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Creative Citizenship
New ways to connect young people to the world
Creative Citizenship, in partnership with local cultural organisations, is encouraging youth to learn in inspiring environments.
The project explores:
— learning outside of the classroom;
— social inclusion through youth-generated teaching and learning materials; and
— improving digital literacies and social capital of young people through the creative exchange.
Visit the Creative Citizenship website.
RMIT School of Education, Creative Agency, Melbourne Museum, Monash University Centre for Theatre and Performance, MONA Museum, School of Creative Art (UTAS), Creative Exchange Institute, St Dominic's College (Hobart), Drum Theatre
Education, Creativity, User-experience, Museums, Culture, Learning
Networking Creative Change-Makers
Creative Agency is a community of creative makers, academics, industry professionals and organisations committed to arts, education and social change. The Agency is both a virtual and material co-share workspace in and beyond Melbourne's urban centre where creativity finds expression through co-designed research, events and cross-sector partnerships.
Visit the Creative Agency website.
Melbourne Museum, Malthouse Theatre, Digital Ethnography Research Centre (DERC), RMIT School of Education, Centre for Creative and Relational Enquiry (University of Edinburgh), University of Jyväskylä (Finland)
Creativity, Education, Social Change, Arts, Co-design, Co-share, Pedagogy, Creative Practice, Creative Industries, Design, Social Futures, Wellbeing, Workplace
cohealth@365
Past, Present and Co-Futures
cohealth@365 brings together interdisciplinary methods and expertise to collect the diverse stories of a community. We co-created and co-designed with the cohealth Collingwood community to capture their stories and hear their voices as core to cohealth's past, present and future. The different research activities included co-creative workshops, researching the archive, digital storytelling, ethnographic research, an interactive community chalkboard, multisensorial design and other creative activities.
This pilot project sought to empower the community by having their vision included as central to cohealth's transition. Through this process, cohealth@365 provides a vehicle for community advocacy across a variety of key stakeholders and sectors.
cohealth community health centre
Cofutures, Digital Storytelling, Community Health, Health, Design, Co-creative Workshops, Ethnography
Son Vivienne
son.vivienne@rmit.edu.au
Son Vivienne is a Post-Doctoral Researcher at Creative Agency and the Digital Ethnography Research Centre at RMIT. Their principal expertise is digital self-representation, online activism, queer identity, and rhetorical strategies/feminist practices for speaking and listening across difference. Son is also involved in community development and arts as an activist, workshop facilitator and media-maker. Son is author of Digital Identity and Everyday Activism: Sharing Private Stories with Networked Publics (Palgrave Macmillan) and co-author/co-editor of Negotiating Digital Citizenship: Control, Contest, Culture (Rowman & Littlefield).
Son curates several collective storytelling websites for queer and gender-diverse communities and has over twenty years of multi-media production and distribution experience. As an award winning writer/director/producer of drama and documentaries, they tackled subjects as diverse as youth suicide; drug cultures in Vietnamese communities; and lesbian personal columns. Their film work includes multi-lingual (Vietnamese-English and Adnyamathanha-English) and multi-modal (animation, micro-docs, digital storytelling and interactive web-platforms) projects that reflect their comparative, cross-cultural and critical approaches to communication and storytelling.
Rainbow Ranges
Co-creating digital tools for vitalism with LGBTQI+ youth
This pilot study set out to disrupt the dominant understandings of queer youth centred on narratives of vulnerability and distress.
Working with LGBTQI+ youth based in regional Victoria, Rainbow Ranges investigated how these young people understood and experienced vitality and aliveness through a series of creative arts-based workshops. The project team and young people co-created a concept for digital intervention to promote a sense of belonging, foster social connections, and improve the wellbeing of LGBTIQ+ identifying individuals and communities.
PROJECT FLYER
Live4Life, RMIT Social Change ECP, RMIT DCP ECP
LGBTQI+, Mental Health, Wellbeing, Social Connections, Youth, Creative Workshops, Creative Methods, Participatory Methods, Visual Methods, Regional, Marginalised Groups, Digital, Walking Tour
School: Social and Global Studies
katherine.johnson2@rmit.edu.au
Professor Katherine Johnson is Director of the Social and Global Studies Centre at RMIT University.
Katherine has been a visiting professor in gender studies at the University of Sydney, Australia (2007), in social psychology and psychosocial interventions at Universitat Autònoma de Barcelona (2009−2012), in participatory-action research and LGBT health inequalities at the Universidade Federal de Sao Paulo, Brazil (2016) and the Universidad de Colima, Mexico (2016). She is currently Visiting Professor at the University of Brighton, UK where she previously established the Division of Applied Psychology & Psychotherapy and the Centre for Research Excellence, Transforming Sexuality and Gender.
Her research is in the field of gender, sexuality and mental health, with specialisms in critical community psychology and psychosocial studies, qualitative, participatory and visual research methods, and interdisciplinary research about LGBTQ lives. Her research collaborations and partnerships focus on improving the lives of LGBTQ+ people and have impacted on social policy and practice, particularly in the field of suicide prevention, mental health and end of life care.
Katherine is an Associate Fellow of the British Psychological Society, Past Chair of the Psychology of Women and Equalities Section, and a member of the World Professional Association for Transgender Health (WPATH). She is on the Editorial Board of Feminism and Psychology and Feminist Encounters: A journal of critical studies in culture and politics. She is also series editor with Professor Kath Browne (Maynooth, Ireland) of the Routledge book series, Transforming LGBTQ Lives. Katherine has served as a panel member for the ESRC Global Challenges Research Fund on global mental health, UK and the Irish Research Council.
Doubting Writing/Writing Doubt
Expanded writing program
This project brought together writers of diverse disciplinary and creative backgrounds to explore new methodologies for arts writing and criticism in response to the exhibition On Vulnerability and Doubt at ACCA. Following a public call-out, that attracted over 60 applicants, ten writers were selected to participate in a series of workshops, a public readings event and to co-design a digital publication.
Doubting Writing/Writing Doubt took the exhibition themes of doubt and vulnerability as provocations from which to write about art. It built on the success of 2018's Writing in the Expanded Field, which explores diversification in contemporary critical writing.
The project was a great success, attracting excellent applicants, high public interest, connections with the arts publishing industry, and firmly consolidating the partnership between non/fictionLab and ACCA.
ACCA Program Page
Podcast of Public Readings Event
ACCA, non/fictionLab
Creative Methodologies, Creative Writing, Interdisciplinary Creative Practice, Arts Industries, Cultural Sector, Innovation
Lucinda Strahan
lucinda.strahan@rmit.edu.au
Lucinda Strahan is a writer and researcher of expanded nonfiction. Lucinda's own expanded writing practice spans journalism and arts criticism, auto-ethnographic and personal essaying, editing and publishing, and exploratory literary-visual methods. She is the currently Writer in Residence at Linden New Art, St Kilda and in 2017 was Writer in Residence Residence at Grey Projects, Singapore as part of her ongoing interest in interdisciplinary critical/creative writing practices. Lucinda is a Lecturer in the Professional Communication program in the School of Media and Communication.
A discussion on feminism in the 21st century
This project addressed a central problem: how can a women's museum engage diverse communities and age groups in the twenty-first century, in the context of changing ideas of gender and feminism?
The basis for the Her Place Museum is the well-documented lack of representation of women in mainstream collecting institutions in Australia and in broader narratives of Australian history. To expand this understanding, RMIT researchers and students collaborated with Her Place and ran two workshops involving 40 key stakeholders. In these workshops, stakeholders developed engagement strategies for young people and people from CALD communities; a communication strategy for cross-generational dialogue; and recommendations for a digital platform.
Her Place Women's Museum
Feminism, Art, CALD Communities, Youth, Young People, Creative Methods, Museum, Museum Studies, Workshops, Gender, Diverse Communities
The Exchange at Knowledge Market
Prototyping community engagement in Melbourne's Docklands Precinct
Knowledge Market is a creative hub for sharing ideas. Since its inception in 2016, it has hosted inspirational mentors and facilitators and fostered many new creative projects and partnerships. The Exchange at Knowledge Market is the next phase in the evolution of this innovation space.
The Exchange explores the concept of community and new ways of understanding the shared urban environment through a curated series of public workshops, exhibitions, forums and community events. This year-long living lab is a space created by the community for the community.
Visit the Knowledge Market website.
Lendlease, City of Melbourne, Victoria Harbour, RMIT School of Architecture and Design, RMIT College of Design and Social Context, RMIT School of Media and Communication
Community, City Of Melbourne, Architecture, Design, Social Impact, Knowledge Market, Urban Environment
Ross Mcleod
Program Manager, Design Innovation and Technology
ross.mcleod@rmit.edu.au
Ross McLeod is Program Manager of Design Innovation and Technology at RMIT University, Melbourne. Over the past twenty years Ross has worked as both a designer and as an academic, completing a wide range of one-off and production furniture designs, interior architecture projects, exhibitions designs and sculptural works both locally and internationally.
As a designer, educator and academic he is committed to the development and realisation of design projects, teaching practices and research activities that extend the boundaries of contemporary design and the sensibilities that surround it. His experience in the fields of product design, furniture design, interior design and architecture have been instrumental in the establishment of a creative practice that spans the design disciplines.
Care Futures Beyond Data
Co-creative explorations into new and emerging care services and technologies in Japan.
This project investigates the perceptions, practices, and aspirations around emerging care systems, especially those using electronic health records and big data, among the members of public and professionals in related fields in Japan. The project employs creative methods to generate nuanced insights into current dynamics and engage different stakeholders to imagine future cyberphysical systems of care that are meaningful to local contexts.
This project questions how we might understand and design cyberphysical systems for health care in Japan particularly in the context of the introduction of the Next Generation Medical Infrastructure law, making available medical big data to be used anonymously for research purposes across sectors.
This transdisciplinary and co-creative project aims to:
1) Investigate how healthcare technologies are understood and experienced, and how its impacts are imagined by members of the public and professionals, including perceived benefits and concerns
2) Co-create different futures of cyberphysical systems for care
3) Engage and raise awareness of such systems and their impacts among different stakeholders.
To achieve this, it employs ethnographic and participatory methods involving different members of public and healthcare professionals in Tokyo and Kyoto.
Find out more about the Care-Full Design Lab
Keio University, Kyoto University Hospital
Care, Design, Data, Future, Japan
Mixed Reality Environments
Machine Learning Applications for Design and the Built Environment
While artificial intelligence (AI) generates real value in many fields, it has seen few design applications. This activity intends to build partnerships with AI experts to implement state of the art machine learning frameworks and cloud computing infrastructure for applications within the design and construction industries. The anticipated outcome are manifold: to position RMIT as a leader in the development of creative applications of AI; to enhance RMIT's innovation capability by combining the spatial reasoning expertise of architects with cutting edge machine learning capabilities; to develop new and far reaching design applications that may include automated 3d model synthesis, search and classification.
This project aims to develop a platform enabling creatives, consultants and contractors to collaborate within mixed reality environments and test the impact of this platform through speculative and applied design build projects.
Architecture and Design, College of Design and Social Context
Artificial Intelligence, Machine Learning, Architecture, Mixed Reality
Cameron Newnham
Associate Lecturer, Industry Fellow
cameron.newnham@rmit.edu.au
Cameron Newnham explores how technology and architecture can intersect to extend the art of the possible. Using augmented reality and a deep understanding of architectural practice Cameron is striving to identify how technology can transform architecture and construction, speeding the delivery of complex buildings, and injecting new levels of craftsmanship into the built environment.
Gwyllim Jahn
gwyllim.jahn@rmit.edu.au
Gwyllim Jahn is a Lecturer in the School of Architecture & Urban Design at RMIT in Melbourne where he is currently completing his PhD. His design practice has been internationally awarded and exhibited and is concerned with complex geometry and behavioural design systems, mixed reality environments, autonomous robotic fabrication and creative applications of machine learning.
Finding and managing information, emotions and networks in times of crisis
These workshops explored how, as smartphone users, participants were using mobile and non-mobile media to find and manage
information, emotions and networks during the 2019 – 2020 Australian summer bushfire crisis.
Using 3 creative codesign methods, we mapped the key themes, common feelings and practices that emerged during the group discussions. The exercises, and subsequent mapping, generated discussions about key practices and perceptions of how individuals and their communities care during times of crisis. The following preliminary findings emerged:
Tactics of care
Care-at-a-distance
Care literacies
Direct and indirect affective witnessing
Read the Workshop Summary Report to find out more.
Digital Technology, App, Bushfires, Smartphones, Codesign, Workshop, Care
Social Games for Change
Japan Workshop
Game design involves a creative and iterative process guided by prototyping, playing and testing and then refining. Through our Social Games for Change Workshops we're making the game design process accessible and actionable for any topic and varying participants.
The Social Games For Change Workshop introduces and encourages STEAM (Science, Technology, Engineering, Arts, Maths) skills and capabilities in the primary School classroom. This iteration of the workshop took place on Thursday the 7th June at Kyoto International Primary School, Japan. The workshop was conducted in English and delivered to a class of 18 students.
Kyoto International Primary School
Game, Design, Social, STEAM, Workshop
Creative Care
Exploring creative practice and teaching in health and wellbeing
Creative Care researchers and students engage in creative research that intersects with health, wellbeing and the human lived experience. Creative Care projects are undertaken through diverse mediums; they are site specific social practices. The collaborative and interdisciplinary research is realised through exhibitions, performances, events, publications, or undertaken within health and social care settings, and with industry partners.
In August 2019, Creative Care presented Hand Festival at Peter MacCallum Cancer Centre in Melbourne. The team, along with Professor Rebecca Hilton (University Arts Stockholm), organised the social practice choreographed event designed with a focus on the hand for trust and intimate hand activities. Seventeen artists, colleagues, student nurses from RMIT, and Peter Mac staff and patients participated in hand drawing, origami, hand massages, wax modelling, mbira, knitting, cat's cradle and more. Later that month, the team ran Hands + Mouth: Boundaries of the Body, an experimental and participatory "world cafe" event which explored the boundaries of the body at the end of life (touch, embodiment, gestures and more) through roving conversations about end of life scenarios with a focus on death and dying, ageing and illness and how they intersect with culture, the senses and place.
You can find out more about the Creative Care project on the CAST Website.
Peter MacCallum Cancer Center
Creative Methodologies, Creative Practice, Teaching, Health, Wellbeing, Participatory, Workshops, End Of Life, Ageing, Illness, Trust, Intimacy
Keely Macarow
keely.macarow@rmit.edu.au
Keely Macarow is Coordinator of Postgraduate Research in the School of Art at RMIT. Keely's research is focused on socially engaged art and the nexus between creative arts, social justice, health and wellbeing, and social and natural science. Currently, Keely is a member of The Untitled (a collective of artists, urban and graphic designers, architects and housing researchers based in Melbourne and Stockholm) who produce creative works, publications and interventions in Australia and Sweden to advocate for Homefullness (rather than homelessness). Her film, video and exhibition projects have been presented in Australia, the UK, the US, Germany, Belgium, Austria, Sweden, Hungary, France, Scotland and Denmark.
Social Practice Network
Collaborative methods to work with people and across inter-sectoral partnerships
Using human relations as method, social practice connects creative practitioners with communities, industries and institutions to address contemporary social issues. This conversation series, podcast, and symposium aims to develop a regional network across art and design to establish RMIT's identity as a leader in social practice pedagogy as well as to develop new industry collaborations across Australia. The series explores; collaboration in urban and regional communities, the potential for risk and harm in engagement, and new social economies in art and design.
School of Art, Field Theory, College of Design and Social Context
Social Practice, Art, Design, Social, Sustainable, Industry
Marnie Badham
Senior Research Fellow/ Senior Lecturer
marnie.badham@rmit.edu.au
With a twenty-five-year history of art and social justice practice Australia and Canada, Marnie's research sits at the intersection of socially engaged art, community-based research methodologies and the politics of cultural measurement. Marnie is currently focused on a series of creative cartographies registering emotion in public space; expanded curation projects on the aesthetics and politics of food; and a book project The Social Life of Artist Residencies: connecting with people and place not your own. Marnie is Senior Research Fellow at the School of Art following the prestigious award of Vice Chancellor's Postdoctoral Research Fellow at RMIT University. Marnie co-leads the Cultural Value Impact Network and is acting Leader for CAST Contemporary Art and Social Transformation research group.
Cities as Playgrounds
New Models for Urban Play, Civic Engagement and Sociality
Playgrounds are physical manifestations of how we do urban play and civic engagement and are as such in situ places to play with present and future scenarios. The metaphor of the playground is fertile ground for talking about, and playing with, intergenerational connection in public space. It can be a way of rethinking urban design which puts people and play at the centre.
This creative and interdisciplinary workshop brought together international experts across playable cities artists, game designers, ethnographers, play theorists and designers to consider the possibilities of action research and co-design experiments in and around the Superilla located outside of RMIT Europe as part of Barcelona's Design Week.
We deployed the Superilla as a prompt, invitation, interface and living lab for codesigning for inclusive and playful urban futures.
Visit the ToyBox website.
RMIT Europe, Urban Futures ECP, Elisava University
Games, Design, Playgrounds, Urban Design, Urban Play, Playful Urban Futures
Colored and Patterned Solar Building Skin
Solar Panels for Creative and Sustainable Urban Design
Innovative design of solar modules enables new possibilities for their integration into new and old buildings, historical sites, public urban spaces, landscapes and media façades. When the characteristics of conventional Building Integrated Photovoltaics (BIPV) modules are modified with technological advances in colour and appearance, it opens up a whole new approach to creative, innovative and sustainable urban designs.
RMIT's Dr Rebecca Yang partnered with City of Bendigo (Aurecon IEA PVPS Task 15 BIPV) for this project to display the approach to using coloured BIPV, wherein good architectural form is given to function and applied to make PV electricity part of our natural and cultural environment. The coloured and patterned solar panels form a paradigm shift in solar applications because of their aesthetic appeal and power generating attributes. These BIPV solutions could be adapted in variety of materials, colours and shapes that can be seen today in the centre of cities, where a diversity of buildings from different eras and construction solutions coexist with each other.
