*Question*
Everybody knew Shandor Marley's mother liked to spend more time flirting with serial killers than she did taking care of things at home. So when her son went round with an air rifle popping his neighbours like they were allotment pigeons, they figured all the boy really needed was a bit of attention. Shandor finally flipped one day after finding out the inbred farm boys who made his life hell most days were in fact his half-brothers. He returned home to confront his mother only to find her pritt-sticking press cuttings of the Mad Killer into a brand new scrapbook and seemingly not in the least bit concerned by her son's unexpected discovery. Luckily Shandor's shooting spree didn't do too much damage beyond putting one of his so-called new father's eyes out, which could be considered doubly unfortunate given as the so-called new father in question owned the old byre Shandor and his mother called home. After Shandor had spent enough time shut away in borstal with the kind of kids who would've sent his mother all weak at the knees, he went straight home half-expecting the byre to be boarded up with a blu-tacked note saying she was lugging her stupid arse to Texas to spring her latest psycho boyfriend from his cell on death row. Shandor was thinking how much that excuse would sit well with her as he scuffed up the stone track to the byre with a black bin-bag of belongings and a sunburned arm across his forehead to shield himself from the glare. The place looked pretty much the same as he remembered it, only three years worse off. The strip of grass outside the back door was parched yellow and paint peeled around the blown-out windows. He had a hand on the door before he knew for sure it was still lived-in. He flapped thunderbugs off his forearm and creaked open the door. The kitchen stank of stale cigarettes and the dregs of spirit bottles. at the end of the story, shandor probably: A. cleaned up the house B. found his mother sleeping C. not enough information D. found his mother in the house
**Answer**
D

*Question*
Back at their house by the cemetery, Paul and Chloe found Bee in her room, what Paul referred to as her sanctum sanctorum - although no one else ever got the joke, and he refused to explain the comic book reference. As always, lighting was minimal (as opposed to Bee's workshop out behind the house, which was flooded with fluorescents). A bank of TV sets and computer monitors covered one whole wall, arranged on a precarious system of metal shelves that Bee had installed herself. A low, flat coffee table squatted below the glowing displays, supporting three keyboards, a bank of video editing tools and four different phone carriages. Bee sat in her accustomed place - in the midst of a pile of cushions on the floor, fiddling with a mouse in one hand and typing on one of the keyboards while she talked quietly into her headset. Paul and Chloe didn't bother to knock as they came in - Bee already knew they were there. Paul glanced at one of the screens mounted on the wall. Its display, divided into four quadrants, showed various images from inside the house, including the front door they'd just come through and the stairs they'd just climbed. The screen next to it - which Paul himself had salvaged from a bar on Duval that'd recently renovated into a finedining restaurant - showed images from four other cameras that covered the house's exterior. Nothing happened within fifty yards of their Crew's house that Bee didn't see, and if she had her way, that omniscience would soon extend to cover the entire island. "So, Bee, how goes Project Big Brother?" Paul asked. "I wish you wouldn't call it that," she replied. "Sorry, but I have to call it something." "You could call it something nice. Big Brother sounds so mean." "What's mean about a reality show?" said Paul, joking. "What isn't bad about a reality show?" countered Chloe, stepping in to defend her friend. Immediately after the end of this text, how does Bee most likely feel about the island? A. not enough information B. It is a fun place to be. C. It is unsafe. D. It has lots of restaurants.
**Answer**
C

*Question*
The collaborative process between me and Claire Bridge has been good so far. Upon finding out her email address we had a brief email exchange culminating in me sending her a list of potential questions for the interview. Claire quite liked a lot of the questions, but overall there were too many, so we proceeded to reduce the number of questions to six main questions. These questions would then form the basis of the artist portrait, with an attempt to limit answers to no more than a minute, so little had to be cut for the final edit. The six questions we arrived at are as follows: How would you define creativity? What does it mean to you to be an artist? Do you feel a painting or piece of art can house an energy/a feeling from the original artist? Do you feel that your own works house this energy? Change and transformation are recurrent themes in your work. What are you exploring and why do these fascinate you? And recently we saw a change in your medium too, incorporating video works and photography. You seem to draw on many influences in your work, from quantum physics, astrophysics, to environmental ecology, psychology, philosophy and metaphysics. With titles like "Dark Matter", "Touching Infinity", "We are made of Stars", "Rising tides" and "A drop in the ocean" or "Alchemy". Can you tell us something more about the convergence of these ideas and influences? What continues to motivate and inspire you as an artist? We both felt these questions addressed the initial topic of exploring creativity, explored why Claire became an artist, gives insight into Claire's work and practise and looks toward the future of Claire's practice. After refining the questions, we proceeded to organise a day to film, which will be on the 16th September. Hopefully if all goes well we will both have an artist portrait that lives up to our expectations. Who is the author going to film on September 16th? A. Clark Baine B. not enough information C. Claire Bridge D. Chloe Brook
**Answer**
C