various TV shows, he did not consider that to be the sort of writing he would come to do later on. Today, he is a produced playwright ("Picasso at the Lapin Agile"), occasional essayist (largely in the New Yorker) and author ("Pure Drivel" has spent time on many bestseller lists). It is his play, however, that he credits with changing the way he approaches writing.
Carrie Fisher: You have a career unlike anybody else. I can't think of too many actors who write scripts, or I don't think anyone writes plays or writes books, too.
Steve Martin: There are a few. [Chazz] Palminteri ["A Bronx Tale"]. Ben Affleck and
CF: Oh, right those guys. How did you decide to write your play?
SM: I had a place in New York for years, and so I'd go to the theater, and I remember that I saw a play and thought it was very funny. I thought that would be a real challenge for me. So I put two and two together and said, "What am I good at? I'm good at listening to the audience and letting the audience tell me what is funny, meaning I can edit."
So after I wrote my play, I realized that's half the battle being able to stand back, listen, cut and rewrite. Then I thought I could write. I had already written some screenplays and been onstage, so I thought that was a good combination for writing a play, and I had the idea. So I started writing it.
But at the same time I was frustrated with where I was in comedy. I thought I was getting old, you know? When I performed, it felt familiar, and that's a deadly feeling to have. And it didn't feel funny like it's supposed to feel. I can remember when I was doing stand up, I thought . . . "I feel funny. I'm not necessarily saying anything funny, but I feel funny." And I had that feeling in movies for a while too.
But there was something happening. "I'm going to change something," I thought. "Maybe I'll have a salon, you know, and we'll talk about comedy!" Stupid idea, but I was thinking those kinds of thoughts because something had to change. Looking back, I realized I was already doing the things that changed my life, like writing my play; that was the thing that was going to change my life.
CF: I think people know you best as the actor, unaware of your talent and fondness for writing. What is it about writing for you?
SM: With writing, you purge something out of yourself. You tell a story that you've been carrying around in your head, and you know the story.
CF: All writing is cathartic.
SM: Yeah, I'm sure.
CF: Don't you think? It's very cathartic for me when I can write about whatever's happened. I'm a warhorse; if I have a situation that's bad, I can handle it. But I can handle it best when I joke about it. That's my writing. When you take a story in hand and it becomes yours, no matter whether you're telling something for true or you're telling another sort of story you're the narrator. There's something that becomes very clean about your voice. Did you find that with writing this movie?
SM: Yeah, but as you know, books and screenplays are different. With books, you're writing what's the truth, unlike screenplays, where a lot of times you're writing what you think will work. When I wrote my play and my book, I thought, "That's the feeling I want to have when I write. Why can't I have that feeling when I write a scene?"
CF: Writing my book ["Postcards From the Edge"] changed my life completely. But you had more control to begin with; you had a comedy act.
SM: Yeah, I did have more control, but control wasn't the point. It was like what I was writing was different.
CF: And what you're proud of takes on more weight. Now you've written this hilarious movie, "Bowfinger." There's a joyful playfulness in it. It's such a funny idea that's executed really well.
SM: Well, I find that when you have an idea you have to stop yourself and think ahead and go, "Are there scenes? Are there scenes to be written that are going to be funny or is it just like that and there's nothing going to happen?"
CF: There's a big difference between when you hear about something and you say, "Well, that is a sketch. It's not a whole thing."
SM: Uh huh. I've had several people tell me that plotting is, "Oh, that's just work." They [write] the fun creative part, the dialogue on it, then they go to the plot, it's just work. They have to work at it.
CF: But I think the whole thing is called work.
SM: Yeah. But sometimes it's not work.
CF: And sometimes it really is, but every so often when it's a pleasure is why you do the work. How do you feel about the film now?
SM: Well, I'm proud of it, and it was a struggle. You know, it's show business. I've had this experience, like, three or four times in my life where there's such a high, and an hour later it would be so low. Your hopes and dreams ride on a movie, and I'm not just talking about box office. I'm talking about audience. One bad screening and you're just killed.
Early on, we had a very bad screening. The problem was they forgot to throw the Dolby switch, so you could only pick up, like, every third word. It was a nightmare, I wanted to kill myself because I knew it wasn't the film, it was the Dolby switch. Then a part of me is going, "I hate myself, why did I ever do this?"
Then we had the problem fixed, and it was, like, a miracle. An extreme response, a big change.
You know, I wanted a movie that would play well in Europe. Very physical comedy. And the biggest challenge in physical comedy, most importantly, is not to become too stupid, but for it to be clever, because otherwise you're just falling down. I was talking to Frank Oz about this. He said, "We can't just have the ladder whack somebody. We've got to have the ladder whack somebody because of X, Y and Z having been set up, and it's inevitable the ladder is whacking us."
CF: How did you get the idea?
SM: It's hard for me to remember. But I've had it for a long time I'd say over 15 years.
CF: Wow.
SM: Well, I had the story but not the ending. I was going to write another story and mesh the two together. The other story was about this big Hollywood producer who finds out he has two months to live.
CF: So there were two ideas?
SM: Yes, two ideas that I meshed together. The second idea was about this huge Hollywood producer who goes to his window and says to himself, "I've had a great life, a great career, and when I'm gone the other producers will go on, and they're my friends and they'll make movies," and then he pauses and thinks: Why should he be the only one to die? So he decides to throw a party and invite everyone in Hollywood and blow up his house.
CF: (Laughing.) Nice. I see.
SM: And so, these two stories are about these people who were making a movie and this other thing was going on and the ending of the movie was, you know, the party, because we're dying to get to the party scene in the film because every celebrity in Hollywood is supposed to be there. So we get in, we're shooting around the scene and, meanwhile, the bombs are underneath the house ticking away. And then we go outside to get a master shot of the house and then it blows up. All these bodies go flying all over the screen and everything. And the ending finishes at the Oscars, where there's, like, 18 people there. (Laughs.)
So everyone is dead, and you know, Kit Ramsey [the action star played by Murphy] wins the Oscar for his best performance ever. But I really didn't like that ending because I thought it was too much of a black comedy, and I wanted it to be more of a big, funny physical comedy. So then I realized that I had to cut out the one story of the party and make the initial story more simple. Otherwise, there were just too many things going on.
And I can do the other movie sometime, you know. Something was keeping me from writing when the two stories were together, and then I realized I had to eliminate the second story to make it work.
CF: And then how long did it take you to finish?
SM: Well, the original first draft, probably two months. But you know, I always write first drafts very sketchily. I'm an anxious writer. And I don't like to outline a story because I don't want to know where I'm going.
CF: Really? So you follow the character then.
SM: Follow the characters and also have a general idea, but the best ideas are the ones that come up while you're writing it.
CF: So then you finished the draft and what happened?
SM: Well, so I have the draft, and I'm all nervous about it and everything. I can't remember if I sent it to a friend or not I probably did. And then I called [producer] Brian Grazer. I told him I had this script I wrote, and I'm nervous about calling him because I don't want to put him in a spot because he's a friend. But I also felt lousy about offering it to someone else, and then it turns out he wanted it. So I gave it to him and he read the script, and said he really liked it and wanted to do it. And I said, "Well, there's a few ways to do this movie. Low budget, high budget or normal budget." They thought about it for a couple days and came back and said they wanted to do it high budget! (Laughs.)
CF: Meaning Eddie Murphy and everything.
SM: I guess so, that and Frank Oz directing. But remember, I didn't write the movie with Eddie Murphy in mind; it was Brian's idea to give the role to Eddie. He asked if I would be interested in Eddie Murphy, and I was, of course. I had to rewrite a whole character arc with Eddie in mind.
CF: So did you have a great time working with him?
SM: Yeah, I had as good of a time as you would with someone you know is better than you. So many times, Eddie would do something, and as a writer, I would be saying . . . , "Thank you, thank you." As the writer, I'm going, "Thanks for making that scene work."
CF: Besides playing Kit Ramsey, Murphy plays Jiff, a nerdy guy. Who came up with the idea to have him wear braces on his teeth?
SM: Eddie.
CF: What about editing, how involved did you get?
SM: Well, Frank is extremely open and generous, but I'm not in the editing room or anything. I attended screenings and would give notes. I am proud of it, I really am. No matter what, I know I've listened to the audience. I double over in laughter at certain moments in the film, and I watched the heads in the audience go up and down with laughter. It's just the greatest feeling in the world.
CF: Is this the best thing you've done?
SM: Um, well, I don't know about that, because I have affection for "Roxanne" and "L.A. Story."