City of Bendigo Aurecon IEA PVPS Task 15 BIPV
Solar Energy, Building Design, Net Zero Energy Building, Urban Futures
Rebecca Yang
School: Construction Management
rebecca.yang@rmit.edu.au
Rebecca Yang has developed a strong and passionate commitment to industry-focused research and teaching. Her research resonates with RMIT's vision of transforming the built environment to create sustainable and resilient cities, and her current research focuses on solar energy applications in buildings, and construction innovation. She is the leader of Solar Energy Application Group. She is the leader of Solar Energy Application Group and the Australian expert in International Energy Agency PVPS Task 15 BIPV.
Interdisciplinary Collaboration and Inventive Methods
The Cultural Value and Impact Network (CVIN) is building RMIT University's expertise in interdisciplinary collaboration and inventive methods for articulating, measuring, evaluating cultural value and social impact. With practitioners and academics from across the University, we are building strong creative teams that use new interdisciplinary methods attuned to cultural complexity and diverse communities to enable high impact research partnerships with the arts and cultural sectors, government and NGO community. We have been mapping the capabilities with our colleagues in Art, Economics, Education, Finance and Marketing, Global Urban Studies, Media and Communication, Design, Architecture, and affiliates of DCP ECP, Global Business and Innovation and Social Change. We have collated existing research methods and industry projects through a survey and interviews to identify existing approaches, drivers, current gaps, and future interdisciplinary methodological possibilities for student training and partnerships.
Find out more about the Cultural Value and Impact Network [CVIN.
School of Art, School of Economics, School of Education, Finance and Marketing, School of Global Urban Studies, School of Media and Communication, School of Design, School of Architecture, ACUADS
Cultural Value, Art, Marketing, Economics, Education, Finance, Global Urban Studies, Design, Architecture
Bronwyn Coate
Dr Bronwyn Coate is a Senior Lecturer in the School of Economics, Finance and Marketing who specialises in cultural economics. Bronwyn's research involves economic analysis of the arts and creative industries using a range of economic and experimental techniques including approaches from behavioural economics and behavioural science. Areas her research has focused upon include art markets, artists/cultural labour, and cultural/creative industries. Much of Bronwyn's research is undertaken within mult-idisciplinary teams and focused upon addressing issues with policy relevance for the arts and cultural sector. Bronwyn is a member of a number of a number of research groups including the Cultural Value Impact Network (CVIN), Kinomatics Research Group, Behavioural Business Lab (BBL) and Placemaking Economics Research Group. She is also the current Secretary/Treasurer of the Association for Cultural Economics International (ACEI).
Gretchen Coombs
Post Doctoral Research Fellow
School: Design and Creative Practice
gretchen.coombs@rmit.edu.au
Gretchen Coombs is a Post Doctoral Research Fellow in the Design & Creative Practice Enabling Capability Platform at RMIT. She researches socially engaged art practices in the US, the UK and Australia, with a particular focus on how they are practiced in urban contexts. She's a core member of the Cultural Value and Impact Network (CVIN) and contributes to Creative Care in the School of Art. Gretchen has a PhD in social and cultural anthropology and a MA in visual criticism: her writing uses a combination of ethnographic methods and visual analysis. She is a co-author of Creative Practice Ethnographies (Rowan & Littlefield 2019) and her monograph, The Lure of the Social: Encounters with Contemporary Artists (Intellect 2021 ) is an experimental ethnography about contemporary artists working at the intersection of art, aesthetics, and politics.
The HASH Network
Interdisciplinary health research
The HASH (Health, Arts, Social sciences and Humanities) Network brings together collaborators from the social sciences, humanities, medicine, arts, and science and technology. It will draw on contributions from a wide range of academic researchers, health practitioners, health service users, and early career researchers. HASH aims to ignite creative connections and collaborations among members.
Visit the HASH Network website.
Digital Ethnography Research Centre
Digital Health, Mental Health And Illness, Neurodiversity, Ageing, Long Term Conditions And Life Limiting Illnesses
VVet-n-VVild-VVIFI
Holistic Computing Aesthetics Network
VVet-n-VVild-VVIFI aesthetic Research and Development (AR&D) exploring the creative dimensions of internet infrastructure through which artists, technologists and theorists collaborate to address issues of alternative energy, radio transmission, and the future of Wi-Fi technology, as microcontrollers that can be suitably-powered for off-the-grid operation.
VVet-n-VVild-VVIFI explores the innovative capacities and critical implications of computational technology specifically through experiential prototyping and dialogue AR&D to propose alternative net-affinities and rewrite alternatives to avoid any contributing to roadkill of the 'internet superhighway'. Working towards exhibition series of advanced prototypes for alt-infrastructure networks in 2021 and beyond/VVet-n-VVild-VVIFI is an exemplar of how wireless technology impacts upon traditional exhibition-based practice, radically intervening into public space through the aesthetic application of networking infrastructure in diverse social settings — intimate dens of subnode Intranets, peer to peer networking, autonomous internet beacons that decentre the passage of information and art in diverse social settings, off-grid solar/wind powered.
Find out more about VVet-n-VVild-VVIFI here.
Pet Playing for Placemaking
Designing playful technologies for social engagement and healthy ageing
With many pet owners experiencing social isolation during the pandemic, RMIT researchers are collaborating with Cherished Pets Foundation and its affiliated veterinary social enterprise towards improving social inclusion in the local community. The initiative has received community funding to bring an interactive, playful, and creative spin through a game designed to promote social engagement and healthy ageing.
Pet Playing for Placemaking Survey Report — October 2020
2021 Give Where You Live Community Connections Grant
Cherished Pets Foundation and Community Veterinary Care, Give Where You Live Foundation
COVID-19, Social Inclusion, Pet Companionship, Play, Healthy Ageing
Jacob Sheahan
jacob.sheahan@student.rmit.edu.au
Jacob Sheahan is a PhD Candidate in the School of Design and Research Assistant in the Shaping Connections research program. Trained as an Industrial Designer, his research practice focuses on ageing futures, emerging technologies, and design for health and wellbeing. Utilising a design anthropology and interaction design skillset, he benefits from a socio-technical and project-grounded approach, innovating through collaborative and constructive methods.
The Future of Museum Audiences II
Museum Engagement, Data and Older Audiences
Building on Phase 1, this project specifically sought to identify and develop socially thick understandings of the (digital and non-digital) experiences and potential opportunities for older adults in the museum sector.
Using a series of postcards aimed at discursive elaboration, we invited audiences to share cups of tea and biscuits as they wrote and discussed their responses. We engaged these audiences to ethnographically and creatively reflect upon how they view the museum as an institution, as a place for belonging, and what they would like their digital (and non-digital) experiences with the museum to involve.
PHASE 2 REPORT
Australian Centre for the Moving Image (ACMI)
Older Audiences, Social Media, Digital Wayfaring, Digital, Smartphone, Museums, Cultural Sector, Arts, Ethnography
The Spatial Capability Cluster at RMIT (SCCAR)
The SASCCAR project is working to establish a "Space and Spatial Capability Cluster" at RMIT. The cluster aims to provide a sustainable and interdisciplinary community of practice in "space" and "spatial", bringing together spatial experts across RMIT University, and supporting early-career researchers and HDR students working in the spatial sciences. The cluster aims to enhance collaboration, increase the visibility of RMIT's world-class expertise in spatial knowledge, and ultimately support relevant applications to large interdisciplinary funding schemes, including CRCs and Centres of Excellence.
Phase 2 of the SASCCAR project saw skills development workshops on mapping with Tableau; Frontier SI workshop; Workshop with Mark McMillan on Indigenous Knowledge of Place; Joint workshop with the Sir Lawrence Wackett Centre and defence industry (Textron) on major Next Gen Technology Fund application; as well as a presentation at the 2019 Engaging For Impact Event on Advancing Space and Spatial Capabilities with Dr Amanda Caples.
Space is a USD$345 billion global industry which has doubled over the previous decade, with strong growth expected to continue in the medium term. Australia's Space and Spatial industries are undergoing a rapid change and growth including everything from rockets, satellites and sensors, through to the specialists who derive insights from space based information such as location data and satellite imagery. These diverse technologies are having more impact than ever across Australia's economy, particularly our Agricultural, mining, environmental, health, transport, defence, and built environment industries.
You can find out more about the SASCCAR project here.
Matt Duckham
School: Geospatial Science
matt.duckham@rmit.edu.au
Matt Duckham is a Professor of Geospatial Sciences at RMIT University. At RMIT, he has occupied a number of senior leadership roles including: Acting Dean STEMM Diversity and Inclusion, Associate Dean of Geospatial Science, and Deputy Head of the School of Mathematical and Geospatial Sciences, Science Director for the CRC for Spatial Information (CRCSI) Rapid Spatial Analytics Program. Prior to joining RMIT, Matt was Professor in Geographic Information Science within the department of Infrastructure Engineering at the University of Melbourne, when he also held a visiting Professor position and the University of Greenwich.
Matts research focuses on the area of Geographic Information Science, particularly distributed and robust computation and visualisation with uncertain spatial and spatiotemporal information, within the domain of mobile, location aware and sensor enabled systems. He has taught a range of undergraduate and postgraduate courses in connection with spatial computing, in particular, spatial visualisation and spatial databases.
Writers Immersion and Cultural Exchange
Changing the stories we tell and listen to
Perspectives shift and networks expand when writers step out of their comfort zone and into unfamiliar cultural spaces where they can connect and share ideas with other writers. Writers Immersion and Cultural Exchange (WrICE) program contributes to an Asia-Pacific community of writers in a collaborative way, influencing broader societal perspectives and changing the stories we tell and listen to. It provides a framework for intercultural and intergenerational dialogue — the exchange and furthering of knowledge, creativity, skills and cultural perspectives.
Visit the WrICE website.
non/fictionLab, Melbourne Writers Festival, Copyright Agency Cultural Fund, Footscray Community Arts Centre, 100 Story Building, National Library of Vietnam, Ayala Museum, Arts House Singapore, Jakarta Post Writing Center, Indonesia, Asia Pacific Writers and Translators Association
Creative Writing, Education, Asia-Pacific, Diversity
Francesca Rendle-Short
Associate Professor and Associate Dean, Writing and Publishing
francesca.rendle-short@rmit.edu.au
Francesca Rendle-Short is Associate Dean Writing and Publishing in the School of Media and Communication at RMIT University in Melbourne, Australia. She is co-founder of the non/fictionLab research group and co-director of WrICE (Writers Immersion and Cultural Exchange). She has a Doctor of Creative Arts from the University of Wollongong, was a recipient of an International Nonfiction Writers Fellowship to the University of Iowa, and was showcased in the Outstanding Field at Victoria College of the Arts, University of Melbourne.
Francesca Rendle-Short is an award winning novelist, memoirist and essayist. Her books include Bite Your Tongue, Imago, and The Near and The Far; also the forthcoming 100 Love Letters, and No Notes (This is writing). Her artwork is in the collection of the State Library of Queensland.
David Carlin
Professor of Creative Writing, Co-Director of the non/fictionLab, Co-Director WrICE
david.carlin@rmit.edu.au
David Carlin is a writer, creative artist and scholar. His books include The Abyssinian Contortionist, Our Father Who Wasn't There, and (forthcoming) The After-Normal for Rose Metal Press, and 100 Atmospheres: Studies in Scale and Wonder for Open Humanities Press. David's essays, plays, radio features, exhibitions, documentary and short films have won awards and featured at numerous international festivals. He co-edited a cross-cultural anthology of Asian and Australian writers, The Near and the Far (with Francesca Rendle-Short, Scribe 2016) and Performing Digital (Routledge, 2015), about the Circus Oz Living Archive project he led. Co-President of the NonfictioNOW Conference, the world's leading conference in literary nonfiction, David is a Professor at RMIT University, Australia, where he co-directs WrICE and non/fictionLab.
RMIT Europe Workshop: Creative Methods for Social Mapping
This workshop discusses best practices, provocative elements of, and ideas for the future of creative methods for impactful research. Read more
Doing Digital Methods – Workshop Summary
In June 2018, the DCP ECP and Ritsumeikan University (RU) jointly hosted a workshop at Ritsumeikan University (Japan) on interdisciplinary and critical creative methods, within mixed reality contexts, when considering social innovative futures. Read more
HDR Opportunity: Dr Anne Galloway Workshop
Practicing More-than-human Design Ethnography Workshop
Dr Anne Galloway, School of Design, Victoria University of Wellington, NZ
Tuesday 20 August 2019, RMIT City Campus Read more
WrICE Program Partners with Leading Asian Literary Centre
RMIT's Writers Immersion and Cultural Exchange Program (WrICE), now in its fifth year, will partner with the Jakarta Post Writing Center in 2018. Read more
Design and Creative Practice
Cultural Value and Impact Network (CVIN) The Future of Museum Audiences II
TIMeR #SiteAnalytics
Rohit Ashok Khot
Dr Rohit Ashok Khot is the Deputy Director of the Exertion Games Lab; and Vice-Chancellor's Postdoctoral Fellow at RMIT University, Australia. Rohit's research embodies interdisciplinary strength and explores the amalgamation of design and technology in a creative way.
Dr Khot's track record includes 39 scholarly publications in last 7 years, the majority of which appear in highly competitive HCI conferences and journals and include one best paper and one honorable mention (top 5%) award. Dr Khot's research also appeared on 30+ press articles including a cover story on Mashable Australia, IEEE Spectrum and TV coverage on Channel 9 News and ABC News 24. He has won prestigious awards including IBM PhD fellowship (2014−2015), 2017 RMIT HDR Prize for Research Excellence (2017), RMIT Vice-chancellor's Postdoctoral Research Fellowship (2017−2019) and SIGCHI Development Fund Grant (2017,2018). Dr Khot is also involved in organization and management of the Special Interest Group meetings, workshops and symposiums at leading international conferences specifically around food and play, besides serving on program committees for leading international HCI conferences, including DIS and TEI.
Rohit is passionate about playful Human-Food Interaction (HFI) and has an ambitious goal to alter the common perception that food cannot be healthy and pleasurable at the same time.
rohitashok.khot@rmit.edu.au
FoodCHI 2017
Design and Social Context
cohealth@365 Designing for social futures Care Futures Beyond Data #Failurists Trades Hall GBV Training Package
TIMeR Playable City Melbourne Rainbow Ranges
Social Practice Network Aesthetics, Politics and Histories: The Social Context of Art
Evelyn Tsitas
Evelyn Tsitas is RMIT Gallery's Senior Communications and Outreach Advisor. An award winning published author and former journalist, Evelyn has a PhD in Creative Media and curated the 2018 exhibition My Monster: The human-animal hybrid, based on her doctoral research at RMIT.
evelyn.tsitas@rmit.edu.au
DCP HDR Working Group on Wellbeing and Belonging COVIDSafe COVID frontlines in Australia and New Zealand Games of Being Mobile
Jonathan Duckworth
Dr Jonathan Duckworth is a digital media artist, designer and founding director of the CiART Lab (Creative interventions, Art and Rehabilitative Technology) RMIT University. Duckworth's research spans media art, digital design, game technology and human computer interaction. He was awarded a RMIT Vice Chancellor's Research Fellowship between 2012 – 2015.
Duckworth brings to RMIT a broad range of industry and research experience in digital media design from his practice called ZedBuffer. His practice specialises in research, development and production of novel interactive installations for government clients, museums, galleries and public venues using computer game technology. The practice also serves as a repository for his funded research activities, speculative designs and experimental interactive media art works.
jonathan.duckworth@rmit.edu.au
Translating Ambiance Transforming Motorways' Noise Barriers
Kate Rhodes
Kate Rhodes was a curator at RMIT Design Hub, a new, purpose-built, 10-storey home for design exhibitions, programs and research in Melbourne. Kate has been creative director of the State of Design Festival, and curator of its Design for Everyone program. She has worked as adjunct curator at Object: Australian Centre for Craft and Design, and as editor of Artichoke, an architecture and design magazine. She has also worked as a curator at the National Design Centre and at Craft Victoria, and was assistant curator of Photography and Contemporary Art at the National Gallery of Victoria for five years. She completed a Masters of Art Curatorship at the University of Melbourne in 2002, and a Masters of Design Research in RMIT's Faculty of Architecture and Design in 2010. Kate is a founding member of the Office for Good Design, and is currently an editorial advisor at ARTAND Australia magazine.
kate.rhodes@rmit.edu.au
Leon De Bruin
Leon de Bruin, is a Post-Doctoral Research Fellow at RMIT University. He is an educator, musician, composer and researcher. He has extensive research work and has authored over 20 peer reviewed articles and book chapters relating to meta-cognition, creativity, performing arts/artistic practices, STEM/STEAM, creativity in education and the arts. He has been the recipient of the Monash University Vice-Chancellors commendation for excellence (2017), and the ASME Callaway Award (2017) and the Monash University Postgraduate Publications Award (2016).
He works in the RMIT Creative Agency Research Lab, where he brings extensive qualitative and qualitative research experience, expertise in creativity in educational, environments, inderdisciplinarity, creativity and STEAM education, as well as vast educational experience, knowledge and connectivity to Australian Schools.
leon.debruin@rmit.edu.au
Peter West
Peter West is a Communication Design lecturer and PhD candidate. He has a diverse teaching practice which moves across areas such as communications strategy, art direction and design for social change. He draws upon practical industry experience as both a freelance art director and copy writer within both multinational communications agencies and health related communications strategies within the not for profit sector.
His research focuses on ways in which Non-Indigenous creative practitioners can better understand their subject position in relation to Indigenous sovereignty. West is as a chief investigator on Sovereign Weaving Project: 'Practicing Sovereign Relations through Weaving a Treaty'. The project seeks to support Indigenous Nations to practice their sovereignty, through the realisation of a woven treaty as the conclusion of their diplomatic responsibilities.
peter.west@rmit.edu.au
Being Wiradjuri Together
Suzie Attiwill
Since 1991, Associate Professor Suzie Attiwill's freelance practice has involved exhibition design, curatorial work and writing on interdisciplinary projects in Australia and overseas. Her practice poses questions of interior and interiority in relation to contemporary conditions of living, inhabitation, subjectivity, pedagogy and creative practice. Research is conducted through a practice of designing with a curatorial inflection attending to arrangements (and re-arrangements) of spatial, temporal and material relations. Projects include: urban + interior – a collaborative publication project bringing together an editorial team situated in Milan, Madrid and Melbourne; beyond building with Gregory Nicolau (Australian Childhood Trauma Group); Abacus Learning Centre – for children on the autism spectrum; and a series of curatorial experiments in ecologies of learning – physical, social and mental. Suzie is recognised internationally for her contribution to the discipline of interior design including workshop intensives: Radical Learning, Milan International Architecture Week; and Urban Interiorities in Nicosia, Cyprus; texts: 'interiorizt', 2014; and 'Urban and Interior: techniques for an urban interiorist', 2011. Artistic director of Craft Victoria (1996−99); board member/chair, West Space (2006−10); chair, IDEA (Interior Design/Interior Architecture Educators Association, 2006-12); executive board member, International Federation of Interior Architects/Designers (2020−21).
suzie.attiwill@rmit.edu.au
Abacus Spatial Diagrams


