Get your Suits On? Non-Conventional Applicants Sought for Legal Summer Clerkship

We want someone different… Want to get your Suits on?
This might be an opportunity for you.

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Every summer, Kernaghan & Associates appoints between one and three Law Clerks for a two month engagement during the December to January or January to February periods (usually about the time of summer holidays at most universities).

A summer clerkship is an opportunity to contribute to a highly motivated and active legal team across a variety of areas of criminal law practice. Our firm is a leading criminal law litigator and provides advice to clients throughout Australia. Summer clerkships are paid in accordance with the relevant federal award provisions.

We are looking for people from diverse backgrounds, interests and experience who have an ability and an enthusiasm to provide administrative and paralegal support to the work of our legal team. We are not looking for conventional or traditional law school types, we want someone who has a record of initiative, of passion and energy, of lateral thinking and non-conventional wisdom. That’s why our clerkships are open to anyone, including people who haven’t studied law or even attended university.

We want diversity in substance and in gender. We are open to all applications and what to hear from you.

For more information contact us on (02)4244-0339 during business hours.

OPERA AUSTRALIA – END THE DRAMA NOW – TAMAR IVERI MUST GO

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Drama is unfolding and engulfing Opera Australia today about the words of hatred and venom said (or not said) on Facebook by Tamar Iveri toward our gay and lesbian friends. The words over compared gay and lesbian people to faecal matter. For the full story see here and for the “explanation” see here.

As a supporter of the Performing Arts throughout our areas of practice, Kernaghan & Associates despairs at the act of cyber-bullying.

Our comment follows:

Opera Australia has a unique opportunity to show young performing artists who struggle with bullying and harassment because of their gifts and passions that no matter who you are, no one will stand for bullying, whether it be here, there or anywhere in the world. All of us, straight, GLBT or otherwise (I’m talking to you, horse from Carmen), we ALL stand together AGAINST bullies whether they can sing high or low, loud or soft, or carry a baton.

Opera is the greatest of all performing arts – the summation of what artistic civilisation has been able to achieve in the medium of performance art. Great arts require great sincerity, great truth and great achievement. Grandiose gesture isn’t in any of those must-have categories. Let’s see the Opera require more of it’s artists and support those artists within its ranks that do not fit the bill judged by some as less “normal”.

None of us should remain silent while some of us are being condemned for who or how they love. An “excuse” is a justification, not an apology. It is not an act of empathy nor an act of condemnation or rejection of wrongful sentiment. The devil is in the detail, just ask any surtitle-operator.

If an opera truly is a composition in which poetry, dance, and music are combined, then there is no room in it for invective and hatred – unless of course it is at the point of an ironic sword or an artistic condemnation.

Otello, is one of the most sublime compositions of operatic achievement. The jewel in the Verdian crown. When Otello enters singing, “Esultate!” let us all hope it will truly be a moment to exalt and rejoice. Opera Australia, who I have supported for all of my adult life, who I have cheered and argued over, in green rooms, the stalls, the D Reserve (back when I couldn’t afford anything better and back when they actually sold tickets to the top row of boxes), a place for my dear friends in the chorus and orchestra and the champions who work backstage – you mean to me that very word, “ESULTATE!”. You do not mean hatred – ever.

Never let our company become anything other than moment after moment of Esulatate!

Anything else, is unworthy of our company and the country that supports it.

Aaron Kernaghan
Principal Solicitor
Kernaghan & Associates Lawyers

For more from the internet see herehere and here and here and this from the singer’s own Facebook page.

Robot Rock

Like the prequel to a sci-fi horror trilogy, scientists are developing robots that aim to freak people out in public by invading their privacy. The ‘humanoid’ robot Nao is designed to use facial recognition software to dig up personal information on people from social networking sites, track their online profile and even more disturbingly tapping into their mobile phone and searching their recent tracking history to find out when and where that person has gone.

Just like a horror film there will be a catalyst, a line in the sand, and once that line is crossed there will be no return to life as we know it. A dark and sinister Robot Empire will emerge and the human race will be enslaved. Even if we are not overtaken and made subordinates of a metallic race of Robot overlords like in The Matrix there are still some pressing privacy issues surrounding this new technology.

Major web technology firms, such as Google, have been embracing robotics. Lawyers, researchers and privacy advocates are concerned that robots could act as physical extensions of these companies, giving them a huge amount of access into your life. For example, a housekeeping robot can gather details about your house and monitor your activities while it’s tidying up. It can then sell that information about your home and hobbies to companies that can target you with ads and products.

As Marcus Woo from the BBC points out, “In today’s interconnected age, there’s more available information about us than ever before. And the presence of robots ups the ante: if it turns out that we are more likely to feel comfortable with them because of their appearance, then this raises serious questions about how much access they should have to our lives. After all, behind those robotic eyes, someone else may be watching.”

Well maybe we shouldn’t worry and just embrace the fact that one day we may all be doing the “robot rock”.

For the full article read here http://www.bbc.com/future/story/20140605-the-greatest-threat-of-robots

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The Challenges of Good Arts Management

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One of the cardinal lessons taught in arts management classes is that, at the very least, the endowment of an arts institution must be equal to one year’s budget. After I published the first article of this series about the current state of the Metropolitan Opera, the company’s press office sent a document outlining management’s perspective as it entered contract negotiations with 15 of its unions.

In the Met Document (as I will call it), the company’s endowment and budget are revealed to explain why the Met management and board believe that cost reductions are essential.

In Fiscal Year 2012, the Met had expenses of $317 million and an approximate endowment of $236 million (it had been $336 million in 2007). For comparison, in FY 2012: Boston Symphony (endowment $380m/expenses $86m); San Francisco Symphony ($268m/$78m); Carnegie Hall ($249m/$67m); New York Philharmonic ($196m/$68m); San Francisco Opera ($154m/$70m). Of these, only the Met does not meet the minimum requirement for fiscal stability and health that comes when the endowment is at least equal to a year’s expenses. 

The Met Document noted:

“Contributions have increased considerably over the past decade from $68.6 million in FY04 to $157.9 million in FY13, but donors are not willing or able to continue to finance the growing gap between flat revenues and growing expenditure. The Board recognizes that the organization is over-reliant on a small number of major gifts from a group of individuals, with the top ten donors contributing almost 20% of the annual operating budget, and have mandated cuts in expenditure as a condition of their building-up of the endowment.”

An article in the Wall Street Journal evokes the disagreements between management and unions about the expense of productions and makes evident the degree to which each side views the other as being at fault. Management says labor costs must be contained while union representatives say wasteful or profligate expenditure should be curtailed.

For background information, the Met has issued a financial statement detailing its financial condition; for a different perspective, the Met Orchestra musicians outline their arguments on their website.

The Full and brilliant article can be found here: http://www.wqxr.org/#!/story/bottom-line-costs-metropolitan-opera/

Hold on to your moustaches…. I mean Mustang’s!

In the world of modern policing gadgets and technology rule the roost.
 
Spare a thought then for Australia’s various state highway patrolmen who could very soon be rolling around in state of the art Ford Mustang’s! Now of course it is not quite as cool as the Italian Polizia who have three Lamborghini’s (no joke) and the Police in Dubai who have a fleet of Lamborghini’s, Ferrari’s, Aston Martin’s and Mercedes, but still i’m sure the highway patrol are salivating at the thought of policing our roads in a Mustang.
 
The change is thought to take place in 2017 when all Ford’s and Holden’s will no longer have V8 engines and thus the need for a powerful car to chase those engaging in pursuits and to attend accident and crime scenes. So it is time to pull out those aviators, trim all but the upper lip and turn up the sound track to Bad Boys.