CF: I know. Those are great.
SM: And "The Jerk" too, you know.
CF: And this is just
SM: This to me is the movie I was supposed to make.
CF: You know, in person, you're not a real extrovert.
SM: No. No. But I can be funny. People think I'm not, but I can be.
CF: I know you're funny. I mean, I communicate with you as though you are, and I don't do that with everybody. But you don't work hard at it. Danny Aykroyd also had that. That's why you guys do characters so well, both of you.
SM: I'm not really a character guy.
CF: He really is.
SM: Danny is brilliant.
CF:. But in all the time I've known you
SM: I don't do characters, is that what you're going to say? Or
CF: You don't do shtick, you know, like Robin [Williams] or even Albert [Brooks] does in his anxiety. I guess it's kind of an anxiety thing. How do you describe your psychology then? That's where I think a lot of comedy comes out of.
SM: Well, I just call it "walk speed."
CF: Who do you admire, then, of writers, novelists and stuff?
SM: Well, start with my business and I definitely admire Woody Allen.
CF: What prose do you like?
SM: Martin Amis. I love him. Have you ever read Martin Amis?
CF: I've read one. I've read it because through friends I had dinner with him and he was pumping me for information on lithium, which I don't know a lot about, but he's putting a character in a book that overdosed on lithium.
CF: Do you have panic attacks?
SM: Yeah, yeah . . .
CF: I've had two.
SM: I used to have them. It's horrible. And by the way, it started when I was 21. It was fear, the same reaction you get if you were faced with a lion, only there's no lion. It is something inside of you that you are afraid of. Then I started thinking, "Well, what is that?" Then I figured it out.
CF: What?
SM: Well, at the time I was 21, I was writing for a network television show and I really didn't know how to write.
CF: Do you ever? I mean, do you know you have more experience in doing? The best time I had writing was when I didn't know how to write. I didn't have a deadline, though.
SM: Yeah, but I was on network television. It's a whole different thing. It's like, if I blow this . . .
CF: That's your whole paycheck.
SM: It's your whole life. And then it started to subside.
CF: So are you trying to write more stuff or are you just going to
SM: Take a break. I'm pushing myself in that direction.
CF: Do you think you'll write another book?
SM: Oh yeah, I'm writing a novella now, and I'll definitely write another book. I've done funny books.
CF: Yeah, I know, I read the last one in rehab.
My daughter came in at this point with the intention of abducting me back into my life. It was then that Steve did these amazing card tricks. Billie was very impressed. A guy who'll write a funny movie well, more than one and then to have that same guy do card tricks for your 7 year old well, you gotta love a guy like that.
By the way, this interview will be the last in the series I did in my upcoming book, titled "Famous Men I Have Slept With So I Could Interview Them Later," due out in the fall for Simon & Schuster.
Posted by Inkwell Bookstore at 12:34 AM Links to this post
Labels: author profiles, book news, book reviews, writing
Tuesday, July 17, 2007
News Bits, In Brief: It's Yesterday Once More
Two quick follow-ups to yesterday's News Bits, In Brief.
First up, the controversy over Tintin in the Congo's racist caricatures has had one immediate result: sales of the book have skyrocketed. I guess that this means the movie's still a go.
Also, it's not just novels being written and released via gimmicky contests these days. This October, DC comics will launch ZudaComics.com. The site, according to ReadersRead.com, "will feature new and unique content, (and) visitors will have a strong say in which new comics are featured online by voting for their favorites. The winners of the comics competitions will receive commissions to create a year's worth of their web comics for the site, and will have their work published in print formats as well."
At least it's not a reality show.
Posted by Inkwell Bookstore at 10:11 AM Links to this post
Labels: book news
Harry Potter Experiment Deemed A Failure! Books Fail To Turn Kids Into Readers, Magicians Or Accent-Affecting Anglophiles.
J.K. Rowling's Harry Potter series has been, by all accounts, a failure. Billions of dollars that could have been spent on a rowing team for the Oprah school have been wasted, and for what? Not only did Rowling's books fail to turn bandwagonesque tots into Tolstoy readers, it also reaped nary a single child wizard, witch or broomstick fetishist from the lot of them. I remember when another fey, British lad first came across these waters, and what effect he had on the youth. Morissey's first tour of America had straight kids pretending to be gay, reading Keats and Yeats instead of Kirby and Lee, and dropping their 'r's like Galileo dropped the orange. And who among us can forget the first time witchcraft was explored en masse in the States? Our Salem neighbors to the north drowned, burned and lynched twenty alleged fans of the dark side in an effort to curb that craze. But what effect has the Potter series had on our current culture? The phrase 'bloody hell' has never been more popular among the pre-pubescent, nor has an interest in scarves. Oh, and who hasn't bitten into a robin's egg colored jellybean, only to taste vomit? But in the larger scheme of things, is this any more impressive than the Where's Waldo book boom of the 90's, the 60's hippie peace movement or the taking of thalidomide off of the market whenever the hell it was that they finally did that? Until kids can fly and owls are delivering our mail and the hordes of female Harry fans are burning their scarves and starting chick lit book clubs, the Harry Potter phenomenon remains -- societally, educationally and mystically -- an anti-climactic dud.
Posted by Inkwell Bookstore at 9:27 AM Links to this post
Labels: book news
Monday, July 16, 2007
News Bits, In Brief
Tintin in the Congo finally feels the heat over its racist...er..."colonial" imagery. It portrays Africans as primates, and they're calling it "colonial"?! I suppose that that's simply spin 101 when Hollywood is hoping to make the Tintin into the next Harry Potter and millions of dollars are potentially at stake.
The Library Journal.com briefly reviewed their visits to the Boston Athenaeum ("a library and cultural center for members and scholars") and the Boston Public Library (a library for the rest of us). The BPL actually gets better marks, but then the Athenaeum only let the reviewer explore the first floor/public area.
Mark my words, dear reader. When the class war finally arrives, I'm hosting torchlight tours of all five floors.
If novels are going to go the way of pop music and be digested primarily digitally, does that mean that writers will soon become like pop stars, whoring themselves out via gimmicky TV contests in an effort to get publisher and audience attention? Apparently so.
Posted by Inkwell Bookstore at 12:27 AM Links to this post
Labels: book news


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CROIX DES BOUQUETS, Haiti — Not long after 14-year-old Daphne Joseph escaped her collapsed house on the day of the earthquake, she boarded a crowded jitney with her uncle and crawled in traffic toward the capital, where her single mother sold beauty products in the Tête Boeuf marketplace. "Mama," she said she repeated to herself. "Mama, I'm coming."
Abandoning the slow-moving jitney, Daphne, petite and delicate, got separated from her uncle and jumped onto a motorcycle-for-hire. She arrived alone at a marketplace in ruins and ran, in her dusty purple sandals, toward a pile of debris laced with "broken people," she said.
Growing closer, she saw her mother, lifeless. She froze, she said, eventually watching as her mother's body was dumped in a wheelbarrow and her only parent vanished into the chaos.
"I wanted to kill myself," Daphne said in a whisper.
Haiti's children, 45 percent of the population, are among the most disoriented and vulnerable of the survivors of the earthquake. By the many tens of thousands, they have lost their parents, their homes, their schools and their bearings. They have sustained head injuries and undergone amputations. They have slept on the street, foraged for food and suffered nightmares.
Two weeks after the earthquake, with the smell of death still fouling the air, children can be seen in every devastated corner resiliently kicking soccer balls, flying handmade kites, singing pop songs and ferreting out textbooks from the rubble of their schools. But as Haitian and international groups begin tending to the neediest among them, many children are clearly traumatized and at risk.
"There are health concerns, malnutrition concerns, psychosocial issues and, of course, we are concerned that unaccompanied children will be exploited by unscrupulous people who may wish to traffic them for adoption, for the sex trade or for domestic servitude," said Kent Page, a spokesman for Unicef.Continue reading the main story
Many children, like Daphne, bore direct witness to horror or survived destruction that killed their relatives, their schoolmates and their teachers. But even those who did not are experiencing vertigo. When the ground shifted beneath them, the landscape of their universe changed forever, and not just at home: 90 percent of schools in the capital, Port-au-Prince, are damaged or destroyed, according to Unicef.
"The children of Haiti, unless they get help, they will have lost their childhoods, their innocence," Elisabeth Delatour Préval, Haiti's first lady, said Tuesday, pledging to get schools running as soon as possible, a daunting challenge.