I did not realize the effectiveness before I received acupuncture treatment in New Realm.
I had been to a chiropractor for 8 months and to Swedish massage for over 1 year, but it did not work for my shoulder pain.
Now, I am happy with amazing acupuncture result.
Having had acupuncture treatment before coming to New Realm, I thought I had a good idea what to expect. I was however very surprised at the very caring and friendly attention provided by both Xuguang and Jing. I am especially impressed by their level of communication to each patient, and how much time they take to explain you treatment and new methods of care, that I had been unfamiliar with. I have found their method to be pain free and very effective at controlling any symptoms I come in with. New Realm is where I will continue to come first, and I feel very fortunate to have found them.
Thanks, New Realm, for making me feel like new again!


For owner-member Julie Meiser, pie is the way to go anytime of day! She shared with us a little essay depicting her love of pie.
I do. I really do love pie. Any day of the week, practically any time of day, I could go for a warm, gooey slice of pecan pie, a la mode. I know I'm not alone in this general sentiment either; whether you are a savory taker or sweet, a fondness for tender, flaky layers of butter and flour wrapped around some jewel of a filling is, some might say, universal. Considering the sheer proximity and rich bounty of our local farms, orchards, and berry patches here in central PA, one can't help but fall for one pie or another. Sour cherry or shoofly, chicken or mince, there truly is no better place to grow, make, share, eat, and love pie.
Certain foods connote certain occasions, and for a community with such great agricultural heritage as ours, nothing says holiday, family, and friends, like pie. But even more than that, this simple (yet elusive in its perfection) dish is a symbol of giving. Pie's ancient beginnings as a means to preserve a meal for sailors, soldiers, and miners, tells the story of food being made by someone back home, for someone far away—working, fighting, suffering. It is the original comfort food, and is not made (easily) on the road or over a fire. It requires a hearth, an oven, and thoughtful, caring hands.
There's something to be said about a food, often with a fairly short list of ingredients, that our world of grocery-shelf short cuts can't come close to in quality—and even I will admit that some boxed brownies aren't half bad. And while there are a few tricks and techniques that can improve the end result, pie making is for everyone. I remember watching, and assisting when called upon, my Nana make a peach pie when I was about 7 years old. There weren't any fancy gadgets or special tools, and in fact, she didn't even use a cutting board for the fruit; a paring knife in one hand and a peach in the other, the juice just dripped into a bowl she'd then pour over the top before baking. There wasn't anything fussy about her crust either, which I recall needed some patching up once it got to the dish. However simple her method, her peach pie was perfectly luscious. She always joked that her secret was using the ugliest, most bruised peaches she could find! I tend to think it was the odd-shaped cuts of fruit that came from her unconventional style of knife work, each one a perfect bite.
As someone who has made food for a living, desserts in particular, I can honestly say there is no more satisfying (or therapeutic!) act than rolling out pie dough, and there is no more delightful gift than a pie for someone dear. I count myself extremely fortunate to be part of a community that values our farms and farmers, and treasure the fact that everything I need to make a pie can be sourced locally. That's awesome. It also means more pie, which I love, and want you to love, too. So go make some, share some, eat some pie!


Applications for the Accounting Bridge program are considered on a competitive basis. Minimum GPA requirements are not advertised, because the Admissions Committee uses a holistic approach when reviewing a candidate's application package. The Committee considers the quality of the candidate's academic background, grade point averages, campus involvement, and work experience.
The School of Accountancy has full authority over the admissions and matriculation processes for all applicants to the program. Dual enrollment in an Auburn campus program and an Auburn online accounting program is not permitted.
If you are an Auburn Alumni or former Auburn student, please visit the Readmission Application Procedures for instructions on applying to the Accounting Bridge.
If you have not previously attended Auburn University, please complete the e-application. Eligible applicants must have either a USA or APO address from a SARA authorized state. At the end of the application, you will be required to submit a $50 application fee. The application process for the Accounting Bridge Program and the Bachelor of Science in Accounting is the same. DO NOT COMPLETE THE ONLINE APPLICATION FOR ADMISSION UNDER THE FUTURE STUDENTS TAB AT WWW.AUBURN.EDU.
Email your resume and statement of purpose explaining your academic background and why you want to enroll to accounting@auburn.edu.
Submit an official transcript from every university attended directly from the institutions to the address below. Transcripts mailed by the student are not considered official. Please do not submit official transcripts until you have submitted your e-application.
To apply for financial aid, you must contact the Auburn University Financial Aid Office.
Students seeking financial aid must enroll in at least five semester hours each term to qualify for financial aid.
If you are accepted to Auburn University, Andee Hodo, Assistant Director of Graduate and Online Accounting Programs, will contact you regarding your plan of study and course enrollment.