Many children are struggling to make sense of what they are experiencing. Danielle Schledy, 13, who has been living with her family in the courtyard of a destroyed primary school in Port-au-Prince, said she kept telling her parents that the earthquake was "not the end of the world."
Then, in her soiled turquoise dress and chipped pink nail polish, she skipped over to where her mother, Margarita Dayitus, who had bloody and infected wounds covering her body, lay in misery on the ground.
"I am sad about my mom," Danielle said.
Poor, middle-class and affluent children are all destabilized, even those who get to spend nights indoors. Marie Alice Craft, a school psychologist, said her 11-year-old daughter had been sleeping with her — in a bed at a relative's intact house — and waking up with a start when her mother got up to use the bathroom.
"She plays, she smiles, she laughs but she doesn't want to be alone," Ms. Craft said, adding that "a lot of group therapy" would be needed to make the children of Haiti feel safe again.
Child-welfare organizations have focused their initial efforts on orphaned children and those who have been separated from their families. They started Tuesday to compile a registry, sending workers into the streets to collect information for a database, in which each child would be assigned a numbered file to help track their cases, said Victor Nyland of Unicef, a senior adviser for child protection and emergencies. Such a registry was used in the Indonesian province of Aceh after the 2004 tsunami to help reunite separated families.
Some children who have nobody willing to look after them will be taken to one of three orphanages in the capital where Unicef is establishing interim care centers — that process began Monday with 60 children — or to safe spaces being established by other organizations.
In this city, Daphne was one of 25 newly orphaned children in the care of a local organization called Frades, a collective that does everything from providing microloans to serving hot meals.
"I know we can't replace their parents," said Pierre Joseph, a psychologist there. "It's an intimate loss. But we will do our best to help these kids have a future. We will find a way to create an orphanage for them."
Early this week, the children, ages 4 to 14, slept huddled together for warmth under bed sheets slung over branches in a tent city on the paved grounds of a damaged school. Young adults took turns looking after them. During the day, the counselors brought them to a walled construction site strewn with rusty cans and broken glass — the only private space they could find — and tried to distract them with singing and clapping games.
Daphne smiled occasionally as she watched the younger children, but mostly she looked stunned. When she told her story, she spoke so softly that she was barely audible. She explained that after she had watched her mother's body being carted away, she wandered Port-au-Prince in a daze. A distant relative found her and put her in a taxi back to Croix des Bouquets, where she has nothing, she said.
"He told me to be tough," she said, tears rolling down her cheeks.
She and her mother had lived with her uncle, but her uncle was shattered by his sister's death — "They had to tie him up to calm him down," Daphne said — and her uncle's wife did not want her to stay with them. "She has always been mean to me," Daphne said. "When I would get water, she'd tell me to use a coconut shell and not to dirty one of her glasses."
Shortly after midday, the volunteers, who had been scraping together their own money to feed the children, gave them their first food of the day: sweet coffee and bread. Later, they fed them rice and beans. Then Mazen Haber, child protection officer with Save the Children, showed up with a large houselike tent and promised to find some mattresses, too.
Watching a dozen grown-ups struggle to erect the tent, Daphne said that adults had told her not to think about her mother. But she could still feel her presence, she said, "like a wind at my back."
She said she was happy to be with the other children — the sisters with the wilted bows in their hairs, the tiny boys with the terror-stricken eyes — but she said she felt sorry that most had lost both parents.
"Before the earthquake, I only had but Mama," she said.Continue reading the main story


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Meet a Westside Pioneer!
Gail Anne Bailey
What kind of career have you had?
I have worked in fine arts and photography all of my life. I started painting at age 5 when my mother gave me some watercolors.
Can you tell us about your marriage? I married Robert E. Bailey in 1954.
Did you have children? Steve and Sharon (Smith). Five grandchildren and two great-grandchildren.
Are your children still here? Yes, all are here and so are two of my brothers and a sister.
Can you tell us about your parents and grandparents? My great-grandparents, Roy and Molly (Borphy) Wagner, moved here in a covered wagon in 1898 with my grandmother Mary (2 years old) and her sister. Later, Mary met Mike Cahalan, who was here visiting and helping his sister with the water plant. They married and moved to Montana, where my mother Eva was born. Mary moved back to Colorado Springs when her husband died. William Haskew, my father, moved here with his parents because his father had tuberculosis. He worked at the TB sanitarium. He and Eva married in 1936.
What are your best memories of growing up on the Westside? Seeing the Ute Indians dance in the streets and in full dress at Mass in Sacred Heart Church.
What is gone from the Westside now that you wish had stayed? Rogers Bar – it had a lot of style. Real brass railings, antique mirrors and other antiques from Cripple Creek.
What has stayed that you wish had gone? Sno-White. It wasn't always on Colorado Avenue.
How about the way things have changed? The overgrowth of the city has taken away the peaceful way of life. Too many Wal-Marts, Walgreens and freeways.
Overall, is the Westside better or worse than when you were a kid here? Worse. I knew one Ute tribe and they said that they had to leave because they felt that things had changed too much. That the peaceful ways of the life they knew had been uprooted.
"Meet a Westside Pioneer" interviews people who were born, raised and still live on the Colorado Springs Westside. If you meet that criteria (or know someone who does), please give us a call at 471-6776.


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A road has been re-opened after a fatal crash this morning (Thursday December 10).
Emergency services were called to the A2037 Shoreham Road, between Henfield and Small Dole, at around 9.20am after reports two cars collided.
Police said a 22-year-old local man, died at the scene.
A 43-year-old woman, from Washington, along with a six-year-old boy, an 11-year-old girl and a 17-year-old boy were taken to the Royal Sussex County Hospital, in Brighton, with various injuries. None are believed to be life-threatening.
Police, firefighters and ambulance crews all attended the crash along with members of the Air Ambulance.
The road was closed in both directions between the Nep Town Road junction and the A281 Brighton Road junction. It has now been re-opened.
Police are appealing for anyone who saw what happened or who saw either vehicle being prior to the collision to contact them by emailing email@example.com or by phoning 101, quoting Operation Angling.
Related stories: BREAKING NEWS: Man dies after village crash
VIDEO: Officers investigate after man dies in crash
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The second prompt for January is 20 facts about me. This is pretty much up my alley, since I can write about my favorite subject. Me. Of course!
1. I have a male best friend. I know! I know! According to Harry Burns women and men can never be friends, but it's absolutely possible. Especially when neither of us has the physical attributes the other finds attractive. Don't get me wrong, he's a great guy, and he'll make some girl very happy, but it ain't me.
2. I have no tact. I try. Really, I do. It's hard to keep my mouth shut when something annoys, angers, aggravates, or astounds me.
3. I enjoy alliteration.
4. Boom! I also like a well placed onomatopoeia.
5. I love cooking. Just not when it's expected of me. I like to experiment with recipes, but my children are too picky, so I can't.
6. I'm a Sagittarius. Actually, I'm double Sagittarius with Gemini rising. I don't believe in the horoscope portion of the zodiac, like I don't read it everyday, but personality-wise, it's pretty spot on.
7. The oxford comma makes me happy, gleeful, and giddy.
8. I have an unhealthy addiction to social media. I've basically quit cold turkey, and it's killing me slowly. Facebook had all of my "real life" friends, so now I never know what anyone is up to. Instagram fueled the attention whore in me. I was a self-appointed "selfie queen". Twitter was my cup of tea, because most of my thoughts during the day are 140 characters or less. Unfortunately, I am a huge flirt. I'm also slightly inappropriate, and have boundary issues. This puts a dent in my personal relationships (i.e. my marriage).
9. I have a fairly decent memory. I can remember the most random details. Don't ask me to repeat your name 5 minutes after I meet you, though.
10. I am in my 3rd cancer free year.
11. I love to read, but I haven't found anything that has sparked my interest lately, so I return to the classics.
12. I'm not a big drinker. I used to be. Now, when I drink, I usually get sick, or can't catch a buzz. There is no in between. This makes me sad.
13. I was in drill team in high school. Sometimes I still do 8 counts in my head while listening to music.
14. I love all styles of music. Except rap. Unless it's old school gangsta rap. I'll listen to Public Enemy, NWA, and Tupac all day errday.
15. I am a makeup junkie. I live by the rule "They're not the same, they're similar".
16. Feminism confuses me. On one hand, yes, I think women and men should be treated fairly. On the other, we should understand that women and men will never be equal, because we are two very different sexes with different capabilities. The rest is a matter of respect.