text:
Cricket Word Cup
Kendal Briles of Arkansas is hired by TCU as the new offensive coordinator
DigitalMarketing1on1.com is a Great Company To Buy Backlinks From.
Amp concert series will start Friday, proceed into August
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Verstappen clarifies why he challenged Red Bull cautioning
2 weeks ago Raeesa Sayyad
Kendal Briles will be leaving Arkansas to become the offensive coordinator at TCU.
Thursday is when an official announcement is expected.
The hiring of Dan Enos from Maryland as the new offensive coordinator for the Razorbacks is nearing completion. Enos played a significant role in the growth of Maryland quarterback Taulia Tagovailoa over the past two seasons.
For the past three seasons, Briles, 40, has been Arkansas' offensive coordinator and quarterbacks coach. During his tenure, Arkansas' offense underwent major change. The Hogs averaged 32.5 points per game this past season and 30.9 points in 2021, which was the most at Arkansas since the 2015 season. They finished 15th in the nation in total offense. In the year before Briles took over, the Hogs scored just 21.4 points per game on the year.
In 2022, Arkansas' rushing offense ranked seventh in the nation with 236.5 yards per game. The most rushing yards the Hogs had since 2003 was 3,075. Additionally, Arkansas' passing game and offensive balance were improved by Briles. In 2022, the Hogs were one of three FBS teams that averaged more than 230 rushing yards and 230 passing yards per game, joining Ole Miss and UCLA.
At TCU, Briles takes over for Garrett Riley. Last week, Riley left to become Clemson's offensive coordinator. Briles joins Sonny Dykes, who is in his second season in Fort Worth, as one of the best offensive-minded head coaches in the country at TCU. This past season, Dykes led the Horned Frogs to the College Football Playoff national championship game; They lost to Georgia 65-7.
Briles has had opportunities to move to other jobs over the past two years. He was pursued by Miami a year ago, but he stayed put. The following month, Briles turned down Mississippi State's offers.
Briles will serve as offensive coordinator for the sixth time. In 2015, he was a finalist for the Broyles Award, which recognizes the nation's best assistant coach, and he worked alongside his father, Art Briles, as the wide receivers coach, passing game coordinator, and offensive quarterback/quarterbacks coach at Baylor.
In the wake of a sexual assault scandal at Baylor that also resulted in the firing or resignation of the school's president and athletic director, Art Briles was fired prior to the 2016 season. Kendal Briles, who was not directly involved in any wrongdoing, served as Jim Grobe's offensive coordinator in 2016 before moving on to Florida Atlantic in 2017 as offensive coordinator, Houston in 2018, and Florida State in 2019.
From 2000 to 2002, Art Briles and Dykes collaborated on the Texas Tech staff under Mike Leach.
This offseason, both of Arkansas's coordinators went through significant personnel changes on the coaching staff. Barry Odom was hired as UNLV's head coach. After linebackers coach Michael Scherer left with Odom to become defensive coordinator at UNLV, Arkansas coach Sam Pittman hired Travis Williams from UCF and Marcus Woodson from Florida State as co-defensive coordinators. Dowell Loggains, the tight ends coach, left to become the offensive coordinator at South Carolina, and Pittman fired Ben Sowders, the strength coach, and hired Jamil Walker instead.
Enos will serve as Arkansas' offensive coordinator for the second time. He was in charge of the offense for the Razorbacks from 2015 to 2017, when they were one of only two FBS teams with a 3,000-yard quarterback and 1,300-yard rusher in 2015 and 2016.
Topics #Kendal Briles #Offensive Coordinator #TCU
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After resigning as head of the CIO in 1941, he took the Mine Workers out of the CIO in 1942 and in 1944 took the union into the American Federation of Labor. A leading liberal, he played a major role in helping Franklin D. Roosevelt win a landslide in 1936, but as an isolationist broke with Roosevelt in 1940 on FDR's anti-Nazi foreign policy.
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And indeed this is equal to 1610 as before.
As expected, the same as before!
Compounding Interest is powerful ….
One thousand dollars becomes nearly 2600 after 10 years!
years. Note how the curve bend Upwards!
(and hence that thus their price 'inflates').
1 970.87  =D5/(1+D6) Bonds!
order to see how much that is in today's dollars.
Couldn't we just say Effective Interest = Interest – Inflation?
inflation rate and then apply the interest.
1/1.03 * 1.1 = 1.06796 unequal 1.07!
It's small but nevertheless important.
value of money is that of discount.
We already used this term in the context of bonds and inflation.
whether the investment is worthwhile.
would not be wise to make the investment.
do a separate calculation for each year.
have an idea of how to get started we can take it from there.
3 How much is a stream of cash flows worth?
Is this a reasonable value for the cash flows?
The sum of each year's cash flow's present values!
years Flow Surprisingly little, isn't it!
Presumably standing for Net Present Value.
no need for the 'Net'.
acquiring the cash flow in question.
the compounded yield on this asset is going to be.
words, the net present value is zero.
Hence we can use the solver.
This is investment in year 0.
Time is your friend! Be patient.