17. I haven't worked full time in 11 years.
18. I love all things 50's kitsch. Clothing, jewelry, shoes, underpinnings, and furniture.
19. I am sarcastic by nature, and feel my greatest accomplishment in life is passing that on to my children.
20. I'm a klutz. I can trip over my own feet at a complete standstill on a windless day. Mystery bruises are a daily occurrence.


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One of Hastings biggest ever sports events, Let's Go to the Park, took place recently with over 2,500 people turning out for it.
Appeti Tennis were part of the huge event offering tennis alongside gymnastics, basketball, circus training , face painting, jewellery making and tree climbing and many more sports and activities.
It was a really great day and we were proud to be involved in getting so many kids up of the sofa and trying out tennis.
Click on the link below to see photos from the day.
<a href="https://flic.kr/s/aHskqP98v4"target="_blank">Click here to see photos from the party.


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In 2002, photographer Melanie Dixson joined forces with Wellington based commercial photographer Chris McCarthy to set up their photography studio in Wellington's CBD. Melanie and Chris have been working together ever since!
Chris loves to photograph people, buildings, machines, and food!
Chris holds a bachelors degree in visual arts and is a full member of the AIPA, the Advertising and Illustrative Photographers Association.
Melanie Dixson began photographing professionally in Wellington in 1998. Melanie holds a bachelors degree in applied visual arts and a diploma in commercial photography.
Melanie Dixson: Commercial photographer Wellington New Zealand
Chris: email@example.com
Melanie: firstname.lastname@example.com
+64 4 802 4444
All images on this website are the copyright property of Melanie Dixson & Chris McCarthy.
AIPA Standard Photographic Terms & Conditions Of Engagement apply to all of our work.


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Filippo Guerrini-Maraldi
+44 (0)20 7456 9394 Email
Our Classic Car clients rely upon us for flexible, comprehensive and easy-to-understand cover.
They would rather spend time under the bonnet or at a Concourse event than studying an insurance contract.
We take the administrative workload away from our clients so that they have more time to enjoy their most cherished possessions.
Furthermore, we understand our clients entrust us with highly sensitive information, so appreciate just how important it is for us to operate with complete and utter discretion.
One size does not fit all. Each of our clients' policies is fully bespoke, precisely tailored to meet the demands and needs of their specific business. The only thing standard about our policies is that they are all unique.
We offer comprehensive protection for Classic Car Collections, which can typically include:
- Storage Risks
- Road Risks - cover for all risks of physical loss or damage whilst the insured vehicle is being driven
- under its own power
- Transit Risks - cover for all risks of physical loss or physical damage when specified by inclusion in the Schedule whilst the insured vehicle(s) is/are in the course of transit by road, rail, air or sea.
- Acquisitions - our policies automatically provide cover for up to an additional 10% of the insured collection's total value to ensure that when the policyholder purchases a new item it's automatically covered
Key Contacts
Filippo Guerrini-Maraldi


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Generations of Riesenhubers had flour on their hands – baking fresh bread since 1895. In recent times, a lot of traditional bakeries like Riesenhuber can't stand a chance against big supermarket chains. In the town of Neufurth however, things are quite different. People there seem to love their high quality bread and so Riesenhubers bakery is expanding, opening a new shop with a little café and even doing some catering. Their old branding was a bit outdated, coming from way back when in the seventies, so they wanted something a bit more fun and modern. In our design, we combined quirky illustrations with fun slogans using the local dialect to approach customers on a personal level and make them feel right at home. This design is not in use.
Design Lili Weissensteiner, Katharina Erhardt Illustrations, Photography Lili Weissensteiner


text: Landscaping Peterborough's home, cottage, and business landscape designers. Trusted by our community for over 20 years! Johnston's Greenhouse has built a strong reputation for quality landscaping across Peterborough & the Kawarthas of which we are very are proud. We provide professional landscaping services including custom gardens, natural stone creations, retaining walls, decks, fences, and ponds. For the greatest effect and a lasting impression, landscaping should be designed by professional landscapers. We have been graciously voted as Peterborough's favourite landscape company numerous times over the years, an honour we do not take lightly, and we continue our commitment to providing the best possible service and landscapes. As a full service landscaping and garden centre, our customers experience an enjoyable journey as their project comes to life. Our wide selection of landscaping materials and gardening supplies ensure your project will be completed exactly to your preferences. Contact us today to discuss your landscaping and property maintenance needs.


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Why is this important?
After a long campaign by the employers and the Coalition, the Fair Work Commission cut penalty rates for people working in retail, fast food, hospitality and pharmacies. At a time when we are experiencing record low wages growth, more people than ever depend on penalty rates to pay the bills.
Penalty rates aren't a bonus, they're a core part of our rights at work. Weekend and public holiday penalty rates compensate people working unsociable hours to keep our community running while the rest of us spend time with our loved ones.
At the end of 2017, we have a chance to reverse this decision and protect penalty rates in law.


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You are currently browsing the category archive for the 'Slovakian Artist' category.
Cryptic takes place from Friday 24th to Monday 27th of November. A discussion around the subjects of creativity, intuition and process in art and science, organised by Ben Murray and CLOT Magazine, will take place on Sunday 26th November at 2pm. The discussion panel is conducted by Ben Murray with guests Adam Peacock, Professor Arthur I Miller, Dr Max Reuter, Natsai Audrey Chieza.
Tere Chad ; Juan Covelli ; Helen Farley ; Silvia Krupinska ; Meri Lahti ; Julie Light ; Mark Andrew Lowman ; Jill Mueller ; Yun Peng ; Lisa Pettibone ; Marta Pinilla ; Dave John Rosewell ; Rania Schoretsaniti ; Hannah Scott ; Virginie Serneels ; Olga Suchanova ; Neus Torres Tamarit ;Michelle Von Mandel ; Bekk Wells
For the first time, I use my garden as an art studio and create two ink drip paintings for Cryptic 2017 exhibition. Cryptic is a celebration of a process in art and how art and science can work together on many levels from an emotional to technical. Thank you to artist and curator Neus Torres Tamarit for inviting me to take part in this exhibition! Thank you to Sparkle, the cat featured in the images, for helping me with making the paintings. You can spot a couple of paw prints on the Reversed Waterfall I painting.
It's been fun this weekend. I was transported back to our MA Art and Science Degree Show at CSM, as I was editing a video to be part of my application for International Student Innovation Award. Wish me luck. Hopefully, this 4 min video sketch will give an insight of what the Studio Hide installation was like at CSM. Until it is installed somewhere else 🙂
90 years ago, a fossilized cast of a skull (endocranium) was found in Ganovce, Slovakia. The most important Slovakian treasure of similar kind, dating back 120 thousand years. I'm from Poprad near Ganovce and I've always been interested in this story in connection to the local mineral springs. The story describes a Neanderthal female getting dizzy breathing poisonous gasses from the Hradok Spring and dying.
Two of my artworks in One Country Three Worlds exhibition at Embassy of the Slovak Republic in London (20 Apr-27 May) celebrate the fossil and the place. The article link offers some further reading in the Slovak language.
The image below is the place where the Neanderthal fossil was found by stonemason Koloman Koki – Ganovce near Poprad.
Neanderthal Memorial 2014 by Silvia Krupinska (Digital print 1/1)
Dried flowers in this piece were collected at Hradok in Ganovce. The outline is representing the size and the shape of the fossil. Thanks to Podtatranské múzeum v Poprade who generously helped me in the research for this project.
DATES: Wed 20th April – Fri 27th May 2016
LOCATION: Embassy of Slovakia, 25 Kensington Palace Gardens, London W8 4QY
OPENING TIMES: Monday–Friday 13:00–15:00| 25–27 May extended 9:00–15:00, 20 May closed due to an event taking place.
A year ago Mira Varg and I created a sculpture for Embassy of the Slovak Republic in London. This post from earlier describes it. On Monday 11 May a very interesting invitation arrived from the same Embassy. Artists Mira Varg, Mandy Hreus and I, all taking MA Art and Science and Slovakian, were invited to exhibit there, with a little over a week till the opening! How could we refuse such a challenge? Those had been amongst the most exciting days this year for me. The planning, the install of the show has given us a pretty good boost and practice for approaching Unfolding Realities degree show in May.
To view One Country Three Worlds images on Facebook, follow this link.
One Country Three Worlds (20 April–27 May 2016) is an exhibition by three Slovak artists living and creating in the UK. Hreus, Krupinska and Varg met while studying for their MA in Art & Science at Central Saint Martins, University of the Arts London and show their work at the Embassy of the Slovak Republic for the first time, while simultaneously preparing for their degree show in May. One Country Three Worlds is a celebration of three different interpretations of the world by three creative minds originating from the same country – Slovakia.
While embracing their differences, the three artists have something in common. They are intrigued by the individual and collective perception and experience of our surroundings. Varg is reflecting on variations of realities and how we humanly observe them, Krupinska is focusing on the texture of landscape and hidden places, and Hreus is investigating the visible and invisible electromagnetic spectrum in relation to consciousness and pure expansive awareness. These interpretations unfold in a palette of media, ranging from photography, print to sculpture and installation."
DATES: Wed 20th April – Fri 27th May 2016
LOCATION: Embassy of Slovakia, 25 Kensington Palace Gardens, London W8 4QY
OPENING TIMES: Monday–Friday 13:00–15:00| 25–27 May extended 9:00–15:00, 20 May closed due to an event taking place.
Over past months, a lot of exciting has happened. I've dived into Walthamstow Wetlands research and met some fantastic people in and outside of my MA Art and Science at CSM. One of which is my valued collaborator Dr Johanne Orchard-Webb, Research Fellow, Lee Valley Team of Hydrocitizenship – arts and humanities project funded by AHRC. It has been a true pleasure to exchange ideas and experiences with Jo. She has written a fantastic post about the ways how our collaboration has developed and what it has entailed so far.
Dr Jo Orchard-Webb wrote:
"While we have used different approaches to exploring ideas around what we call 'hydrocitizenship', there is a good deal of common ground in our thematic findings, and this ongoing process of research collaboration has for me highlighted the importance of multi-disciplinary teams working together to explore and understand hydro-social relations."
To read the full post and find out more, please click on the following link.
Many thanks
'Fisherman's Flies' by Silvia Krupinska. Image taken at Walthamstow Wetlands, on one of the orientation walks organised by London Wildlife Trust.
It's been now six months since I've discovered Walthamstow Wetlands. The place has become my research and relaxation hub. I normally announce most of my news on Twitter (@silviakrupinska), but it's about time I touched down here, on my blog. The truth is, apart from my MA Art and Science dissertation (pictured below) which I handed in early February, I haven't done much other writing lately. On the other hand, I've been focusing on my sketchbook and thinking about my degree show concept.
February and March have been very dynamic, indeed. We've done extremely successful degree show fundraising art and science themed workshops.
Another bit of big news is that Government Office for Science invited us, CSM MA Art and Science, to collaborate with them on a report about waste. Five of us gave a series of 5 min presentations about our work and what we get to do on our MA, at GO-Science offices in London. My contribution was a presentation from my journies in Walthamstow Wetlands, as a taster really, there is so much to tell. The slideshow below is a selection of images from that presentation. It's rather early days for this collaboration. I'll bring more details in another post as it develops. One thing assured, it is very exciting!
Meanwhile, there is another event coming up this Friday, 18 March 2016 at Vestry House Museum in Walthamstow. Organised by Love the Lea, Thames 21 campaign to save the rivers of the Lea catchment, who invited me to participate.
I'll bring a large map drawing of Walthamstow Wetlands to the event, and with it, I'll create an installation to lead people on my journeys. I'll have collected specimen samples, lots of printed images for visitors to browse, and I can give you tips on what are the most interesting corners to explore in the wetlands, the way I see it. If the weather permits, I'm also going to install my thorny stick ladder in the garden.
It would be great to see you there. Come for a chat and I'll tell you the ladder's story.
Until then, take care. S.
When I saw a public call for stallholders at #TransActing: A Market of Values by Critical Practice, I thought it looked like a very unusual event. It wasn't an art fair, nor an exhibition, it wasn't a normal market either. A new concept of re-evaluating, transacting, exchanging, and giving sounded like something I'd love to engage with.
You can read about the thrill of being chosen to participate at TransActing in my previous blog here.
I'd like to say a big thank you to Joey O'Gorman, Research Affiliate, MA Art and Science at CSM, UAL. Joey introduced me to a social scientist, geographer Richard Bater with whom I collaborated during the #TransActing: A Market of Values event. Richard's work focuses on (as he described it) "research and the intersection of scientific (watery) knowledge and artistic interventions, so he very much approaches water less from a natural scientific perspective than from a shape-shifting transdisciplinarian one (undergirded by anthropology)". Compared to Richard's, my interest lies in rivers and water more from an angle of sculpting, art, and physical geography. I find movements of sediments, fluvial forms and processes inspiring and fascinating. I look at them as a metaphor to artist sculpting, building objects. (Question of conscious sculpting and process comes up at this point).
Our stall named The Rivers Project was painted white and The Flowing Roots sculpture grew right through it. The aim for this one-day collaboration between Richard and I was to create discussions about rivers, water, and ecology. We traded water for words into our Water Word Harvest. We asked two questions. What does water mean to you? Do you have your own nature, a place where you go to relax outdoors? Thank you to all people who engaged with our stall! Thank you for the debates and chats. They were indeed very inspiring, interesting, and useful.
What's next for The Rivers Projects? Richard and I will work together again and I'm beginning to write a dissertation, which will be drip-fed by the Water Word Harvest, critical thinking, evaluation, and partly by amazing River Thames cartoons by John Leech (1817–1864), who was an English caricaturist and illustrator. Check out this amazing piece on Wikipedia.
I have one regret looking back at the event. 60+ amazing stallholders had lots to offer and engage with. We were in our water-bubble all day and didn't have enough time to speak to all the others. Just look at the variety of projects on the day here.
TransActing happened on Saturday July 11, 2015, 12 – 5 pm, at Rootstein Hopkins Parade Ground, located between Tate Britain and Chelsea College of Arts. Thank you to Critical Practice, who organized it! Check out this photo to see the stalls on the day from high above.
I'm pleased to add another newspaper article to my press. Pri šálke čaju so Silviou Krupinskou is written in the Slovak language, sorry to those that don't speak it. The Full text can be found on this link. Here is an excerpt:
" Silvia Krupinská je rodáčka z Popradu, ktorej pomaturitný jazykový pobyt v Londýne trvá dodnes. Žije a tvorí tam už takmer dvadsať rokov. Táto umelecká výtvarníčka má za sebou viacero najmä zahraničných výstav a vlastný ateliér. Inšpiráciu hľadá v prírode a keď sa vo februári 2014 dozvedela o prírodnej katastrofe v rieke Poprad, veľmi sa jej to dotklo. "Išlo o nález kyanidu, 20-krát vyššie množstvo, ako je dovolené. Stalo sa to v industriálnej časti Popradu, v Matejovciach. Tisíce rýb zomreli a otrávený bol úsek asi siedmich kilometrov, kde sa ekosystém bude zotavovať viac ako 5 rokov. Je to smutné. Rieka Poprad pre mňa reprezentuje miesto, odkiaľ pochádzam, moje domácke korene," vysvetľuje emotívne. Preto začala pracovať na soche z ocele. Ide o veľmi trvácny silný materiál, rovnako ako jej city k slovenskej prírodnej krase. Chce týmto spôsobom vyjadriť rešpekt rieke Poprad. "Nikdy predtým som sa nad ňou poriadne nezamyslela. Škoda, že to tak často je. Niektoré veci si uvedomíme, až keď sa stane niečo negatívne…"
Napriek smutnej inšpirácii je socha s názvom Tečúce Korene (Flowing Roots) oslavou rieky a jej krásy. "Bola to veľmi zaujímavá robota. Prvýkrát som zvárala oceľ a naučila som sa pritom množstvo nových procesov. Keď som o tom rozprávala ľudom, čo nikdy na Slovensku neboli, a videli vtedy ešte len polotovar sochy, páčil sa im organický tvar diela. Teraz sa o tom, čo si myslia, dozviem ešte viac. Tečúca rieka bude aj s nahrávkou zvuku rieky vystavená na Interim Show v Londýne. Pri výskume a zhromažďovaní dát o rieke, keďže socha tvarovo presne zobrazuje tvar jej toku, mi pomohli v Slovenskom vodohospodárskom podniku, š.p., Správa povodia Dunajca a Popradu. Chcela by som sa im takto za to poďakovať." "
Autor: Petra Vargová | 25. 3. 2015
FLOWING ROOTS – Metal sculpture and sound piece
Steel might not be the first material to be associated with a river or its flow. I see it differently, as for me it became a medium for a sculpture inspired by a river I grew up nearby in Poprad, Slovakia – the 167.4 km long Poprad River. "She" is for me a kind of symbol representing my roots, my belonging and the natural beauty of the Spiš Region.