Today, meditation is something that is available to everyone and can be learned in a relatively easy way. The benefits that offers meditation may impact very positively on our daily growth, allowing us to connect body and mind to achieve the best effects.
Many scientists have investigated about meditation and in one of these studies has been studied the brain after a good session of meditation. The results reveal that the chemical activity in the brain is very effective. Also, benefits have been discovered in the immune system, emotional and cardiac.
More and more are people who choose to meditate before getting in bed to sleep, something that is very beneficial to them given that the dream will be much more restful if bedtime without having meditated before.
Bedtime meditation produces an almost analgesic effect, being highly recommended for those days where we've had a great stress or that things have not gone as we had hoped. With meditation, analgesic sensation has also impact on the physical, especially in areas where there is pain, joint and/or muscle.
On the other hand ensures that a large number of infarcts occurs during mornings. Bedtime meditation helps to prevent cardiovascular complications. A study conducted in the United States determined that those who contemplated the evening were able to reduce the order of the 50% the risk of dying from a heart attack because it prevents high blood pressure and reduce blood pressure.
All this will lead us to that when we wake up, We do so with a better mood, more relaxed and rested as well as with enough vitality to face the day with success.


text:
MoviesMarvel
Tom Hardy's Favorite Scenes From Venom Aren't in the Movie [UPDATED]
Filed to:Venom
According to Tom Hardy, lots of dark comedy got cut from Venom.
Photo: Sony
Depending on how fans react to Venom when it hits theaters this week, we may now have the quote to launch a million think pieces.
Speaking to ComicsExplained, the film's star, Tom Hardy, said his favorite scenes in Venom didn't actually end up in the final cut. "There are, like, 30 to 40 minutes' worth of scenes that aren't in this movie," Hardy said when asked what his favorite scenes to film were. "Mad puppeteering scenes, dark comedy scenes. You know what I mean? They just never made it in."
Co-star Riz Ahmed, who was also being interviewed, then suggested there's a difference between a scene an actor loved to film and a scene fitting in the movie, which lead to a bunch of joking. So it's hard to decide just how serious Hardy is being. But, for the most part, he seems genuine. Decide for yourself. The question comes in at 4:40.
If Venom is as good as we're all hoping, Hardy's answer here will become nothing other than a frivolous quote from the press tour. If, however, it's not as good as we hope, there's no doubt him saying his favorite half hour of the movie isn't in the movie could be used as ammunition to explain why that may be. The truth, however, is probably just what Ahmed said. You can easily imagine Hardy loving to film weird, creepy comedy scenes as Eddie Brock, which director Ruben Fleischer just felt didn't fit in with the tone of the film. Or, maybe, they were just a little too racy for the film's PG-13 rating.
Venom is in theaters Friday.
[h/t The Telegraph]
Update: October 2 - Tom Hardy clarified to IGN that, yes, he was talking more about fun times on set rather than plot points that drove the movie. Here's the clip.
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This page contains papers written by friends and colleagues exploring a range of theological issues. The views contained within them are the author's own. We hope that hosting the Forum, and publishing these documents, will provoke further discussion, and assist local practice.
The Good Samaritan: Who is my Neighbour?
Politics and Immigration: Is there a shift to the Political Right?


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115 Susan Harrow: Media Training + Martial Arts: Secrets to Become A Media Star
Susan Harrow is a renowned media coach at PRsecrets.com. She is the author of the best-selling book, Sell Yourself Without Selling Your Soul. She has media trained thousands of CEOs, celebrity chefs, start-ups, speakers, entrepreneurs, and authors for Oprah, CBS' 60 Minutes, The Today Show, Good Morning America, etc
We Talked About:
How she coaches introverted CEOs who resist going on shows to shift their context
How she coaches her clients to remained composed during even the toughest questions on tv
The 3 questions she asks herself whenever she isn't sure if she should speak her mind
Her methodology to finetune her clients' target audience and messaging
How to connect with the audience whether they are on zoom or live in the studio
How to adjust your talk on the fly
We talked about her spiritual practices right before she gets on any shows
Please enjoy my conversation with a renowned media coach, Susan Harrow.
https://prsecrets.com/
Sell Yourself Without Selling Your Soul
"The philosophy of aikido is to turn your lead into gold"
"What's the kindest thing at the moment. 1)Do I need to say this? 2)Do I need to say this now? 3)Am I the right person to say it? Here's the thing: it's not my business. Whether somebody gets it or not. That that's number one."
"We go through the worst-case scenarios so you can be relaxed"
"It's about connecting with yourself first and then saying those things that you connect with the audience. So if you're seeing people in the audience smiling about you, you're connecting together"
"Whenever you get nervous, stop, breathe, and ground. Think about your feet, going deep, deep, deep into the earth. Recenter yourself. It just takes a second, but it is a practice. And then come back to your purpose."
"Media training is a lot like improvisational jazz."
"The practice is getting back to our naturalness. Be relaxed enough to be in that state. So things flow perfectly, which they will. It's not outside yourself, it's inside yourself. It's not manifestation manifesting, which is outside. It's about you tapping into your greater self and the availability of what already is for you. So you get out of your conscious thinking and into the possibility of all that is."
"Whenever you wonder what your message is...we have to start way back to: Who you are, what do you stand for? What are your values? What do you want to accomplish and why? What's your big vision? And what is it that you want to do with the skills and talents and abilities and personality that you were given?"
"Your mission through it's through people or through your events or through whatever it is that you're doing. It's not about you."
If You Like This, You'll Like These Too
113: From NFL to Ancestral Cyborg: Building Platforms For Global Sustainability - Marques Anderson
105: 5 Step Blueprint For Becoming Limitless - Memnon Uzan
114: Inner Technologies For the Emergent Future - Ava Pipitone
108: Future Proofing You - Creating Opportunity & Maximizing Wealth in an Uncertain World - Jay Samit
Solo#3 [From Adversity to Opportunity] Pt2: Radical Media Diet


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Home > Foreign legion in a sentence
Foreign legion in a sentence
Sentence count:14Posted:2022-01-13Updated:2022-01-13
Similar words: french foreign legion, roman legion, foreign operation, foreign relations, foreign corporation, foreign, foreigner, foreign trade corporation. Meaning: n. a military unit composed of foreign volunteers who serve the state.
1. Spartak have even begun assembling a foreign legion.
2. The Greenham camp was a bit like the Foreign Legion for Polly, a place to nurse a lost soul.
3. London attracts foreign legion London is becoming the main choice of destination for foreign workers.
4. Foreign Legion was founded by a Royal Ordinance.
5. The French Foreign Legion was founded by a Royal Ordinance.
6. The reasons for forming the French Foreign Legion were probably twofold.
7. the French Foreign Legion.
8. A Hungarian legionnaire from the French Foreign Legion inspects an Afghan man near Tagab in Kapisa Province on Jan. 25.
9. A captain in the foreign legion is transferred to a desert outpost.
10. The French Foreign Legion was founded by a Royal Ordinance,(http://Sentencedict.com) written on a small piece of official Prench War Office notepaper dated.
11. The garrote very common once, is no longer sanctioned by law in any country though training in its use is still carried out in the French Foreign Legion.
12. Does Singapore, to ensure championship , depend on a foreign legion in almost each and every competition?
13. Grants Larsa to Elamites in exchange for serving as his Foreign Legion.
14. It was a poem about a soldier of the French Foreign Legion.
More similar words: french foreign legion, roman legion, foreign operation, foreign relations, foreign corporation, foreign, foreigner, foreign trade corporation, foreign key, foreign aid, legion, foreignness, foreign debt, foreign-born, foreign agent, foreign firms, foreign sales, foreign trade, foreign office, foreign country, foreign policy, legionella, legionary, foreign service, foreign capital, foreign affairs, foreign investor, foreign exchange, foreign currency, foreign minister.
Total 14, 30 Per page 1/1
attach (264+8)
analyze (251+1)
transfer (218+19)
previously (297+12)
dominate (162+7)
involvement (206+13)
congressional (170+1)
juice (272+35)
cap (203+19)
visible (209+19)
retire (185+15)
adjust (152+15)
inspire (151+3)
shock (277+39)
employer (298+19)
intense (229+17)
priest (150+28)
marketing (279+13)
independence (190+27)
sauce (274+33)


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'Passion' star Jim Caviezel talks about Mel Gibson's troubles, and his own, at Orlando church
by whereami 12 Replies latest jw friends
whereami
Jim Caviezel, doin it for Jesus. Persecution complex much?
Actor Jim Caviezel, his voice sometimes cracking with emotion, spoke of being "rejected in my own industry," the problems of his friend Mel Gibson and his son's cancer in an appearance Saturday night at First Baptist Church of Orlando.
The star of "The Passion of the Christ," whom First Baptist pastor David Uth described as "more passionate about God" than anyone he's ever met, was in town to give witness to his faith, to urge others to share it and to sell a new all-star audio production of the Bible that he has produced.
During a 20-minute talk, Caviezel spoke of the troubles that have dogged Gibson, his "Passion" director, who has been labeled an anti-Semite in addition to being caught on tape ranting and cursing out the mother of his youngest child.
"Mel Gibson, he's a horrible sinner, isn't he?" Caviezel, 42, said. "Mel Gibson doesn't need your judgment, he needs your prayers."
The actor recalled Gibson's offering him the role of Jesus in the film, then calling him back to beg him not to take it:
"He said, 'You'll never work in this town again.' I told him, 'We all have to embrace our crosses.' ''
But the actor noted that Gibson wasn't far off the mark when he spoke of the damage playing Jesus could do to his career.
"Jesus is as controversial now as he has ever been," Caviezel said. "Not much has changed in 2,000 years."
Caviezel said he doesn't worry about the career price he paid with that film — a global box-office smash that led to fewer, not more, film offers for him. "The awards, the hall of fame" that actors get into here on Earth, he said, don't matter to him. His reward, he said, will come in heaven.
"We have to give up our names, our reputations, our lives to speak the truth," Caviezel said.
A native of Washington state and a lifelong Roman Catholic, Caviezel has never shied from films with religious subtexts, sometimes controversial ones, from "The Passion of the Christ" (2004) and "The Stoning of Soraya M." (2008) to "I Am David" (2003) and "Bobby Jones: Stroke of Genius" (2004).
Caviezel has said his faith is his guide, both personally and professionally. He speaks of being "called" to the acting profession and says it was no coincidence that "in my 33rd year, I was called to play Jesus." He even joked about his initials — J.C. — with Gibson at the time of his casting, which "freaked him out a little."
Caviezel and his wife have adopted "special-needs" children from China, and one has cancer.
"Maybe God, through my son's death, is going to teach me something."
Caviezel will speak at the 9 a.m. and 10:45 a.m. services Sunday at First Baptist, 3000 S. John Young Parkway.
http://articles.orlandosentinel.com/2011-04-30/news/os-jim-caviezel-speaks-050111-20110430_1_orlando-church-passion-jesus
Sorry... don't know why it placed it to the far right of the screen. Weird.
Berengaria
ick
Morbidzbaby
I had a huge crush on him before The Passion... Now, though...not so much. All this being cursed and persecuted mumbo jumbo just because he portrayed Jesus in a movie? Really? Lemme guess...it's SATAN! That horny little bastard lol
--Don't know much about him, but thoroughly enjoyed Frequency
Oh me too, TD!!! That was one of my favorites!
james_woods
Agreed - just because you played some character in a move does not make you a clergyman, a doctor, a lawyer, or an airline pilot. Double ICK when you recall some of Mel Gibson's crazy behavior after this movie was made.
All this being cursed and persecuted mumbo jumbo just because he portrayed Jesus in a movie? Really?
I thought he had roles after "Passion". Maybe he should be blaming the crazy stuff Mel Gibson has done rather than Satan?
BTW - does anyone remember who played Jesus in "King of kings"? Maybe Jeffrey Hunter?
Satanus
'All this being cursed and persecuted mumbo jumbo just because he portrayed Jesus in a movie?'
Why blame satan? The hollywood jewish rulers like jesus even less than satan did. Contrary to satan, they really do exist.
coffee_black
Wow! That was the church I went to after I left the jws. They were wonderful to me. My daughter goes there when she can.
kurtbethel
Frequency, yeah!