This river story starts when I discovered a disaster struck in February 2014. Twenty times more than allowed amount of cyanide was found in the Poprad River's flow, starting in an industrial area of Matejovce. The poison caused deep damage to the effected ecosystems. Thousands of fish died and the habitat on the seven-kilometre-long stretch will take years to recover. However, and there is a big pause here. I choose not to cry over spilled milk and run around in anger, but I choose in this sculptural installation to celebrate this river-flow, its ongoing splendour and the healing it's going through. I choose the steel, I choose the lasting strength and I choose to look ahead and show how important she is to me. All rivers deserve attention, admiration and appreciation; this is what my sculpture and the sound piece are about.
I'd like to thank to SLOVENSKÝ VODOHOSPODÁRSKY PODNIK, š. p., Správa povodia Dunajca a Popradu for their support and help with gathering research data and materials about The Poprad River. I hope our collaboration can continue to grow in more future projects!
You can see FLOW sculpture and sound piece and many other artworks by other artists in UAL CSM Interim Exhibition – You're the Reason Our Kids Are Ugly – works of MA Art and Science, MA Photography and MA Fine Art at The Laundry E8, 2-18 Warburton Road, E8 3FN London, UK.
27th-29th March, 11-5, PV 26th March 6-9pm
This is a recent progress gif of Poprad River sketch drawing. I quite like it being in a J shape, I now translate it into J for JOY! I am indeed having lots of joy making this sculpture. I'm looking forward to tackling the welding and bending of the metal. I hope to have this Job finished for our March Interim show. A3 segments of the new work in progress, 5 m long when the line in the drawing is stretched.
I'm going to work in the metal workshop from now on and I'll bring you more images of the work in progress, when I have them. I'm so pleased to have the access to the metal workshop. Yesterday I began to practice the welding techniques.
After eight years since my graduation from the BA Fine Art at Chelsea School of Art and Design in London, I'm returning to study at The University of the Arts London. I'm thrilled to be accepted to the MA Art and Science at Central Saint Martins. I've been feeling settled for many years with my BA, having the best times in my studio doing various projects, but somehow this year something has changed, I've become even more hungry to learn. It all happened so suddenly, and now I'm a student again, beginning a two year full time MA at the end of September 2014.
How do I feel? Well, I'm very excited and terrified at the same time. Do I know how to be at UNI after all this time? Saying that, I've a good idea about what I'm interested in and Nathan, our course leader reassured me, it's very different than being an undergraduate student. We all will be very keen to learn, serious about our art and science path, and we will have lots of opportunities to link and network. I'm very happy about my decision to do this. I can't wait to meet my 19 class mates now, and explore the art & science angle in my practice!
So my art studio will be moving to a different location. I had been interviewed perhaps for the last time in my long term art studio at Unit 3 this August. Lovely team from online TV skcz.tv wanted to know where my inspirations come from, and they asked me about my transition from Poprad, Slovakia to London in January 1999, when I became a Londoner. I'd like to say a big thank you to SKCZ.TV! The document is in Slovak only, if you don't speak it but you're curious about my studio, soon to be moved to CSM, you might like to watch?
Until next time!
I love growing flowers and anything that would grow on my balcony. But this post isn't about an ordinary plant, it's a "Plant Transplant" I want to show you. It began on my research trip in Slovakia, where we visited a famous site in Hradok – Ganovce near Poprad. The Stonemason Koloman Koki found an endocranium (skull segment filled with travertine) in 1926. The skull supposedly belonged to a Neanderthal female, whom I'm guessing, was drinking from a mineral spring and fell into the well or some kind of a mini cave below, poisoned by the gases, never recovered from the fall and died there. The minerals fossilized and preserved her body, which was never found but the only travertine segment. (Ref. Exhibition catalogue Ganovce – The Neanderthal Man and his Living Environment, Podtatranske Muzeum Poprad, 2009)
Above: The samples found around the Hradok – Ganovce site, then in SLovakia waiting to fly to the UK.
Above: Transplanted plants growing in London – June 2014.
During my visit of the site in spring 2014, I've taken some plant samples which are a part of the research and exploration of the Neanderthal topic, in collaboration with Podtatranske Muzeum Poprad. To my delight, I was able to bring the samples to the UK and grow them in a planter on my balcony. This Plant Transplant is work in progress and I'm looking forward to bringing you more about it later.
Until next time, have a great summer!
When I was a girl my younger brother Lubko was in nursery and I would often stay with my grand mother Alzbeta, while our parents were at work . There was a small garden under my granny's window. I had a lovely time playing in there, picking small flowers and petals. I'd hide them in my secret hiding place, and once the plants were dried and flattened, I'd create petal ladies. Some of the petal dolls were made from freshly picked flowers too. Sometimes I was lucky, and was allowed to pick large ones like tulip tops! This idea and nostalgia are driving my new research into new works. Without revealing any more, I've an image for you.
Hi there. Today are exactly four years from my first blog registration with WordPress. And wow, the time flies so much! I can hardly count hours spent on composing and typing or uploading images to this blog. I can tell you that it isn't always easy, and at times I feel it just takes too much effort. But you know what? I'm really happy I'd started it. I've learned so much since (that never stops), but I'm not afraid now to say what I feel, especially when talking about art, fellow artists or my own work.
I'm taking a little bit of time to reflect on my art and my brand, and I feel ever so excited to work even harder, with some tough decisions and obstacles to overtake, but bring it on! One thing I knew always, who I am, and who I wanna be – an artist. That no one can take from me. I've received so much support and guidance from you, my friends and family. Thank you for believing in me!
I'm thrilled, as for the first time I'm working and collaborating with a museum in Slovakia. In my home city, Poprad. That gives me a tremendous pleasure, as when I finish this, some of this work will be on a permanent display in the museum and that would be my first permanent art display. Fingers crossed. I'm also working towards a solo show in 2015, and a lovely project in The Czech Republic too with 'my rock' LivePozitive OZ. Thank you so much Kriss and Dodo! Much to say, but I don't wanna go on for too long. So, this is it. Thanks again to you all. Thanks for the support and the opportunities! I'm very grateful indeed.
Yours truly,
About the artist:
Silvia Krupinska is a Londoner, born in Slovakia by the Natural Park of The High Tatras. She graduated at Chelsea School of Art and Design in 2006, and since is working in her studio creating organic textural sculptures and paintings. "Organic is curved, organic is asymmetrical, organic is natural materials, organic is individualistic, organic is holistic." by Sidney K Robinson are the words which she holds on to. Her art practice is focused on the synergy of humans and nature with accents on the environment. She documents, records and passes on her observations to the public also in a form of her abalone drawings on paper containing mosaic like mother of pearl flakes put together in shapes of mountain lakes or coastal lines, significant geographical points. She makes works of art based on her direct experiences, either walking the beaches, exploring her holiday destinations or escaping to her childhood. Krupinska has exhibited during The Venice Biennale 2009 in an EU-Art-Network exhibition in Palazzo Albrizzi, and participated in a number of shows and art symposiums in The UK, Austria, Germany, Azerbaijan and Slovakia. Currently she is preparing for her third but biggest solo exhibition in 2015 in London, and giving lots of her attention to KAJ.
About the brand:
KAJ – Krupinska Abalone Jewellery is a fresh and poetic jewellery brand by a London based organic texture artist Silvia Krupinska. KAJ is natural looking jewellery almost entirely made from the recycled abalone sea shells. Abalone are characteristic by their lustrous iridescent mother of pearl on the inner side and irresistible and tactile white and pink texture on the outer side, which contain a row of breathing holes. KAJ's shells are resourced from sustainable sources within the Trade in Endangered Species licence. KAJ is deliberately kept as natural as possible, to underline its organic beauty. There is no messing around with KAJ in their production, but lots of love and care with some essential grinding, smoothing and polishing to bring it to you in the best form!
KAJ is enjoying the attention and is happy to be worn with anything, but one thing is for sure, it will make you stand out of the crowd! Have fun wearing it! You might spot KAJ internationally including in Canada, Slovakia, Czech Republic. After its first TV appearance in TV Poprad in October 2013, it continues to grow with lots of collaborations and exciting announcements coming soon.
I've just returned from a short but very productive stay in Slovakia. Apart from a lovely family occasion, my cousin's wedding, I've been busy working on a new collaboration with Poprad Museum, I've also met Kris from LivePozitive oz. and did a mini workshop in Creative Mapping and Cartography in Centrum Pod Lesom in The High Tatras.
I want to write one or two blog posts inspired by my stay in Poprad. But for now, an image of some work in progress. Once the series is finished, it will become a part in the permanent collection within the 'Neanderthal Room' in above mentioned, Poprad Museum. More to be revealed soon.
It's the time to look at my art practice and rewrite my artist statement. But firstly, very freely, I'd like to share free-handedly this flow of words and ideas with you, my followers. Don't worry. There won't be any massive changes. As I grow and learn I gradually realize that the textures I have been relying on and all I love doing, whether it's sculpting, drawing or even making the KAJ jewellery, all those actions are headed towards one direction. Fully or partially touching on the themes of nature and ecology, geography and history, broadly speaking. My love of textures and making is stronger than ever. I am aware of certain needs I have (not talking of the finance), something that the making alone isn't covering. I want to stay neutral and non-judgemental in the concepts I use in my art practice, but at the same time mapping out, bringing to attention, describing how I see events, things and our surroundings. Simply bringing these certain issues to visual forms and formats to my audience, presented and translated to my own artistic language – organic sculpture, painting and drawing. Nature and natural forms have always interested me. I want to bring you the issues I care about and I want to make you understand where I (ideologically and geographically) come from.
I need to come out of the 'cloud' and be more specific what I'm trying to say. I can do that using a strong example of what happened to me a couple of weeks ago. To be precise, nothing happened to me, but I read a news article about one river that is special to me. River Poprad, in the town (Poprad, Slovakia) where I was born. As if a member of my family died, I read the story with tears in my eyes. The River Poprad was let down. We as its carers and community, we let it down. It had been poisoned! Cyanide penetrated the river and killed all alive in it including some vegetation running along vast 5-7 km. It will take at least 5 years for the river to 'come back' to its normality, I've learnt from the internet. The poison appeared in the river in the industrial Matejovce near Poprad all the way to and a bit beyond Kezmarok. This incident/crime is one of the reasons why I'm consciously going to focus, zoom in and explore effects of mankind on the planet. I now make the themes of water (lakes, rivers, sea and its shores, ice) as my main source of inspiration.
I'm planning and developing an important solo exhibition in the Slovak Embassy in London for the next year (April 2015). I'm writing this unofficially, I need to secure the finance and pin down my sponsors and grants first. The theme of the show will be 'Water' – the essence of life and wellbeing. As these large projects come, I feel this need to pull my ideas, myself together. Hence maybe the focus in my art has been shifting from only making, enjoying and sharing my creations to also adding stronger conceptual message to them – with the ecological undertone.
I think these four paragraphs are enough. I hope I clarified my intentions and aims for the future, if not fully than at least partly and I sincerely believe that the coming years are going to be the best so far! On this optimistic note I end my blog post. I can't thank you enough for reading it and supporting me and my artistic practice by visiting my blog. I need lots more time to think, I need lots more advice to become a better artist I'm today. I would love any feedback, advice you might want to give me. If you feel you would like to support me and my upcoming exhibition in April 2015 (when I turn 35 oh gosh!) then please don't hesitate to contact me or even have a look at my online store, where I offer some small to medium artworks and KAJ jewellery, or make an appointment to visit my studio to see the works in person. I'd be ever so grateful.
Thank you


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SUBJECTS: End of car manufacturing at Ford; Australian manufacturing jobs; banking Royal Commission; South Australian storms; renewable energy; domestic violence
TIM WATTS, FEDERAL MEMBER FOR GELLIBRAND: Good morning and welcome to Socobell in Altona North in Melbourne's west. I'd like to thank Ross for having me along today, Tim Watts the member for Gellibrand, as well as Bill Shorten and Kim Carr from the opposition. It's a day of significant anxiety for workers in the auto supply industry in Australia. We see what's going on at Ford today with some fear and trepidation. Socobell is a company that has done right by my community, by its employees and by the Australian economy. It's invested in its employees in training them up, it's invested in the capital in the equipment and the robotics that you can see behind you so that they can be a competitor on the international stage. It's a company that's been growing, employing people in three sites across my electorate. It's a good news story in a lot of ways.
Unfortunately while Socobell has done the right thing by my community, the Australian Government hasn't done the right thing by it. The failure to support both the Australian auto manufacturing industry and the supply parts manufacturing industry has left this company with a lot of challenges ahead of it. What this company needs now is a Government that will do the right thing by Australian manufacturing and make the investments that we need so that both the Australian community and international purchasers can have confidence in the future of this industry and that's why I am really pleased that Bill Shorten and Kim Carr are here today to show the Australian Opposition, the Australian Labor Party's commitment to delivering this. On that note, I will hand over to Bill Shorten, thank you Bill.
BILL SHORTEN, LEADER OF THE OPPOSITION: Thanks. Good afternoon everybody and it's great to be at Socobell, an impressive family business employing hundreds of people, competing with the best in the world and winning.
Whilst it's good to be here, it is a sad day for Australia. I never imagined that the day would come that we would be a country who no longer makes motor vehicles. It is a sad day for literally hundreds and hundreds of automotive workers and indeed thousands of automotive workers and component workers who face losing their jobs over the next 12 months.
For nearly 100 years Australians have been making motor cars and now we see instead hundreds of Australians losing their jobs as the last Ford Falcon rolls off the assembly line at Broadmeadows. Now more than ever Australian manufacturers, Australian family businesses, manufacturing workers, blue collar workers, engineers and designers need a Government in Canberra who is not out of touch, who actually respects and rates the role of "Made in Australia", who believes we can be a manufacturing superpower and that we can compete with the world.
I know when you come to a company like Socobell, that just given a modest degree of encouragement, sensible government policy, encouraging "Made in Australia" that Australian companies can compete with the best in the world. What we don't need is a Liberal government who treats manufacturing and manufacturing jobs as a second-class industry in this country.
Now it is time for Mr Turnbull to stop fighting for the jobs of bank CEOs and start fighting for the jobs of Australian everyday workers. Labor will never give up on the manufacturing sector. We will campaign, even in opposition, to keep Mr Turnbull and his out-of-touch Government honest about standing up for manufacturing. It's a sad day today that so many of our fellow Australians are ceasing work and losing their jobs. I want Mr Turnbull to come out of his ivory tower, stop worrying about the welfare of the big four banks and the CEOs, and start focusing on the welfare of everyday Australians. Kim Carr, Tim and I are happy to take questions on this or other matters.
JOURNALIST: Will you be visiting one of the Ford factories today?
SHORTEN: No, that's not on my diary for today.
JOURNALIST: You don't feel it's necessary to offer your support to the workers in person?
SHORTEN: Well as a matter of fact, and you've been conscientious in covering my Victorian visits and I thank you for that, but in the last three weeks in between when Parliament last rose and when it resumes next Monday, I've visited 10 different factories and manufacturing sites around this country.
Labor is the only political party speaking up on behalf of car workers. We are very sad that tonight people will go home and explain to their families that they no longer have a job, but we will not give up keeping pressure on Malcolm Turnbull. The Liberals and some of their right-wing vested interests want to say that the only future that Australia has is by backing in big banks and big mining companies. Financial services and mining are an important part of our economy, but this economy, Australia's future, is more precarious when we just rely on two sectors of the economy to drive Australia. Manufacturing employs nearly a million people, despite the lack of attention from the Turnbull Government. Manufacturing in Australia can export its goods; we need a diverse economy. Blue collar jobs are worth just as much as bank CEO jobs. We will stick up and stand up for the manufacturing jobs and yes, we will keep on the Government's case to support the automotive component suppliers to make sure they are given support to transition and compete in new sectors. The skills of the workforce here, the robots, the injection moulding machinery, the design, the toolmaking, and the people who do all of those tasks, they are capable of making medical products, defence products, they are capable of being in a whole range of sectors, they just need a Government in Canberra who will work as hard for Australia's future as the people on the factory floor right around Australia.
JOURNALIST: Do you think a tribunal is a good way for banking victims to seek justice?
SHORTEN: Another day, another excuse from Malcolm Turnbull on why he won't hold a royal commission.
What a circus this week was.
You've got the CEOs of the big four banks, all in surprisingly similar lines, being spoon fed questions by their political party, the Liberal Party, where they say, "We're sorry." Every banking CEO has said they're sorry for the things that have gone on, even though no one has seemed to have lost their jobs in the banks for the conduct that's gone on.
What we've seen this week, irrevocably, for the case for a royal commission to be established beyond any reasonable doubt. If every leader of every major bank concedes there have been major problems in their bank, then what on earth can be the reason not to have a royal commission? To understand what's driving these problems.