The company said Wednesday it was notified of a potential manufacturing-quality issue by CFM, which makes the engines for the Boeing 737 Max.
Boeing Co. said it has not experienced any issues with the low-pressure turbine discs during test flights.
The company said it still plans to begin deliveries of the plane later this month, and production will continue.
The Max is designed to be a more fuel-efficient version of the workhorse 737, Boeing's most popular commercial plane. Malaysia's Malindo Air plans to be the first airline to fly the new plane, starting before July. Dallas-based Southwest Airlines Co. expects to begin using the plane for passenger flights this fall.
Seattle-based Boeing said it has put CFM's Leap 1B engines through more than 2,000 hours of testing, including flights lasting more than nine hours, and additional tests that simulated 3,000 takeoffs and landings, and did not see any problems with the low-pressure turbine discs.
The discs are made by a supplier to CFM International, a joint venture of General Electric and France's Safran.
New planes and parts go through extensive testing to turn up problems before passengers go on board.
Cai von Rumohr, an analyst with Cowen and Co., said « this doesn't look like a serious concern » because Boeing still expects to deliver the first plane this month and it appears to be a fixable manufacturing problem rather than a design flaw.
Note: « Previously Published on: 10 May 2017 | 8:46 pm, as 'Boeing halts test flights of new 737 Max over engine issue – Business' on CBC RADIO-CANADA. Here is a source link for the Article's Image(s) and Content ».
#GlobalNews: "'Calls into question our commitment to the rule of law': Edward Snowden on firing of FBI director"
#GlobalNews: "Parents don't know how to approach teens about alarming social media posts: survey - National"


IETF to cramp Cisco's WLAN empire?
A meeting of the Internet Engineering Task Force (IETF) standards body this week is likely to clear the way to create a standard based on the Lightweight Access Point Protocol (LWAPP), a technology backed by wireless switchmakers and NTT DoCoMo but in opposition to Cisco's view of the wireless LAN.
The LWAPP creates a standard way for WLAN switches to communicate with 'thin' access points, enabling different brands of switches and APs to be combined on one network. Discovery and provisioning of APs would be automated and there would be a framework for configuring and upgrading large numbers of APs and managing sessions from a central point, all secured by IEEE 802.1x authentication.
Various technical concerns have been raised by the IETF, but the vendors are sure they have addressed these and that the body will now set up a working group to create a formal document, to be voted on in 12-18 months' time. This is likely to rename the protocol as Control and Provisioning of Wireless Access Points (CAPWAP). A standard of this type would be a major boost for the central switch/thin AP approach, which, despite huge hype this year, has not gained great traction outside the small and medium enterprise space, partly because of the dominance of Cisco, with its fat AP architecture, in large companies.
A standard would reduce the perceived risk of adopting products from start-ups in a market that will certainly undergo shake-out in the coming year, although with a timescale of over a year, by the time it is a reality, that shake-out will already have happened, and Cisco will have come out with its own new benefits. The LWAPP initiative is seen as an attempt to counteract Cisco's effort to establish its own WLAN technologies as de facto standards by virtue of its enterprise market share; and to give companies a risk-free alternative if they are starting to chafe under Cisco's high prices and often dictatorial approach.
The strongest argument that Cisco always has for its moves to establish de facto standards – and therefore its own control of its key customers – is that it can move more quickly to provide the facilities that enterprises really need. It claims that the industry bodies governing WLANs, the IEEE, IETF and the Wi-Fi Alliance, do not focus specifically on enterprise needs, nor do they move rapidly enough for corporations that are looking to adapt their business models quickly to cope with new business. It has sought to establish its WLan technologies as a tickbox requirement in large sites through its CCX Extensions program.
This certifies compatibility of devices with its Aironet range, the argument being that companies can easily assemble an interoperable wireless system with common management and security frameworks – provided these are based on Cisco's technology, which brings with it Leap, the heavy AP approach and Cisco QoS mechanisms. The LWAPP group aims to bring all the smaller players together behind a united front against Cisco, rather than leaving them to try to chip away at the giant single handed. By making APs from a host of vendors – from the fairly large players like Proxim and Symbol to the small start-ups – interoperable, this model could alter the component design and deployment business models, making systems cheaper and lowering barriers to entry, argue its supporters.
Like any multivendor process, there will be complex politics and technological debate along the way, and this one even involves multiple standards bodies. Standards like this, that concern Layers 1 and 2 of the network model, are usually the domain of the IEEE but the two bodies have worked together unusually closely on LWAPP, according to Airespace, one of a host of wireless switch start-ups, and one of the primary authors of the protocol. Including Layer 3 components – the domain of the IETF – gives LWAPP greater flexibility, allowing APs and switches to use any network, provided it supports IP, according to supporters. But this does not alter the fact that there is considerable potential overlap and conflict with the IEEE, particularly its 802.11k work in progress, which defines many resource management functions that are also central to LWAPP.
A critical decision is how to split functions such as security between the AP and the central switch or router, a split that impacts latency, a crucial measurement for time sensitive applications such as voice over IP. These functions are part of the media access control (MAC) layer, and so affect the designs of the WLAN chipmakers. But not only do most of these chipmakers support Cisco CCX, their standards are also governed by the IEEE. A long drawn out process or too many instances of in-fighting could play into Cisco's hands and its arguments that it provides the most reliable platform for enterprise WLANs, and ensure the success of its would-be de facto standards.


text:
package plugin

import (
	"context"

	ocontext "github.com/vmware-tanzu/octant/internal/context"
)

type ClientState interface {
	ClientID() string
	Filters() []Filter
	Namespace() string
	ContextName() string
}

func ClientStateFrom(ctx context.Context) clientState {
	cs := ocontext.ClientStateFrom(ctx)
	filters := []Filter{}

	for _, f := range cs.Filters {
		filters = append(filters, clientFilter{key: f.Key, value: f.Value})
	}

	return clientState{
		clientID:    cs.ClientID,
		filters:     filters,
		namespace:   cs.Namespace,
		contextName: cs.ContextName,
	}
}

type Filter interface {
	Key() string
	Value() string
}

var _ ClientState = (*clientState)(nil)

type clientState struct {
	clientID    string
	filters     []Filter
	namespace   string
	contextName string
}

func (c clientState) ClientID() string {
	return c.clientID
}
func (c clientState) Filters() []Filter {
	return c.filters
}
func (c clientState) Namespace() string {
	return c.namespace
}
func (c clientState) ContextName() string {
	return c.contextName
}

var _ Filter = (*clientFilter)(nil)

type clientFilter struct {
	key   string
	value string
}

func (cf clientFilter) Key() string {
	return cf.key
}

func (cf clientFilter) Value() string {
	return cf.value
}

redpajama_set_name: RedPajamaGithub


isn't it a great November? -The weather is so beautiful here in Germany, I can't believe it! 🙂 This November is a very special Month for me, Autodesk University isn't far and this year the DP-Forum Germany is on the 22.11.2011 and a few days later I leave Germany for attending AU 2011. So I am really looking forward to meet with my collages and friends from the US.
Yes, this Model is coming from Inventor, no Alias, no 3DS Max, plain Inventor 2012. The choose of this Model is motivated by the Autodesk Automotive Days 2011. During the Event I had an Interview with Steven Lewis from the Audi Design Concept Department Munich, about Designing a new Audi and how long dose it take from the first sketch to a first 3D Model.
Now, Lady's and Gentlemen, please enjoy this Month Showcase 2012 Calender Page and Desktop Wallpaper with the Audi RS 8.


text:
RSpec.describe Metasploit::Cache::Auxiliary::Instance, type: :model do
  it_should_behave_like 'Metasploit::Concern.run'

  context 'associations' do
    it { is_expected.to belong_to(:auxiliary_class).class_name('Metasploit::Cache::Auxiliary::Class').inverse_of(:auxiliary_instance) }
    it { is_expected.to have_many(:actions).autosave(true).class_name('Metasploit::Cache::Actionable::Action').dependent(:destroy).inverse_of(:actionable) }
    it { is_expected.to have_many(:contributions).autosave(true).class_name('Metasploit::Cache::Contribution').dependent(:destroy).inverse_of(:contributable) }
    it { is_expected.to belong_to(:default_action).class_name('Metasploit::Cache::Actionable::Action').inverse_of(:actionable) }
    it { is_expected.to have_many(:licensable_licenses).autosave(true).class_name('Metasploit::Cache::Licensable::License').dependent(:destroy).inverse_of(:licensable) }
    it { is_expected.to have_many(:licenses).class_name('Metasploit::Cache::License').through(:licensable_licenses) }
    it { is_expected.to have_many(:referencable_references).class_name('Metasploit::Cache::Referencable::Reference').dependent(:destroy).inverse_of(:referencable) }
    it { is_expected.to have_many(:references).class_name('Metasploit::Cache::Reference').through(:referencable_references) }
  end

  context 'database' do
    context 'columns' do
      it { is_expected.to have_db_column(:auxiliary_class_id).of_type(:integer).with_options(null: false) }
      it { is_expected.to have_db_column(:default_action_id).of_type(:integer).with_options(null: true) }
      it { is_expected.to have_db_column(:description).of_type(:text).with_options(null: false) }
      it { is_expected.to have_db_column(:disclosed_on).of_type(:date).with_options(null: true) }
      it { is_expected.to have_db_column(:name).of_type(:string).with_options(null: false) }
      it { is_expected.to have_db_column(:stance).of_type(:string).with_options(null: false) }
    end

    context 'indices' do
      it { is_expected.to have_db_index([:auxiliary_class_id]).unique(true) }
    end
  end

  context 'factories' do
    context 'metasploit_cache_auxiliary_instance' do
      subject(:metasploit_cache_auxiliary_instance) {
        FactoryGirl.build(:metasploit_cache_auxiliary_instance)
      }

      it { is_expected.to be_valid }

      context 'metasploit_cache_auxiliary_instance_auxiliary_class_ancestor_contents trait' do
        subject(:metasploit_cache_auxiliary_instance) {
          FactoryGirl.build(
              :metasploit_cache_auxiliary_instance,
              auxiliary_class: auxiliary_class
          )
        }

        context 'with #auxiliary_class' do
          let(:auxiliary_class) {
            FactoryGirl.build(
                :metasploit_cache_auxiliary_class,
                :metasploit_cache_auxiliary_class_name,
                ancestor: auxiliary_ancestor
            )
          }

          context 'with Metasploit::Cache::Direct::Class#ancestor' do
            let(:auxiliary_ancestor) {
              FactoryGirl.build(
                  :metasploit_cache_auxiliary_ancestor,
                  content?: false,
                  relative_path: relative_path
              )
            }

            context 'with Metasploit::Cache::Module::Ancestor#real_pathname' do
              let(:reference_name) {
                FactoryGirl.generate :metasploit_cache_module_ancestor_reference_name
              }

              let(:relative_path) {
                "auxiliary/#{reference_name}#{Metasploit::Cache::Module::Ancestor::EXTENSION}"
              }

              it 'writes auxiliary Metasploit Module to #real_pathname' do
                metasploit_cache_auxiliary_instance

                expect(auxiliary_ancestor.real_pathname).to exist
              end

              context 'with multiple elements in each association' do
                include_context 'ActiveSupport::TaggedLogging'
                include_context 'Metasploit::Cache::Spec::Unload.unload'

                subject(:metasploit_cache_auxiliary_instance) {
                  FactoryGirl.build(
                      :metasploit_cache_auxiliary_instance,
                      auxiliary_class: auxiliary_class,
                      action_count: action_count,
                      contribution_count: contribution_count,
                      licensable_license_count: licensable_license_count
                  )
                }

                let(:action_count) {
                  2
                }

                let(:contribution_count) {
                  2
                }

                let(:direct_class_load) {
                  Metasploit::Cache::Direct::Class::Load.new(
                      direct_class: auxiliary_class,
                      logger: logger,
                      metasploit_module: module_ancestor_load.metasploit_module
                  )
                }

                let(:licensable_license_count) {
                  2
                }

                let(:metasploit_framework) {
                  double('Metasploit::Framework')
                }

                let(:module_ancestor_load) {
                  Metasploit::Cache::Module::Ancestor::Load.new(
                      # This should match the major version number of metasploit-framework
                      maximum_version: 4,
                      module_ancestor: auxiliary_ancestor,
                      logger: logger,
                      persister_class: Metasploit::Cache::Module::Ancestor::Persister
                  )
                }

                let(:module_instance_load) {
                  Metasploit::Cache::Module::Instance::Load.new(
                      persister_class: Metasploit::Cache::Auxiliary::Instance::Persister,
                      logger: logger,
                      metasploit_framework: metasploit_framework,
                      metasploit_module_class: direct_class_load.metasploit_class,
                      module_instance: metasploit_cache_auxiliary_instance,
                  )
                }

                before(:each) do
                  # ensure file is written for auxiliary load
                  metasploit_cache_auxiliary_instance

                  # remove factory records so that load is forced to populate
                  metasploit_cache_auxiliary_instance.actions = []
                  metasploit_cache_auxiliary_instance.contributions = []
                  metasploit_cache_auxiliary_instance.licensable_licenses = []
                end

                it 'is loadable' do
                  expect(module_ancestor_load).to load_metasploit_module

                  expect(direct_class_load).to be_valid
                  expect(auxiliary_class).to be_persisted

                  expect(module_instance_load).to be_valid(:loading)

                  module_instance_load.valid?

                  unless metasploit_cache_auxiliary_instance.valid?
                    # Only covered on failure
                    # :nocov:
                    fail "Expected #{metasploit_cache_auxiliary_instance.class} to be valid, but got errors:\n" \
                         "#{metasploit_cache_auxiliary_instance.errors.full_messages.join("\n")}\n" \
                         "\n" \
                         "Log:\n" \
                         "#{logger_string_io.string}\n" \
                         "Expected #{module_instance_load.class} to be valid, but got errors:\n" \
                         "#{module_instance_load.errors.full_messages.join("\n")}"
                    # :nocov:
                  end

                  expect(module_instance_load).to be_valid
                  expect(metasploit_cache_auxiliary_instance).to be_persisted

                  expect(metasploit_cache_auxiliary_instance.actions.count).to eq(action_count)
                  expect(metasploit_cache_auxiliary_instance.contributions.count).to eq(contribution_count)
                  expect(metasploit_cache_auxiliary_instance.licensable_licenses.count).to eq(licensable_license_count)
                end
              end
            end

            context 'without Metasploit::Cache::Module::Ancestor#real_pathname' do
              let(:relative_path) {
                nil
              }

              it 'raises ArgumentError' do
                expect {
                  metasploit_cache_auxiliary_instance
                }.to raise_error(
                         ArgumentError,
                         'Metasploit::Cache::Auxiliary::Ancestor#real_pathname is `nil` and content cannot be ' \
                         'written.  If this is expected, set `auxiliary_class_ancestor_contents?: false` ' \
                         'when using the :metasploit_cache_auxiliary_instance_auxiliary_class_ancestor_contents trait.'
                     )
              end
            end
          end

          context 'without Metasploit::Cache::Direct::Class#ancestor' do
            let(:auxiliary_ancestor) {
              nil
            }

            it 'raises ArgumentError' do
              expect {
                metasploit_cache_auxiliary_instance
              }.to raise_error(
                       ArgumentError,
                       'Metasploit::Cache::Auxiliary::Class#ancestor is `nil` and content cannot be written.  ' \
                       'If this is expected, set `auxiliary_ancestor_contents?: false` ' \
                       'when using the :metasploit_cache_auxiliary_instance_auxiliary_class_ancestor_contents trait.'
                   )
            end
          end
        end

        context 'without #auxiliary_class' do
          let(:auxiliary_class) {
            nil
          }

          it 'raises ArgumentError' do
            expect {
              metasploit_cache_auxiliary_instance
            }.to raise_error(
                     ArgumentError,
                     "Metasploit::Cache::Auxiliary::Instance#auxiliary_class is `nil` and it can't be used to look " \
                     'up Metasploit::Cache::Direct::Class#ancestor to write content. ' \
                     'If this is expected, set `auxiliary_class_ancestor_contents?: false` ' \
                     'when using the :metasploit_cache_auxiliary_instance_auxiliary_class_ancestor_contents trait.'
                 )
          end
        end
      end
    end
  end

  context 'validations' do
    it { is_expected.to validate_presence_of(:auxiliary_class) }
    it { is_expected.to validate_presence_of :description }
    it { is_expected.to validate_presence_of :name }
    it { is_expected.to validate_inclusion_of(:stance).in_array(Metasploit::Cache::Module::Stance::ALL) }

    it_should_behave_like 'validates at least one in association',
                          :contributions,
                          factory: :metasploit_cache_auxiliary_instance

    it_should_behave_like 'validates at least one in association',
                          :licensable_licenses,
                          factory: :metasploit_cache_auxiliary_instance

    context 'validates inclusion of #default_action in #actions' do
      subject(:default_action_errors) {
        auxiliary_instance.errors[:default_action]
      }

      let(:error) {
        I18n.translate!('activerecord.errors.models.metasploit/cache/auxiliary/instance.attributes.default_action.inclusion')
      }

      let(:auxiliary_instance) {
        described_class.new
      }

      context 'without #default_action' do
        before(:each) do
          auxiliary_instance.default_action = nil
        end

        it { is_expected.not_to include(error) }
      end

      context 'with #default_action' do
        #
        # lets
        #

        let(:default_action) {
          Metasploit::Cache::Actionable::Action.new
        }

        #
        # Callbacks
        #

        before(:each) do
          auxiliary_instance.default_action = default_action
        end

        context 'in #actions' do
          before(:each) do
            auxiliary_instance.actions = [
                default_action
            ]
            auxiliary_instance.valid?
          end

          it { is_expected.not_to include(error) }
        end

        context 'not in #actions' do
          before(:each) do
            auxiliary_instance.actions = []
            auxiliary_instance.valid?
          end

          it { is_expected.to include(error) }
        end
      end
    end
  end
end