Malcolm Turnbull has now proposed a sixth measure to avoid and stave off and fob off a royal commission: a tribunal. But the problem is, the review establishing this tribunal and what is does hasn't concluded but Malcolm Turnbull is so scared of the calls for a royal commission, he has prematurely rushed out and said, "We're going to have a tribunal." But furthermore, if you look at the questions this week, we saw the shameful spectacle of the elected representatives of the Australian people, the Liberal Party, checking with the banks, "excuse me Sir, is it alright if we have a tribunal, do you agree with a tribunal."
This tribunal I wouldn't trust the Liberals to set up properly. It's a tribunal designed by the banks, for the banks and implemented by their political representatives, the Turnbull Government.
JOURNALIST: Energy ministers from right across the country are meeting currently in Melbourne for a snap COAG meeting. What are you hoping will be achieved from this meeting?
SHORTEN: It appears it has taken a super-storm in South Australia for the Turnbull Government to discover the need to have energy security and a national energy market. We support measures which improve energy security and continuity of supply.
But what we are not going to do is stand by and watch Malcolm Turnbull do a 180 degree backflip on everything he has ever believed on the need to take action on climate change and watch him demonise renewable energy to keep the hard-right climate sceptics of his party happy. Energy security is a fundamental priority, I believe, for our government, and for the nation and for all levels of government. But it was a super-storm with cyclonic winds, 80,000 lightning strikes, which interfered with the power in South Australia and we saw Mr Turnbull I think rather scandalously in the middle of a natural disaster start playing politics.
We support proposals to investigate how we can belt and brace the continuity of supply and energy security in this country, but we are not going to allow Malcolm Turnbull to turn his back on taking real action on climate change. In 2010, Mr Turnbull was the fiercest advocate for action on renewable energy. As recently as the last part of last year or earlier this year, Malcolm Turnbull came out and congratulated the South Australian Government on what they were doing on energy. But now, when there has been a terrible storm, farmers, businesses, individuals inconvenienced, Malcolm Turnbull is responding to the storm event and trying to make political capital out of it, it's not good enough, Malcolm.
JOURNALIST: Mr Shorten, just on the energy sector, can you retain absolute confidence that the transition to renewable, while welcome, has not created weakness in the energy supply system that needs to be addressed?
SHORTEN: I think a nation who's not looking at diversifying its power supply beyond coal is a nation which is being short-term in its energy policy. There is $2.5 trillion of investment for renewable energy in the Asia-Pacific region in the next 10 and 15 years. I want Australia to attract some of that investment to Australia. I want Australia to attract that investment to us, to create our jobs. The fact of the matter is that renewable energy, along with existing sources of energy, give us a stronger energy mix than the status quo. We've got to take real action on climate change and what we've seen with the development of solar technology and other forms of renewable energy, is not only are we seen diversifying our energy supply and taking real action on climate change, but what we also see is also the creation of thousands of blue collar jobs, we see Australian inventors and designers and innovators leading the world in technology.
Renewable energy is a source of jobs, new sources of energy and tackling climate change, and whilst I think we need to have an intelligent conversation about energy security, I do not want to see renewable energy with the technology, the action on climate change and all those extra jobs and all that extra investment - I don't want Australia to miss the boat on renewable energy.
JOURNALIST: Linda Burney says the discussion of domestic violence in Aboriginal communities needs to become a national conversation. Do you agree with her?
SHORTEN: I think that domestic violence full stop needs to be at the top of our priorities. Certainly the levels of domestic violence in Indigenous Australia are completely unacceptable.
I believe, though, when it comes to tackling domestic violence that what we've got to do is understand that one of the drivers is the attitudes and discrimination which occurs against women, full stop. So yes, I agree with Linda. One more question, if there are no more.
JOURNALIST: Do you foresee a future Labor Government actively encouraging a return to automotive manufacturing in Australia?
SHORTEN: What I'm going to do is get Kim to address the question and I'll finish up the presser.
CARR: The Government today is saying today that there's companies such as this, has access to $155 million. That's simply not true, simply not true.
For a start, that money has been exhausted. Of that $155 million, $55 million has come from the companies and has come from the state governments. The Government has underinvested in building blue collar jobs in this country.
We know there are a number of proponents that want to invest in the automotive industry. We will have an ongoing automotive industry in this country. What it requires is for the Government to get behind initiatives to be able to build new skills and new capabilities in this country.
In the United Kingdom, the same question was asked after the devastation of Margaret Thatcher. And what occurred there, was that the parties right across the board came to recognise how important the automotive industry was to the British economy. And so today, all the parties agree to investment in the automotive industry and as a consequence, the British now have the largest automotive export industry in Europe. We know that in this country we can build upon what will remain of the automotive industry in this country.
Even after today's decision at Ford, Ford will remain the largest employer in the Australian automotive industry after 2018. I have every expectation we can grow the industry if we have the right government policies to attract new investment and new skills for the Australian automotive industry.
SHORTEN: I will just wrap up the press conference. I just want to thank Socobell again for hosting us here.
This is a truly sad day for Australians. No more car manufacturing and thousands of people are going to lose their job in coming months, including today. But the automotive manufacturing industry can supply into global supply chains, we can diversify our manufacturing sector. All that the manufacturing sector in Australia needs, if you want to ensure that "Made in Australia" is not just a label we see in the museums, all that manufacturing workers, employers, family businesses need is a government that will fight for blue collar and engineering jobs.
Malcolm Turnbull's got to stop fighting for the jobs of the bank CEOs and start fighting for the jobs of millions of everyday Aussies, and this country will be a lot better off than we currently are. Thank you.


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Our Awaken community comes together Sunday mornings 10:00-11:15 for a time of worship, community, food and teaching. From the moment you walk through the door on a Sunday morning you will be greeted by our warm and friendly greeting team who will direct you to where you need to go.
Have kids? You will be directed to our kids check-in station where our team will take you through our process for signing kids into Awaken Kids. We believe kids should have their own space to learn about the good news of Jesus. This means hearing stories of the Bible taught at their level, crafts, games, and the loving presence of our NYS background checked children's teachers and volunteers. All with the one goal of teaching your kids what it looks like to follow Jesus with their lives. Currently, we have programing for kids up through 5th grade.
What is the worship like? The songs that we sing on a Sunday morning are a blend of contemporary praise songs. You might recognize many of the songs on contemporary Christian radio stations.
What is the teaching like? Every sermon is rooted in the Scriptures and includes practical, down to earth ways that a particular text invites us to live and follow Jesus with our lives in today's world. Check out past sermons or videos to hear more about the topics we discuss.
Be sure to watch our welcome video for a brief visual walk through of what to expect on your first Sunday visiting us.


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Erbil Dream City project is situated between 100 Meter Street and 40
Meter Street about 2 km on the north-west of the city center and about 5
minutes by car to the Erbil International Airport.
This is a particularly peaceful area away from the hustle and bustle of
the city centre and it is ideal for a residential complex .
it occupies an area of approximately 1,000,000 square meters.
Erbil Dream City project Work began in early 2005 .
Erbil Dream City is considering the largest residential and tourism
projects in the Kurdistan region of Iraq that implemented &
Contracted by NGC .
The project consists of 1200 residential (villas) that offer the highest
architectural design set by the most important Iraqi architects.
In the residential area of the complex, there are 1200 separate housing
units of different sizes, from 250m2 to 900m2, whose prices vary
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sizes and different prices.
PLAZA 1 Business Center :
Plaza 1 is an integrated marketing center . This building consists of 3 floors and parking for 400 car.
It includes a series of Restaurants, Fast food shops and Coffee shops to enjoy your time outdoors like
Barista café – Dc Steakhouse – IL CAFFE DI ITALY LAVAZZA
In addition to Shopping markets, Bakeries, Supermarkets and hairdressing
salons which meet the different needs of the dream city residents .
PLAZA 2 Business Center :
It is an addition to marketing and service centers in dream city and
this building will be consisting of 5 floors each floor with a total
area of about 2300 square meters.
First and second floors will contain restaurants and coffee shops
available for rent to the investors. The third and fourth floors will
contain private offices available for rent.
At the entrance to PLAZA 2, there will be spaces and service shops
Rentals also can be suit for different shops terms, for example, hair
salons – Pharmacies – Supermarkets – Clothing and shopping shops .
PLAZA Business Center is one of the Dream City highest level and
outstanding design projects, an elegant offices which leave an enduring
impression with technology facilities provides seamless meeting to
ensure the highest levels of creativity, convince and efficiency for
every business need.
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